2014/12/23 § Leave a comment
On opening night J¹ said she felt sad. “I don’t want to make art. It all… I don’t feel like making any anymore.”
Numbed ghosts walk by lots of found objects touched by a lesser Midas. A gallery plonked with faux ready-mades from the factory floor. Technically brilliant foundry work. Lovely copper. I get bored with people saying they are underwhelmed.
I could make all of this. I would make none of this. I am a year older.
The pitch: Mad Max versus Stargate
Norman Mailer as a car, a character in an adaption of his own novel, see… like… you know… c.f. Ka, Egyptian soul-double. Ha-ha. Haw-haw. Crow bars as was:- bull’s blown bits as magical scepters, jawbreakers. But there is no release, no transfiguration. So us psychopomps, like K, flatline ___________________________
Please read Norman Mailer’s novel Ancient Evenings and produce a 6 tonne bronze by Thursday morning.
The Nile as an autobahn of progress, a physical series of tubes. Discuss.
Closing the book on his desk J² shakes his head, “If only Barney had joined the 27 club.” After dusk on Wednesday, J² pours petrol over his copy of The Cremaster Cycle, drops his joint and stands back but forgets to video it for youtube.
Milton Moon covers the walls, “the devil gets the best tunes” we jest. It’s a shade, not a colour. Just wait until the flouros flicker.
J³ crumples into a corner groaning. He wants to cower but there are no shadows here. No hidden depths.
I like process. I like review. I like books. There are copies of Barney’s tomes. He says this show is a bit remote. He says he is not a theatrical filmmaker, it’s about the objects. J² says there is nothing there. In the book of interviews Barney says he doesn’t do interviews. Or catalogs. Pick two.
Tomorrow and Tomorrow and Tomorrow
Pyramids as immortality machines; a form of conspicuous consumption showering society with law and order.
Or poo machines of fertility.
Either way, ancient eternal lives for the rich and powerful, opera for the bored in spirit; over-laboured, groaning, constipated, inappropriating, and signifying nothing.
Get behind me
C said antithetical to Beuys but I can’t spell that in this light.
This is a response to Matthew Barney - River of Fundament - MONA
2014/09/19 § Leave a comment
References, Please by Tim Parks | NYRblog | The New York Review of Books – Simply, it’s time to admit that the Internet has changed the way we do scholarship and will go on changing it. There is so much inertia in the academic world, so much affection for fussy old ways. People love getting all the brackets and commas and abbreviations just so.
2014/09/04 § 1 Comment
I’m quite keen on screen shots.
And again it is the mobile cell phone that makes all the difference in how new formats move on in to popular culture. It is the technological format that is defining us.
2014/08/26 § Leave a comment
I have been reading The Aesthetic brain : how we evolved to desire beauty and enjoy art by Anjan Chatterjee.
Key message is that the diversity of form is directly related to environmental and selective pressures.
Where there is strong selective evolutionary pressure then, as an example, birdsong will be as unchanging as Egyptian art over millennia. Or, when there is strongly repressive government then art will be restricted to pro-government propaganda i approved form and genre, and as unchanging as the wild birdsong.
Where conditions relax then there can be a survival in a diversity of form, as in the diverse songs of domesticated songbirds compared to their wild cousins.
The middle bit of the book surveys the recent writing in neuroaesthetics and a number of evolutionary arguments about “why art?”. Unsatisfied by the answers involving “art instinct” or “by-product” he argues for a third way involving that relaxation of selective pressures mentioned above.
I still feel Ellen Dissanayake‘s work is the best of “why art” in a evolutionary context, and I can see it fitting in with Anjan Chatterjee’s suggestions of relaxation to allow the diversity we see through time and across geographies. Both are at base material arguments, one for raising children, one for how they, and we, survive.
Suggestions of relaxed environments, if not attitudes, will probably work for any Dissanayake’s “making special” activities covered by other modern words like ‘religion’.
“Art” after all is primarily a marketing category, a very modern form. And perhaps one not relaxed enough yet to be any good. Especially all that conceptual art that just looks like bad science fiction made for people who do not read science fiction.
2014/05/25 § Leave a comment
While writing Bombastic Distributor, about how simply searching the web is a now a form of publishing, out came a couple of news stories which underlined and re-fram this claim.
A ruling forcing Google to remove search results has been described as “astonishing” by Wikipedia founder Jimmy Wales. The European Courts of Justice ruled on Tuesday that an individual could demand that “irrelevant or outdated” information be deleted from results. Mr Wales said it was “one of the most wide-sweeping internet censorship rulings that I’ve ever seen”.
Notice that it is the engine providing search results not the old webpages which hold the outdated and irrelevant information which is held responsible.
“If you really dig into it, it doesn’t make a lot of sense. They’re asking Google… you can complain about something and just say it’s irrelevant, and Google has to make some kind of a determination about that. That’s a very hard and difficult thing for Google to do – particularly if it’s at risk of being held legally liable if it gets it wrong in some way. Normally we would think whoever is publishing the information, they have the primary responsibility – Google just helps us to find the things that are online.”
This makes sense as an old world argument, except I’d argue that the search returns as much a form of publishing as the original webpage makers are (and even any web-search itself).
The medium became the message a while ago, but now everything is publishing. The product is the advert, the reference is the real, the search for data is the information, if not the wisdom.
The other story is more about where everything, the internet of everything, is heading. The web search is a form of publishing because it is all part of a secret herbs and spices recipes of algorithms and past results which have an economic impact. This impact is at a base level of economic activity, and it already structures our lives. The other story is about a set of algorithms in corporate governance.
A venture capital firm has appointed a computer algorithm to its board of directors. The program – called Vital – will vote on whether to invest in a specific company or not. The firm it will be working for – Deep Knowledge Ventures – focuses on drugs for age-related diseases. It said that Vital would make its recommendations by sifting through large amounts of data.
If we can get rid of humans from corporate boards, then we will soon be able to get completely rid of managers, particularly if roboticised labour has already got rid of jobs generally. I.E. if there are no workers, there is no need for managers. If there are no managers there is no need for human governance at all. This venture capital firm is showing the way by putting an algorithm on it’s board. They probably think it is just a marketing lark but really it is very good news.
The end result will be that there will be no difference between the dividend and the dole. No difference between tax and rent.
What were once different can no longer be differentiated, no doubt libertarians will still wank on about their property fetish, no doubt socialists will want to defend workers rights even though no one works, or even consumes, one merely desires this or that, and no doubt the religious will still pray for the poor in spirit that are always with us… but all this is good news.