Yes: erotica! And no, I’m not kidding. I think these picture are extremely sensuous. And I think the people behind the 4CP-site have the same idea. Listen to this:
Dots emit radiation. As you get closer to them, they begin to vibrate and pulse. Moving closer still, the color separations become dramatically separate: Solids become very solid and the black ink holds together, while the CMY dots fly apart. Foreground and background, positive and negative space, reverse unexpectedly. Orange, green, brown, and fake gray give up their secrets, and the basic building blocks of a universe reveal themselves. Unstable molecules, built of primary colored atoms, buzz at different frequencies. Vectors of visual force, experienced implicitly at original size, become intense. Behind everything is wood pulp paper, a still deeper layer of creation, with its own unstable properties.
So at 4CP you’ll find nothing but single panels or even parts of panels, taken from old comic books. Comics from the days of “cheap paper, cheap printing, and four-color separations that could not hide their limitations.”
Gone are the page, the frame, the plot, and localized contextual meaning. What remain are the color process and what are generally called the “details” of comic book art. These are the two lowest items on the totem pole of comic book value – poor reproduction and the least important, most static elements of the art itself. Our proposition is that these elements are important and aesthetically compelling.
Take a look at the following examples and when properly aroused, spent some time at 4cp.posterous.com.
You can read more about the ideas behind 4CP in the essay "In defense of dots" by John Hilgart. (Recommended, by the way. Fine piece of writing…)
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