Stuff I made in my couch fort and my continuing obsession with Bridget Riley



Cultural or shared memory, based on relationships specific to images, politics, texts or other popular media, has the distinct capacity to develop into fiction or fabrication, eschewing an impartial “truth” and creating subjective narrative forms.  Based on these conditional cultural creations, how does one differentiate between an “authentic” memory and the “constructed,” and recognize the impact this consideration has on our reading of history and understanding of the individual’s place within?  In the text Postproduction: Culture as Screenplay/How Art Reprograms the World, author Nicholas Bourriaud states: “ It is no longer a matter of elaborating a form on the basis of a raw material but working with objects that are already in circulation on the cultural market, which is to say, objects already informed by other objects.  Notions of originality (being at the origin of) and even of creation (making something from nothing) are slowly blurred in this new cultural landscape marked by the twin figures of the DJ and the programmer, both of whom have the task of selecting cultural objects and inserting them into new contexts.” 1

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