// P R O L O G U E // 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Audio: A version of Joan  
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
TEXT VERSION:  
 
I remember years ago, my favorite movie was Return to OZ. It was just the right amount of creepy and fed my need to know what happened to Dorothy, after she returned to Kansas. 
 
I think about that movie very differently now. At one point Dorothy is challenged to find her friends who have been turned into ornaments littering a room full of podiums, plinths and side tables in a large, otherwise empty hall. 
 
Her task is relatively simple. Touch an ornament and say the word ‘OZ’. If the object turns into one of her friends, she gets another go, another turn to guess. If the ornament turns out to just be an ornament, she loses a guess and creeps closer to losing the game, and her friends, forever. 
 
Dorothy spins around the room, grasping at random objects, until she finds a pattern. One by one she brings back all her friends with a touch, a shout and a flash of green, saving them from a life of ornamental nothingness. 
 
I wish I could do this ... bring things back, really truly bring things back. 
 
I suppose this is the fuel for my obsessive re-creation of objects in the digital realm. But the objects are never full, or whole and instead just pieces and fragments that I play, replay and place together to try and create a full entity. 
 
When I think about the mass of voice recordings, videos, and animated artefacts that litter the digital cosmos, I think of them existing forever … There’s part of me that loves the thought of these things floating about endlessly. 
 
Yet, somehow the idea of that also incites a feeling of unease, even horror - nothing exists forever. I mean what is forever? 
 
I came across a term used by an artist Ed Atkins... ‘Losslessness’ (Atkins 2018). It's a great term. From my understanding, Losslessness infers that the digital reproduction of something absent does not undo loss, but instead cements loss, reminding you of loss proper. 
 
‘Losslessness, part abstracted, implicitly invites a mistaking of technology’s progression for a fantasy of immortality.’ (82:2018) 
 
To be immortal is to live forever, but we can’t possibly comprehend forever, so maybe the fantasy of immortality is a form of magic, that tricks us into believing that something can exist forever. 
 
I agree with Atkins in so much as a digital reproduction will always only be a part of something, be it an image or a sound. In never existing as the full thing, or let’s be frank, person it will always remind us that this person can never fully exist again. 
 
This is where the horror comes in, because just like body parts, digital objects exist as a segment of something. And when afforded the opportunity, we cling to these parts, or at least I do. 
 
I saw an advertisement the other day for a live concert celebrating the life and work of Whitney Houston. Described as a posthumous show, ‘An Evening with Whitney’ included projections and holograms of the late singer performing her most famous hits. I thought about how her image would perform on the stage, only to be switched off after the curtain call then brought back with exact and unwavering detail night after night. 
 
The idea of this is so alluring. To see a person again and again and, in a sense, bring them back to life. But in this form, Whitney does not exist for herself. The image is all that remains, and as theorists such as Amelia Jones and Roland Barthes have stated when discussing the photograph, images are ‘death-dealing apparatus [that] fetishize and congeal time’(42:2006). 
 
It’s interesting that I came upon this advert while thinking about all of this, because for me this whole thing … this thing of reanimation and reproduction is such a performance. 
 
When we re-animate someone or something it becomes so theatrical, so intense. When I do it, I find myself creating augmented or fantasy versions of artefacts. I embody memories and, like collage, stick things together that give me a sense of something. I use artefacts to trigger a memory vortex, that I can dive into and live in, just like I would live in a play or a movie, forgetting what’s outside the theatre walls (or my screen). 
 
In my mind, the performance of digital reproduction sets me spinning, eyes closed, pirouetting until I stop; grasp in the darkness and hold something that I hope will recall something. Sometimes feel a flash of green and get to dive into the vortex, sometimes the ornaments remain ornaments. 
 
I’ve never brought anyone back, so I’ll keep spinning. 
 
 
List of works:  
 
Safe space Andrw Houston, 2020  
Self portrait Andrw Houston, 2020 
OZ! Andrw Houston, 2020 
Hand Andrw Houston, 2020 
KING of ROME Andrw Houston, 2020 
POOL Andrw Houston, 2020 
 
 
 
cargocollective.com/ahouston 
www.instagram.com/andrwhouston 
... 
// A C T O N E // 
 
 
 
 
 
 
Sound on (Headphones) 
 
 
List of works: 
 
 
ACT 1, Andrw Houston (2020) – Streamed Durational performance 
EGS, Andrw Houston (2020) – Animation video 
 
EGS is available as an AR filter. Try it at: www.instagram.com/andrwhouston 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
// I N T E R L U D E // 
 
 
 
Voice: Another version of Joan  
 
 
 
 
 
 
TEXT VERSION:  
 
I spend a lot of my time, inordinate amounts actually, thinking about the everlasting gobstopper, you know from Charlie and the chocolate factory. I find the concept of an everlasting gobstopper so interesting because this little innocuous object supposedly lasts forever. 
 
And of course, the children and Willy Wonka are obsessed. The former due to the concept of everlasting candy and the latter because, well he’s created something everlasting. However, the gobstopper’s ability to last forever or be conceived as an immortal object lies directly in it being used. 
 
So much of the digital landscape exists like this. It can be replayed and held frozen in time, as long as you are looking at it and digesting it. I think this is why I love reels so much, or Tiktoks … actually really any form of looped video, because if you don’t scroll on, then the same loop just plays over and over. 
 
And when you watch one, without scrolling on, it’s a fascinating experience. Like a late capitalist form of meditation, bound up in media, color and products. 
 
For me these looped videos feel like a vision of humans becoming machines. So much primitive AI is bound by its loops, and the way we document ourselves is very similar. We put digital versions of ourselves into this willful purgatory to play on and on and on. And if I was to be blunt in my estimation, I think that fear of death is the driving force for all of these actions; the creation of archives, and scrapbooks of existence that some of us may believe will live forever. 
 
 
 
 
As the writer Adam Greenfield states so much Artificial intelligence operates with ‘brute force’ (265:2017). AI will persistently follow its directed and never-ending path. Think of Augmented Reality, you place it in the space and say ‘go there, now go there, follow the objective regardless of the surroundings or external events’ … and it does. 
 
As I’ve said before, there’s something very alluring about this. Although available AI is bound by its loops, the prospect of creating something “immortal” evokes in me, a sense of wonder. 
 
Imagine having something that will never age, never deteriorate. It will just be. 
 
 
 
// A C T T W O // 
 
 
 
HEAD (2020)  
Performance video  
 
 
 
Forever (A potential Ballad)  
3D animation video  
Lyrics: Generated by AI (Artificially intelligent) lyric creator  
Sound: Made with Typatone  
 
 
 
 
 
 
 
 
// A C T T H R E E // 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
List of works: 
 
Hoop, Andrw Houston (2020) - 3D render image  
ACT 3 (Player one), Andrw Houston (2020) - looped animation/video 
ACT 3 (Player two), Andrw Houston (2020) - looped performance/video 
Untitled, Andrw Houston (2020) - 3D render image  
 
 
 
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