Archive for December, 2010
will be doing some virtual celebrating on a group blog called Haze Luux or commetscommets, depending on where you are looking. please come by to watch people igniting cyberfireworks (the ones above are agnes martin's) and guzzling jpeg champagne
oh, yeah and vomiting.
the results will be online for a few days. hat tip David Gray.
Update: Hypothete's posting of Prince's "1999" on YouTube reminded me of this story, which I think I just put out of my mind for eleven years:
On Dec. 31, 1999 I went to a party in an artist friend's Brooklyn studio. Fun, but very sparsely attended because every other New Yorker had left town for cabins upstate, family in the burbs, etc. It was widely believed that due to the Y2K bug the city was going to be in chaos with widespread looting etc. So those of us who stayed did indeed "party like it was 1999."
Paddy Johnson is having a year-end fundraiser for her blog. I gave and recommend you do too. As Brad Troemel noted, hers is one of two places offering any kind of substantive criticism of the new media scene; the other one being [HTML PARSING ERROR]. In any case, she offers a good balance to the "coal powered laptop," "alarm clock that rolls off the nightstand and forces you to scurry after it on the floor until you wake up" brand of institutional journalism. Indie blogs are important; hers, in particular, needs to continue.
aka "peak beak experience"
IMDb user review of Hayao Miyazaki's recent (2008) kid's movie, Ponyo, with irritated commentary in italics. Not to pick on whomever, but 99% of internet criticism reads exactly like this--it gets old.
As a long-time fan of Studio Ghibli and especially Hayao Miyazaki films, I went to the film right on the opening day.
When I went out of the theater I had this strange feeling that something was missing, this "magical" feeling I was experiencing in all Miyazaki films before, but I couldn't say why it failed this time.
But you will!
After I thought about the other Ghibli movies, I may know the reason: this film had most of the elements of a great Miyazaki anime: cute characters, wonderful key animation, a great soundtrack composed by Joe Hisaishi and the warm story telling giving you the feeling of watching a high quality Japanese animation film.
Those are in your list of elements????
However, two elements were lacking: a deep story and dramaturgy.
But this movie is aimed at 5 year olds!
The purpose of this film was obviously to entertain small children with a simple story line as in case of "Totoro", so a complicated story as been told in "Spirited Away" or "Princess Mononoke" is not really necessary, but on the other hand, this story was simply too superficial.
Or superficially too simple.
I could not connect to the main characters, because there was no character development, dramatic scenes were only limited and did not last very long.
If you were 5 you would love that!
I really hate to give only 7 stars for a Miyazaki film, because I would give 10 stars to all previous movies right away, but this time it was simply not this wonderful "ghibli experience".
Your rating will surely destroy the studio's career.
my remix of a frankhats remix of a GIF I never saw in the original
This post is useful in navigating across various disciplinary divides (art, literature, web publishing and self-publishing, advertising) that are becoming all mixed up in the internet mesh (and were already well along in blending before the Net came along). The text's in all-caps in the original but went lower-case when pasted, sorry; the bolding is as is in the original. Am reblogging the entire essay since excerpts don't do it justice. My thoughts follow.
towards a new theory of creativity
creativity is defined as an a natural disposition, tendency, devotion, or gift, in the area of new ideas, words, and art of all three dimensions.
theory is a actionable set of values and definitions that enable someone to assess or attempt to reproduce something.
in order to 'be' creative IE exist as someone who is self-recognized and socially-recognized and creative, one must 'appear creative,' both physically and artistically
creativity is capitalism agnostic. it has neither a 'wholesome values-oriented' character or a 'profit driven' motive.
the internet has rendered originality meaningless as a strictly policed absolute, but not as a extremely valuable quality for all creative people.
the two most important things creativity must have is humor and surprise. these two qualities are related but separate.
to 'become creative' or 'more creative' there are very concrete steps that can be taken, but they are difficult and probably not worth while emotionally or monetarily. to be creative a person would require:
1. extensive knowledge of, [without imitation of] a wide variety of cultures and forms including:
writing and verbal language
film and video
this knowledge is sometimes called 'an education' but most educations do not include this. creative people must know about everything and at the same time actively disassociate from everything in order to grasp [the necessary remnants of what we still call] originality.
2. creative people must fit in with society. they need to participate in order to observe and reproduce desirable elements.
3. creative people must appear different in some what they identifies them as creative. this may include anything from clothing to language to place of residence. if nobody is able to identify creativity superficially, they will be unable to interact with the less superficial parts of creativity. the most important part of creativity is not ideas or productions, but knowledge and effective communication.
4. creative people must be aware that creativity is inerrant in all people and that any 'given' or 'produced' concentration of creativity within themselves is a privileged, a curse, a burden, and not a carte blanche.
5. when corporations or governments pay creative people, they do so with the understanding that anything the creative shows is morally acceptable in all fields and fit for mass reproduction on an global scale. creatives approve and reproduce social values.
6. when creative people are financially successful in a period of global pain and suffering they are effectively being paid off by governments and corporations to keep from initiating social upheaval. this is a self-aware position for creatives. creative people know good ideas alone do not make wealth. suffering and existing wealth make wealth. except as a remote possibility for prevention, creativity has nothing do to with suffering and everything to do with opportunity.
awareness of everything and mediation of position in society can reproduce creativity. responsibility exists on the part of creative people to determine the moral acceptability of everything they produce and promote under the circumstances of late capitalism.
erik stinson december 2010
Quibbles: Part 3 ("creative people must appear different") and the intro statement "one must appear creative." Society has a tendency to want to personalize everything, make it "human": it's the positive, flip side of the ad hominem argument. Book jacket photos and natty attire can distract from creativity through too much focus on the creator's lifestyle choices. Art should come like a bolt out of nowhere: authorless and "increate," to use a Clement Greenberg word. Is the author young? Handsome? "Cool"? should be secondarily interesting questions, not the images to hold in the forebrain when encountering an idea. A friend of mine was disappointed to meet a "computer artist" I had written about extensively because he was wearing "hipster" clothes--she was expecting the pocket protector and glasses with duct tape on the bridge of the nose. In this case the expression (and writing about the expression) communicated more loudly than the person--that's how it should be.
The relationship between creativity and money is also awkward, if only because so much attention gets paid to it in the New York art world. Too many critics love to start with extensive consideration of the Marxian "base" and cram the "superstructure" of someone's two years of work into a hasty final paragraph. Stinson's "Creativity is capitalism agnostic" is a better formulation. "When creative people are financially successful in a period of global pain and suffering they are effectively being paid off by governments and corporations to keep from initiating social upheaval" may be a little strong but its heart is in the right place.
Jazz musician Bill Anschell also writes. His essay "Careers in Jazz" sardonically considers the different ways jazz musicians ply their trade. Many of these tropes--gig whore, epiphyte, silver spoon, etc.--can also be spotted in the art world. "How to Be a Jazz Critic" compiles cliches from jazz writing; it's less applicable to art but still a fun read. Excerpts below. (Hat tip HD)
Named after “air plants,” which live without need for soil, these are the true heroes of the jazz world. They eat only out of necessity, seemingly nourished by the music they play, including their hours of daily practicing. Most varieties of Epiphytes thrive in subterranean environments, such as dank basement apartments, with little apparent need for sunlight. They move frequently from hovel to hovel after seemingly exhausting the available air that sustains them. Their skin is wan, and they blink uncomfortably in daylight, preferring to wear sunglasses around the clock.
Epiphytes are the trendsetters in the jazz community, admired and emulated by their peers. Their speech is heavily peppered with cutting-edge jazz lingo, and they are often innovators in jazz vocabulary. Although they are the elite class of the working musicians (short of Chosen Ones, who live in a separate musical universe), they are the least likely to reproduce, finding economic advantage in a more streamlined lifestyle. In this sense, an adverse Darwinian effect works against the forward movement of jazz, as natural selection favors gene propagation from the less talented, more whorish players.
The relationship between Epiphytes and Gig Whores is particularly intriguing: Epiphytes live on the fringes of mainstream society in order to stake their place in jazz music; Gig Whores work on the fringes of the jazz world in order to stake their place in mainstream society. Yet between them is a quiet understanding, a shared realization that there is no perfect solution to the Jazz Problem. Both are driven by a Buddhist sensibility: Epiphytes believe that material objects are impermanent and of no value; Gig Whores embrace the notion that life is suffering.
From "How to Be a Jazz Critic":
America’s indigenous artform, America’s classical music, our national treasure. The sound of surprise, bright moments. It’s a gourmet meal in a McDonald’s culture. It’s a fine wine, a literary masterpiece, gumbo. It’s the blues, gospel, sadness and joy. It’s unacknowledged, tragic, disowned, downplayed, suppressed. An ugly stepsister, bastard child, shoeless orphan. It dies poor, no health insurance, alone in a Brooklyn apartment. The greedy record company releases a compilation of embarrassing out-takes. Touche!
Glenn Greenwald is talking about Wired vs him but this statement has universal application to criticism:
The party whose conduct is in question attacks the critic in order to create the impression that it's all just some sort of screeching personality feud devoid of substance. That, in turn, causes some bystanders to cheer for whichever side they already like and boo the side they already dislike, as though it's some sort of entertaining wrestling match, while everyone else dismisses it all as some sort of trivial Internet catfight not worth sorting out.
These are GIFs I projected at the BYOB NY (bring your own beamer) event on November 12, 2010 at Spencer Brownstone Gallery in NYC:
Camping Chair [projected GIFs]
Turning Spheres [projected GIFs]
OptiDisc Classic [projected GIF]
Pencil Test [projected GIF]
Square Homage Lamb [projected GIF]
Hexagons [projected GIF]
Projectors [projected GIFs]
Double Double Centrifuge [projected GIFs]
Buoys [projected GIFs]
The installation video clips and the photo above are from a YouTube posted by BYOB NY curator Rafael Rozendaal. Thanks to users of dump.fm who unknowingly contributed material used in some of these projections: FAUXreal, andrej, stage (Square Homage Lamb), noisia (Projectors), j1p2m3, stefan, and others. The GIFs were sized for a 800 x 600 screen (my projector dimensions) so they now have more white space around them (on most browsers) than they did in the show.
"Village of the Hammonds" [6.2 MB .mp3]
Still working with the simulated Roland "space echo" delay (the RE-201). Here some Hammond B3s make bare-bones statements in concert with detuned FM percussion. A couple of drum patterns and a keyboard riff were borrowed from an earlier song, "Lithium Valley."
Update: Changed the title from "Valley of the Hammonds" to "Village of the Hammonds." It just sounds more preposterous.