Graduate Fine Arts Dialogs and Practices

CCA Fall 2014

Professor Fortescue

2014-12-03
Benjamin De Kosnik

Glitch, Saturation, and Time in Outer and Inner Space

The year is 1965, the artist is Andy Warhol, the subject is Edie Sedgwick. The combination
of these three elements creates the hybrid film and video work Outer and Inner Space. This
artwork is an enigma, an opalescent beauty of stunning complexity that premiered at an
underground party on a long-abandoned subway station under the Waldorf-Astoria in
New York, and then was not shown in public for the next thirty years: an artwork that
continues to defy interpretation into the present day. Instead of talking directly about this
object, let us start the discussion by describing the artwork and the multiple medias that
are used to make it, and then talk around it, fly above it, approach on multiple vectors and
and tie it to trends in contemporary culture over the last fifty years.

Several aspects of this artwork are especially relevant in visual culture today, and merit
closer examination: saturated grid forms and information density, glitch and tonal
deterioration across two and three dimensions, hybrid art forms and new styles, dark
matter and the dynarchive in art archives, and always-on (aka You There?) normalization.

Before the above is attempted, some working vocabulary needs to be generated in order
to pin down this elusive work and fully describe it.

Item 01. Andy Warhol, Outer and Inner Space, frame 00019.

Description

Outer and Inner Space is an artwork by Andy Warhol created in 1965 that is a mix of
previous video recordings, 16mm film, and a live performance with off-screen
interactions. Total running times is 33 minutes. It is composed of two reels of black and
white 16 mm film, engineered to be displayed via two channel simultaneous projection
with a single audio track. It features Edie Sedgwick as the sole subject (Rush, 52).

Each channel is itself split in two sub-channels, featuring a live Edie Sedgwick on the right
side interacting with a previously video-recorded playback of herself on the left side of
the same channel's screen. None of the sub-channels are the same, but are often
mistaken as such by casual observers. When both channels are projected together, the

result is a horizontal grid of four Edie Sedgwick images, a tetraptych of film and video, all
appearing to interact simultaneously.

Item 02. Benjamin De Kosnik, Frame 00019 multi-channel visualization

Item 03. Benjamin De Kosnik, Frame 00019 sub-channel visualization

There is off-screen direction and commentary from unknown persons. Although the
predominant photographic technique is a close-focus front or right portrait face, each
channel has a camera that is not fixed, moving slightly through the piece. The left channel
slowly zooms out from a close-crop front face to a seated torso cropped at the waist

drinking from a cup, starting at minute twelve. The right channel starts with the torso crop
of Edie smoking a cigarette and then at minute three moves in to a tight face crop. On
each channel, when the camera pulls out enough to see bits of the surrounding factory
setup: a couch, bits of the projection screen for the video recording image, the white
t-shirt of an un-credited factory worker with his back to the screen adjusting the video
playback.

Audio is muffled and unclear, each of the four Edies in the horizontal grid talking in unison
with an unending drone of two film projectors omnipresent in the background.

Context

Within one week at the end of summer, 1965 sees the first two uses of video art in a public
performance or show. One is Andy Warhol, with Outer and Inner Space. The other is Nam
June Paik, with Electronic Video Recorder. The world around these two artists is shaking,
and the televised image plays a key part: the civil rights movement starts the year with the
Selma to Montgomery march, and the resulting televised violence catalyzes political
reform in bill form via the Voting Rights Act by the beginning of August. Revolution is in
the air.

Warhol retires from painting in April, to work on film, and talks to reporters of Hollywood
and making films (Watson, 72). He creates the situation whereby his previous work on

tape recording and participation in publicity surrounding the launch of a new magazine
for recording enthusiasts enables the temporary loan of a Norelco slant scan video
recorder in June for the explicit use in the creation of his underground movies (Goldsmith,
69). Almost no footage of this early video recording exists in a view-able form today: the
stray bits in this artwork are the most accessible. The only other Warhol work that
incorporates video recording is Water from 1972. This is a video recording of an office
water cooler, with the accompanying audio track.

Warhol premiers Outer and Inner Space on September 29, 1965 at the Underground Party,
on the abandoned subway tracks beneath the Waldorf-Astoria. The party itself is
videotaped and played back to guests (Rush, 213).

Nam June Paik had been working on video recording since 1961, when he calculates that
it would cost $500k. The year before, hes working in Japan with Shuya Abe to make a
similar device from a kit, believing that as collage technic replaced oil-paint, CRT will
replace canvass (sic). According to Michael Rush's video art chronology, Nam June Paik
had been attempting to build a video tape recorder in Japan the previous year, and failed.
He returns to the United States, and secures a Rockafeller Foundation grant to purchase a
Sony Portapack, competing brand of video recorder that records in a currently-accessible
format. He first shows Electronic Video Recorder on October 4, 1965 at Cafe A Go Go: less
than a week after Warhol shows Outer and Inner Space at the Underground Party (ibid).

Between the two of them, this week sees the following firsts: first video artwork shown in
public, first hybrid video/film artwork show in public, first multi-channel video/film

artwork, first live use of interactive, non-broadcast video recording and playback.
Arguably the first rave.

Warhol and Paik stand together at the beginning of the commodity video recording age.
Warhol bets on cultural trends that rise in prominence dramatically over the next fifty
years: celebrity, and the particular sub-genre of beautiful-rich-tragic, mix-remix fluidity,
the hyper personal via a monotonously recorded self. It is a strange coincidence that the
day before Edie Sedgwick died, she was visiting the set of An American Family, the first
reality television show (Painter and Weismann, 189). In retrospect, her screen tests,
Warhol movies, energized mugging for publicity leapfrog the form of unscripted television
and put her directly into a conversation with today's single-person, self-produced,
non-broadcast social media forms like self-promotional Facebook postings and
too-intimate video blogging.

Paik gets the long term form for video art correct from the onset. Not only does he use the
winning video format in the Sony Portapack, but his 1973 essay Video Common Market
accurately predicts the balkanized video distribution of today: a combination of dark
archives traded on bittorrent, free-for-all youtube pirate distribution, UbuWeb, Ikono tv,
public-sponsored work for traditional broadcasters like Arte and BBC 4 in Europe,
supplemented by the streaming back-catalog of Netflix and Hulu (Hanhardt, 182).

Grid Saturation

The first approach vector for perceiving Outer and Inner Space is a visual characteristic of
the artwork: the grid form.

Grids are for saturation, information overflow. Deploying the grid can be thought of as
either throwing a life-preserver to the beleaguered observer, or deliberately
overwhelming the beleaguered observer with so much data that any one instance loses
meaning, creating instead a super-saturated meta-image with collective meaning out of
the smaller components.

Item 04. Harry Shunk Archive, Photos of Lleana Sonnabend Gallery Installation, 1965

The easiest grid is a small one, in two dimensions. For the purposes of this discussion, a
grid is defined to be adjacent cells that repeat in a contiguous manner. Translated
directly, the two-channel projection of Outer and Inner Space, is a one by four grid where
each sub-channel is a grid cell.

Item 05. Andy Warhol, Flowers, 1965. As installed in Gagosian Gallery, NY, 2009.

Warhol uses grids in many two-dimensional artworks. The Flowers series and multiples
that he was working on in 1965 with his collaborators are shown above. This composition
is pure grid, without any human portraiture.

It is interesting to note the de-saturation of the Flowers artworks, as they are installed for
the Paris show at Lleana Sonnabend Gallery in 1965, and then at the Gagosian in New York
forty four years later. In this time span, the contemporary media visual field becomes
increasingly saturated, and the display of fine art becomes much less frenetic. The white
space double, quadruples, is squared again.

Item 06. Andy Warhol, Ethel Scull 36 Times, 1963.

Item 07. Para/Flex 6 Monitor Mount - Front, 2014.

Warhol deploys the grid in the commissioned portrait of Ethel Scull to impressive results
that thrilled the subject. Talking thirty years later, long after the painting is acknowledged
as a classic and in the shared ownership of two of New Yorks finest art institutions, Ethel
Scull finds the grid form, originating from multiple photo-booth photos and then
silk-screened into a variable composition that she could re-arrange if bored a telling
portrait, a living document that captures her in a more precise way that conventional
portraiture (Shanes, 82).

The multiple perspectives of a single human subject, used in Ethel Scull 36 Times, is similar
to multiple ways of looking at pure data objects in a virtual space. The explosion of data
has normalized multiple monitor, information-rich displays for many workers in medical,
scientific, and engineering fields. These multi-channel displays were then appropriated
for other tasks, used as a general tool for information multiplication, showing multiple
view-points and compressing three dimensional space into a two-dimensional grid. A
productivity aid, or as display-enforced multi-tasking.

Item 08. Andy Warhol, Edie Segwick, Photobooth Portrait, 1965.

Item 09. Andy Warhol, Holly Solomon, Photobooth Portrait, 1965.

Item 10. Zenview Quad 22, 2014.

Other examples that demonstrate Warhols grid obsession, examples beyond painting,
past artworks composed of silkscreen multiples: photo-booth photography. The two

examples above are from 1965, and show the base level of Warhol thinking about the
composition of portraits to be grid-like at the very inception.

Item 11. Andy Warhol, Screen Test, 1965.

Item 12. Matt York, US Customs and Border Patrol Agents fly a drone from a trailer, 2014.

And the same with 16mm film works. His early examples of Edie Sedgwick in 16mm film
are from his Screentests, which are three-minute, single-channel, black and white film

portraits of people who wander into his studio, The Factory. Over the next couple of
months, he shoots at least three Screentests of Edie, as witnessed by the MoMA Screentest
inventory (MoMA, 1). Screentests can be thought of as Warhols initial experimentation in
single channel portraiture in time, a photo-booth plus time format

In the same way that Warhol thinks about the single-channel moving image and
portraiture in Screentests, Outer and Inner Space is especially interesting as the first
example of time-based media from Warhol that uses multiple channels. This is the first
use of two channel projection by Warhol, and a the first deployment of a visual grid of four
competing sub-channels arranged in a horizontal row, and the only use of both video and
film.

The use of the grid, with the interplay of film and video, adds intrigue to the presented
portrait. There is no defined visual narrative, just multiplication of the subject, not the
merest wisp of story, just spectacle. It can be essentialized as thirty minutes of portraiture
stuck in a grid. All video tracks present in Outer and Inner Space could be de-composited
to single-channel track, but Warhol composites this to double, and then quadruple, the
information being presented. Its four times more efficient.

A real question exists about looping, and the relationship between the pre-recorded video
sub-channel, and the live sub-channel. Do any of the pre-recorded sub-channels repeat or
loop? Each sub-channel seems sometime only imperceptibly different from the others,
leading one to think that this is not surveillance, but consensual voyeurism between
director and observer typical of film. In the earlier piece Sleep, Warhol loops a smaller

duration piece into an intolerably long work (Goldsmith, 74). It is difficult to be certain by
visual inspection alone. Preliminary analysis with the aid of computer forensics to pull
apart the channels, and then compare sub-channels is as of yet inconclusive.

The audio is mixed on top of itself, all the subjects are only occasionally audible in a
distinct manner. With no distinct voice, instead an overlapping murmuring, the observer
is left with the impression of watching from across the room. Only the presence of Edie
Sedgwick is visible, but nothing specific.

The same tetraptch form is used in later Warhol film works from this period, ie Chelsea
Girls. Yet in the later film the audio information from the actors is captured in a less
amateur manner, separated out into discrete sub-channel components, and then mixed
into one synchronized audio track plays a coherent soundtrack that moves between the
various frames.

The visual field is different in Chelsea Girls as well: the same four-cell horizontal grid, the
same two channel projection with four sub-channels total. In Chelsea Girls all four tracks
are of different people. Nico appears mostly in track two, if one orders the two visual
channels into four tracks, proceeding from left to right starting with one. In Chelsea Girls,
the audio is phased such that the first channel will have hot audio, and the second
channel is cold with no sound, and then sometimes the audio reverses, and it is just the
left channel that has projection. The end result is that the later film does have a narrative
structure, and over-lapping stories that form a coherent portrait of the building itself.

Item 13. The New Multi-Screen World Infographic, 2012

Contemporary mass visual culture, especially video, has normalized the deployment of
the grid to represent complex information. Fifty years ago, Warhol obscures the personal
on four screens of output, amplifying nothing but deflecting all: "Warhol views media
technologies as shields, not prostheses." Foster(31-32). Using the reading that Edie
Sedgwick is Andy Warhol's creative doppelganger, this evasive but alluring portrait holds
the possibility that what is being captured on screen is a true sense of what Warhol would
want for his own self-depiction.

Glitch and Tonal Variance Across Forms

A second approach vector for examining Outer and Inner Space is another visual
characteristic: gitch. Glitch is tonal variance between individual cells in a grid.

In Ten Lizes, Warhol repeats the same source image ten times in the work, but variance in
production due to the amount of ink, the pressure applied by the printmaker, and
application technique used to move the ink through the screen form ten distinct images of
Elizabeth Taylor. Warhol was not interested in editioning ten note-perfect copies. Its the
difference between them that makes this artwork.

Item 14. Andy Warhol, Ten Lizes, 1963

This is deliberate: the painterly deterioration of black and white faces is considered
better than the perfect copy. And the tear of ink, a two-dimensional glitch, gets
repeated as the video glitch in the video recording medium. This is a deliberate visual
form. A by-product of Warhols interest in associates with a certain amount of
misunderstanding, where a minor misunderstanding here and there or when the tape

is bad or when they didnt quite hear what you told them to do creates a better work
(Warhol, Philosophy, 99).

Item 15. Andy Warhol, Cagney, 1962

Item 16. Andy Warhol, The Kiss (Bela Lugosi), 1963

Instead of flowers, of pictures of celebrities like Cagney, or Elizabeth Taylor, the subject
that varies in Outer and Inner Space is Edie Sedgewick, repeated not-quite-the-same way
four times total. This is another style of the same tonal variance that is found within
Warhols Cagney, as above.

Perhaps there are multiple reasons supporting Warhols glitch aesthetic. Glitch is the
artist pointing at the medium. A layer of glitch is added to the repeating video forms,
making them more ephemeral, to get further away from the idea of a perfect portrait. And
at the same time, to make the medium visible, to inject it into the visual field. Perhaps it
started in two dimensions, on silk-screened works, done to prove hes a painter, that this
is paint, applied with a brush. To show the hand in an otherwise mechanical act of
reproduction, and to tweak the nose of the art-market purists that opposed The Factorys
production techniques and engaged stance with respect to art market commercialization.

An interesting aspect of Outer and Inner Space is that both film and video styles are used in
the production of this time-based composition, without any editing. Warhol composed
in-camera, implying all video effects are live. That said, some minor film effects such as
enlarged 16mm film audio dots over-printed on the film were added in post-production or
as part of developing the film.

Item 17. Andy Warhol, Film Glitch Examples from Outer and Inner Space, 1965

Film styles deployed in Outer and Inner Space include:film jog and stutter, visual flourishes
at the end based on enlarged 16mm optical sound dots, and the framing of the two
channel projection, with some start-up time at the beginning, and then a fade to pure
white and then black at the end.

Item 18. Andy Warhol, Video Distortion Glitch Examples from Outer and Inner Space, 1965

Item 19. Andy Warhol, Video Pause and Roll Glitch Examples from Outer and Inner Space, 1965

Video styles deployed include: vertical rolls, video distortion, most probably a result of
some kind of magnetic disturbance, cross fading, the use of the pause or video frame
freeze, and the face to a single point caused by power cycle of a CRT television set.

The fade to point is especially compelling. The artwork ends with this, the television part
being explicitly turned off in one channel, and then later the second channel's video
recording ends, due to the different run times of the 16mm film reels and the video
recording tape length of thirty minutes.

Item 20. Andy Warhol, Video CRT Death Glitch Examples from Outer and Inner Space, 1965

Both channels feature CRT TV-set deaths, only now obvious as a video flourish in the age
of television sets made of LED or plasma, display hardware that doesnt die by converging
to a single point of white. Warhol sees this at the inception of the video recording medium,
with the proliferation of CRT television sets, but the contemporary era stands on the other
side of this historical moment, where CRT displays and incandescent lighting are on the
low ebb, eclipsed by the age of light emitting diodes.

Another kind of visual artifacting present in Outer and Inner Space is the mixture of both
16m film and video recording and playback mediums. These are called hybrid styles.

An example of a hybrid style is the frame rate strobe effect. The different frame rates
between the 16mm film and horizontal scan lines of the Norelco video recording create a
subtle strobe effect in the video image, but only becoming noticeable when the source
jumps media again, and is transformed into a digital file. When the original source is
permuted again by the move into digital bootlegs, a third frame rate emerges, capturing
the variance between film and video sources. In addition, these bootlegs bring in

contemporary video aesthetics, like slow pan-and-scan in-camera movement by the

hand-cam video operator, versus steady-cam mounts.

Viewing via bootleg incorporates its very own, strange glitch. One source has a steady
camera recording the two reel projection, but the audio quality is severely compromised
by the postion of the recorder in-between the two clanking 16mm projectors. The other
source is an un-steady hand-held camera that pans between the two channels, but is
often only focused on the rightmost channel, cutting off the left channel part-way. This
source has much clearer audio, and higher-resolution video. So the viewer is left to shuffle
between the two sources, comparing each to perceive what was intended.

Warhols previous history of tonal variance, fuse with the explicit pointing at film, video,
and the mixed mediums and hybrid forms in Outer and Inner Space. Perhaps this,
multiplied with yet another Warhol obsession in the form of celebrity culture, is Warhol
saying with a visual form that to be a superstar, one must be represent-able in multiple
mediums at the same time. That imperfection and glitch will happen via intentional or
transmitted error and should be fully embraced. Photo, video, media, celebrity, art film,
art short-form, press-release, rumor, glitch and leak to art film long-form? Superstars
encompass multiple of these media, often at the same time.

Failure of Canonical Archives vs. Triumph of Fan Archives

Another aspect of contemporary visual culture that has particular relevance for Outer and
Inner Space is the archival turn. Approach vector three: access versus preservation of this
artwork through the last fifty years, the complications surrounding contemporary
attempts to access this work, and musing on the future of video art as an art form when a
canonical text is obscured.

The video recordings that use in Outer and Inner Space are from a Norelco video recorder,
the master video tapes used are now considered obsolete and not retrievable from
whatever media remains from 1965, no matter how carefully preserved the existent
physical tapes are preserved in the museums vault. The two 16mm film reels that
contained Outer and Inner Space were restored by the Whitney in 1996, and had not been
screened for 30 years before that (Angeli, 1).

Item 21. Studio Fan Remix Work In Progress, 2014

In theorizing about Outer and Inner Space, a conflict arises between the preservation of
the Warhol film and video information via the canonical archive, the ongoing preservation

project of the Whitney and MoMA, and public access to cultural history. Physical media is
fragile, broadcast television archives are either non-existent or haphazard, film archives
molder, technology dies, all secrets are eventually lost. How is electronic media best
preserved for future generations to view, and how can contemporary artists access and
incorporate these media texts, or learn about the production techniques that molded
their creation?

This film and all rights relating to it are property of the Warhol Foundation. The New York
MoMA also has a copy. The MoMA has a rental policy for Warhol 16mm film, and one can
actually pay a nominal fee for the rental of the 16mm film reels, the shipping from NY to
SF, the the multi-screen projection at the destination. These two reels are the canonical
form for this artwork at the moment, the resorted prints first shown in 1996. The current
month also has the Warhol Foundation, the MoMA, and a third party restoration company
working on a new restoration and digitization effort, the fruits of which have not been
publicly screened.

Since this work has been so difficult to see, there is a special lure to this piece. As such, its
been pirated and bootlegged at least twice: a 2008-era standard-definition recording of
32:33 minutes on DVD with mono sound, and a 2001-era steady camera ecording of 33:01
minutes transferred from VHS to DVDwith stereo sound, buried in the Anonymous 23
folder at the Media Research Center in the University of California, Berkeley library. Parts
of these two sources have been uploaded to the internet, and can be seen on YouTube.

The existence of these bootlegs, outside of the canonical archive, qualifies Outer and Inner
Space as dark matter, defined by Gregory Sholette as informal, unofficial,
non-institutional, self-organized practices made and circulated in the shadows of the
formal art world. (Sholette, 1). Indeed, Outer and Inner Space has forced the archive into
the archival turn, from being a place of the dead, much like a cemetery to something
more dynamic: the dynarchive" (De Kosnik, Chapter 3).

The barriers to seeing a canonical work of US video art are surprising, given its prominent
place in the history of video art and the contemporary interest in digital video art forms.
Given the stylistic invention, historical importance, and artistic stature of the material is
troubling. In reviewing the archive of criticism about Warhol films, a striking feature
becomes apparent: even veteran Warhol film critics have at most seen a small subset of
his total film and video output.

The Always-On and YT (You There?) Normalization

The last characteristic of Outer and Inner Space to be analyzed is an approach vector of
the timeless versus non-time in the artwork itself. As this artwork travels through time,
from the point of origination in 1965 until yesterday and now today: how is this work a
mirror for the time pressures of contemporary life? How is film time different from
television time, different from the asynchronous and non-linear time-limes characteristic
of contemporary life?

Perhaps this is the correct moment to think of time in visual objects as part of an
expanded field. First, there is an object. Then, an object viewed in a linear time-line. Then,
multiple objects viewed in linear time. Then, multiple objects viewed in non-linear time.

In 1965, there was time, and multi-channel time taking each discrete point and making it
into a time-line, a portrait of change over distance. The continued evolution of the US
mediascape, the changes in technological capability, the new mediums provided by
non-scripted television series, aka reality television, to the multi-channel new universe
with scroll-text overlays in the 1990s, to the post-network era of serialized content, with
the rise of first the internet forms of email, then web, the addition of private web social
networks, and now the proliferation of social media, and multi-media forms of
blog-tumblr-twitter. Overlaying it all may be machine chatter, algorithms storing personal
data as per the quantified self movement, or the most current attempt to brand smart
devices and inter-connected computers as consumer devices ever more deeply
embedded into the fabric of living, aka the internet of things. This last time is
characteristic of multiple objects in non-linear or asynchronous time.

Back to specific instances of time in the visual field.

Starting with film time, ie an object viewed in linear time. Warhol sets up a film camera,
starts it rolling and walks away. Too long, many of these films. With too little happening.
Set the camera was Warhols big value-add to the film and video productions. Andy
Warhol desired Just letting the characters come out. (Bailey on Warhol, 24:44). There is

often no or little plot, no professional sound production, often the camera is out-of-focus
and the sound is not legible. In Bailey on Warhol, Andy Warhols collaborator Paul
Morrissey says that the goal was to "make film as badly as possible," where they "look for
stars, and let them do what they want." This is anti-professional production, closely akin
today's amateur aesthetic.

And then television time, multiple objects viewed in linear time, creating space for a
"television temporality" as defined by Graig Uhlin, artworks that incorporate "extended
duration, liveness, and dead time." Notably, this is something that comes with serial
television, and the multiplication of time allowed by a form that has twenty four episodes
a year of a half-hour network show.

Lastly, non-linear and asynchronous depictions of time. In fact, the time depicted in Outer
and Inner Space most closely resembles the hyper recording of contemporary on-line
culture. Warhol was way ahead of the curve with respect to integrating recording devices
into his work and private life: 16mm film, Norelco video tape, personal tape recorders.
This kind of incessant recording, is a sympathetic form to contemporary social media
archiving, information overflow and visual/photographic saturation. Its always-on,
pinging yt and asking you there?

In particular, Outer and Inner Space depicts and inner quantity that could be called private
space. It has to do with the tension between always-on recording, and the semblance of a
public self. With Warhols obsession with recording metastasizing from audio recording
his diary to three minute film loops of visitors to his studio, to arranging film and video to

create composite images in time. This is depicting time as another layer of saturation, the
live talking to the recording anticipating the internet of memories and way the mass
archival of ephemera collapses time in our contemporary visual field. The always-on, the
constant recording, the preening for media and posing in public was something else in
1965, but perhaps de rigeur in 2014 with the quantified self movement, an evolution of the
notion of always-recording with the idea of analytics (applied algorithms) that build over
time?

With all the new channels, new forms. Something old inevitably gets dropped, fails to
make the leap into the new form. With Outer and Inner Space, its the audio. Hard to
understand for any sustained length of time, but has flashes of comprehensibility. With
contemporary life, it could be that with some prior communication channel, assumed by
default is in reality dropped or weakened. Talking on phones, or email, or letter writing:
gone.

With multiple channels, non-linear time-frames, what is the vanishing point of the
personal? Where is the point where private space begins, where perspective starts? Where
is the time for private thought, reflection? Neither outer, nor inner, but private. Where is
the private space in contemporary culture? How is that different than whats implied by
the titles inner space?

Fade to Black

And now, what to make of this work, after looking at it so closely, traversing it on four
different approach vectors? This work remains elusive, but aspects of it deeply reflect our
contemporary visual field.

Dealing with the formal complexity of this piece is daunting.

Grids are only more relevant today, ascendant in the contemporary visual field, appearing
in more physical forms and within more media as an organizing container for complex
content. Grids represent complexity. As information becomes more dense, more grids will
appear, multiply, and a leap into three dimensions.

Similarly, in an age of transition between television watching, glitch is ever-present.

Transcoding film to DVD, and then DVD to digital files: each time content changes form is
an opportunity for deterioration and wear, the chance to introduce a glitch. With more
devices, more screens, and a vast ramp-up in variety of resolutions supported in everyday
viewing, differences and mistakes in translation will happen. Each context switch could
introduce an error. Multi-channel saturation replaces single-channel fidelity.

With the archival turn in contemporary art practice, artists must consider accessibility
when making media art. Given the difficulties present, attempts to fashion new art out of
Outer and Inner Space must be labeled fan art, persistently generative.

And finally, Warhols most prescient victory in Outer and Inner Space is to incorporate
multiple time streams, with the new live stream commenting on the older, archived
version. This form anticipates the contemporary media of social media databases of
memories, a non-linear, explicitly multi-channel mediascape.

--

Word count: 5172

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Rush, Michael. Video Art. London: Thames & Hudson, 2003.
Shanes, Eric. Warhol: The Masterworks. New York: Portland House, 1991.

holette, Gregory. Dark Matter: Art and Politics in the Age of Enterprise Culture. New York:
S
Pluto Press, 2011.
Uhlin, Graig. TV, Time, and the Films of Andy Warhol. Cinema Journal, Vol. 49, No. 3 (Spring
2010), pp. 1-23
arhol, Andy. The Philosophy of Andy Warhol: From A to B and Back Again. New York:
W
Harcourt Brace Jovanovich, 1975.
arhol, Andy, and Pat Hackett. POPism: The Warhol '60s. First Harvest Edition ed. NY:
W
Hardcourt, 1990.

arhol, Andy, and Pat Hackett. The Andy Warhol Diaries. New York, NY: Warner Books,
W
1989.
Watson, Steven. Factory Made: Warhol and the Sixties. New York: Pantheon Books, 2003.

Art Works and Figures Itemized

All works not otherwise attributed are the author's own work. All references to frame
numbers assume as if counted from beginning of source, using 30 frames per second.
Item. 01.
Andy Warhol, Outer and Inner Space, 1965. Shown is frame 0019 from KG source. Via
The
Andy Warhol Museum, Pittsburgh, PA
Item. 02.
Item 1 plus two channel visualization
Item. 03.
Item 1 plus four sub-channel visualization
Item. 04.
Harry Shunk Archive: Shunk-Kender Photography Collection, 1958-1973, Roy Lichtenstein
Foundation. Photos of Andy Warhol's Paris trip, 1965. From
http://www.rlfphotoarchives.org/HSarchive.html
Item. 05.
Andy Warhol, Flowers, Lleana Sonnabend Gallery, Paris, 1965. From Gagosian Gallery,
http://www.gagosian.com/exhibitions/january-20-2009--warhol-from-the-sonnabend-coll
ection
Item.06.
Andy Warhol, Ethel Scull 36 Times, 1963. Acrylic and silkscreen on canvas, 80 x 144 inches.
From both the Whitney Museum of American Art and The Metropolitan Museum of Art,

http://www.metmuseum.org/collection/the-collection-online/search/490127
Item. 07.
Para/Flex 6 Monitor Mount - Front. From
Humanscale Para/Flex Product Photos,
http://www.humanscale.com/products/product_detail.cfm?group=Para/Flex
Item. 08.
Andy Warhol, Edie Segwick, 1965. Gelatin silver print. From The Andy Warhol Museum,
Pittsburgh,
http://museum.icp.org/museum/exhibitions/warhol/photo_booth_portraits.html
Item. 09.
Andy Warhol, Holly Solomon, 1965. Gelatin silver print. From MoMA,
http://www.moma.org/collection/object.php?object_id=52411
Item. 10.
Zenview Quad 22. From
Digital Tigers Product Photos,
http://www.digitaltigers.com/zenview-quad22.asp
Item. 11.

Andy Warhol, Screen Test, 1965. 16mm film, 3 minutes. Shown is split-frame of one Edie
Sedgwick screen test. From
The Andy Warhol Museum, Pittsburgh, PA
Item. 12.
Matt York,
US Customs and Border Patrol agents fly a drone from a trailer, 2014. From
The
Associated Press Via The Guardian,
Half of US-Mexico border now patrolled only by drone, 2014-11-13,
http://www.theguardian.com/world/2014/nov/13/half-us-mexico-border-patrolled-drone
Item. 13.
The New Multi-Screen World Infographic, 2012. From
Think With Google,
https://www.thinkwithgoogle.com/infographics/multi-screen-world-infographic.html
Item. 14.
Andy Warhol, Ten Lizes, 1963. Screenprint,
201 x 564.5 cm. From the Pompidou, France.
https://www.centrepompidou.fr/cpv/ressource.action?param.idSource=FR_O-d67b25ecfc
d159c37af8d126b999524a&param.id=FR_R-865e20b3b749193062ade78b41b319d6&para
m.refStatus=nsr
Item. 15.
Andy Warhol, Cagney, 1962. Screenprint, 30 x 40 inches. From MoMA, NY.
http://www.moma.org/collection/object.php?object_id=84127
Item. 16.
Andy Warhol, The Kiss (Bela Lugosi), 1963. Screenprint, 30 x 40 inches. From AIC, Chicago,
IL and MoMA, NY. From AIC, http://www.artic.edu/aic/collections/artwork/69013
Item. 17.
Andy Warhol, Outer and Inner Space, 1965. Various film glitch examples from KG source,
shown left to right : frame 57895 with dots, frame 58111 with screen frames and dots,
frame 581444 with screen frame and jog, frame 5822 with blank dual screen projection.
Via
The Andy Warhol Museum, Pittsburgh, PA
Item. 18.
Andy Warhol, Outer and Inner Space, 1965. Various video glitch examples of distortion
from UCB/MRC source, shown left to right : frame 19667 with static and horizontal bars,
frame 19709 with same, frame 00082 with sub-channel a distortion, frame 00025 with
same. Via
The Andy Warhol Museum, Pittsburgh, PA
Item. 19.
Andy Warhol, Outer and Inner Space, 1965. Various video glitch examples of pause and
rolls from UCB/MRC source, shown left to right : frame 42509 with pause, frame 42549 with
same, frame 22529 with sub-channel d roll, frame 22528 with same. Via
The Andy Warhol
Museum, Pittsburgh, PA
Item. 20.
Andy Warhol, Outer and Inner Space, 1965. Various video glitch examples of CRT death
from UCB/MRC source, shown left to right : frame 58792 and frame 58815. Via
The Andy
Warhol Museum, Pittsburgh, PA

Item. 21.
Development of in-progress 3-channel Work in SF Studio, 2014.

Bibliography (moving images)

Bailey, David. Documentary on Warhol. Associated Television, UK, 1973.
http://www.youtube.com/watch?v=9JwFKukEUiY, (accessed 2014-11-13)
Painters Painting. Australian Film Institute [distributor], 1972. DVD.
Warhol, Andy. Beauty No. 2. USA, 1965. 16mm film transferred to avi digital media
container. Karagarga Bittorrent Dark Matter Archive, (accessed 2014-10-25)
Warhol, Andy and Paul Morrissey. Chelsea Girls. USA, 1966. DVD.
Warhol, Andy. Outer and Inner Space. USA, 1965.
https://www.youtube.com/watch?v=6i9TBIYW_5E, (accessed 2014-11-13)
Warhol, Andy. Outer and Inner Space. USA, 1965. VHS handcam transferred to DVD.
Media Research Library, University of California Berkeley, (accessed 2014-10-25)
Warhol, Andy. Outer and Inner Space. USA, 1965. Videocam steadycam transferred to DVD
transferred to avi digital media container. Karagarga Bittorrent Dark Matter Archive,
(accessed 2014-10-25)
Warhol, Andy. Screen Tests. USA, 1964. DVD.