For half of his life, Michael Stipe has lived in a world between worlds, a constantly shifting moiré pattern. The past world is defined by the analog, the future world by digital.
It was the advent of digital technologies and their integration into our daily lives some 30 years ago that hurled us headfirst into this tumultuous in-between state. Visually speaking, the present doesn’t know what it wants to be. Our current horizon and all that wanders there is dictated by both the past and the future, but there is no clear understanding of where the ‘right now’ stands. It is an epic, woozy mishmash, thrilling and unsettling. These states of being don’t communicate well— there’s no clear point where they mesh, and no agreed upon language exists to easily translate one into another—or to integrate them into a new system altogether.
The tug of war between pixels and halftone, between past memory and new memory, and their vagaries of representation, is an endlessly fascinating and technically challenging field. Our Interference Times: a visual record is about that— its moiré patterns, its signal to noise, its interferences, its consonances and dissonances, its jittery disruptions, and the extreme present tense that we’re enveloped in. It is all changing before our eyes with or without our acceptance or agreement. How does one find agency within all of this?
And so it is a confused and odd landscape that we are working to navigate. For Michael Stipe, we are moving closer to something that visually represents nature, perhaps even understands nature better. But the path to that appears to be the opposite, something man-made and destructive. Where will this lead us? The images included in this book serve as a road map to a place that, although right before us, still feels very far away.
About the Author
As an undergraduate studio art major at the University of Georgia, Michael Stipe (born 1960) studied photography and painting before leaving school upon the formation of R.E.M., the band for which he served as frontman and singer/songwriter until its dissolution in 2011. The sensibility that he began to develop during his time as an art student transferred to the spectrum of his work for R.E.M., from art directing all graphic, video and stage design, to writing, composing and performance, and his iconoclastic personal style. Stipe’s visibility as a media figure in the popular culture of the 1980s and ‘90s left an indelible mark on the aesthetic trends of the time, many of which have trickled down to contemporary culture.
Industry Reviews
There are a lot of regimented grids in the book, though these are often out of whack, or they're details of something that you can't quite work out, that you think is something different. On more than one occasion, you find yourself turning your head, wondering: What IS that?, until you see. Photographs are laid out to play off each other, with one almost chatting to its facing companion.--Miranda Sawyer "Guardian "
Stipe... has trained his eye on places where the analog and the digital intersect to form the pattern of the current moment.--Jameson Fitzpatrick "New York Times: T Magazine "
[Our Interference Times] addresses [Stipe's] anxiety that digital technology is eroding people's association with the analog world and driving a wedge between humanity and nature, between young and old.--Nick Fulton "Garage "
...this experimental book draws from Stipe's personal images and photography to explore the intersection between what the authors describe as the analog and the digital. It's an abstract concept illustrated through pixelated images, moire patterns, and screenshots.--New York Magazine: Strategist
The book offers a smattering of mostly unresolved shots, including pixelated pictures of old prints, phone snapshots of architectural oddities and studio assemblages, plus video stills and computer-rendered portraits. Although it is a disparate group of subjects, pattern do emerge.--Artnet
Stipe's new photography book, Our Interference Times: A Visual Record... is scattered, with photographs of things too diffuse to be circumscribed. But it follows a sequence, and storylines of a sort start to coalesce after you flip through a few times--even if still more than a little elusively.--Andy Battaglia "ARTnews "
