The Ego-Centric Art World is Killing Art
Showing posts with label Social Media Selfie. Show all posts
Showing posts with label Social Media Selfie. Show all posts
Tuesday, December 30, 2014
Tuesday, July 22, 2014
Tuesday, January 14, 2014
Sunday, December 15, 2013
Crazy Days and Nights
Source.
Scandalous, or libelous, Hollywood insider's gossip blog reputed to be written by Robert Downey Jr. and no one.
Not a happy boy.
Scandalous, or libelous, Hollywood insider's gossip blog reputed to be written by Robert Downey Jr. and no one.
Not a happy boy.
Saturday, September 18, 2010
Second Life
Some discussion of Economics 2.0 (i.e. the virtual economy of this massive multiplayer video game now having real world application):
- Second Life Founder Pursues Second Chance (Feb 3, 2014) - Re: Philip Rosedale's new startup, High Fidelity.
- Wildcat Banking in the Virtual Frontier. (Feb. 5, 2008)
- The Coming Second Life Business Cycle (Aug. 2, 2007)
- The Virtual Rockefeller (Dec. 2005).
- Wikipedia entry
- c/f Second Life Maretplace: Where users buy pixilated commodities, for real world cash.
"This player plays with wind chimes and lights off some fireworks."
"A couple players line up for a picture."
Second Life Movie 3
"The group moves on to play a game of darts."
Second Life Movie 4
"You can become a DJ for other players to dance to."
Second Life Movie 5
"Your house can be decorated any way you want."
Second Life Movie 6
"With just a few clicks, a couple of players build a simple house and even find time to wallpaper it."
Second Life Movie 7
"You can create your new animations and then import them into the game."
Second Life Movie 8
"Everyone gets down with their elaborate dance moves in a user-made nightclub."
Wednesday, August 11, 2010
Margaux Williamson on Ryan Trecartin
Margaux Williamson's essay on Ryan Trecartan's I-B-Area is kind of double fun as it ends up being insightful about both artists' work: Williamon's as well as Mr. Trecartan's. Her writing style is honest, comfortable with the incompleteness necessary in observing things while being very thorough in analysis. I'll limit this post to lightly tracing out themes addressed in this essay.
(The whole of I-B-Area can be seen on Ubuweb).
Helpful things:
Observations
The figure of mother as the focus of need-rebellion in the contemporary makeshift family. Anyone in these ad hoc groups can become or be looked to as mother. Anyone might shift just as quickly to need mother, or rebel against mother.
Makeshift family as tantamount to contemporary community, society. (This is not family in a biological sense).
Persona is often in a conflicted relationship to community (a dialectic?).
Social media as having supplanted (or mutated) nomadic persona (We now leave evidence behind!).
The human body post inception, a la Walter Benjamin, of the Age of Reproduction, derives pleasure and worth in repeating itself (via recording devices, via dialogue, life as "a constant audition")
Dialogue Transcriptions!
PASTA: I’m in pain, serious pain. Charity, when I was your age, basically, I don’t like your name.
CHARITY: WHAT?!
AMANDA: I like the name Charity.
SEN-TEEN: Ok whatever AmanDUH
PASTA: and I understand this, I do. I changed my name from Uri Anderson Sommerset to Pasta when I was your age. And it was the best decision of my life. I think you need to think about this. This was way back at the end of the millennium.
SEN-TEEN: (pointing at Pasta) you should look up to this person.
PASTA: and not just because your short
CHARITY: whatever.
*
Margaux is a painter, film-maker living in Toronto. She is a favourite contemporary artists as well as trusted source on how the North American contemporary (technological, cultural) complicates and accelerates meaning-production.
The source for this, Marguax Williamson's blog "Movie is my Favourite Word," is a working artist's blog about watching movies in her home. It has all the excitement, and incompleteness, usual to the easy camaraderie and spastic, bright conversations of art friend conspirators.
(The whole of I-B-Area can be seen on Ubuweb).
Helpful things:
Observations
The figure of mother as the focus of need-rebellion in the contemporary makeshift family. Anyone in these ad hoc groups can become or be looked to as mother. Anyone might shift just as quickly to need mother, or rebel against mother.
Makeshift family as tantamount to contemporary community, society. (This is not family in a biological sense).
Persona is often in a conflicted relationship to community (a dialectic?).
Social media as having supplanted (or mutated) nomadic persona (We now leave evidence behind!).
The human body post inception, a la Walter Benjamin, of the Age of Reproduction, derives pleasure and worth in repeating itself (via recording devices, via dialogue, life as "a constant audition")
Dialogue Transcriptions!
PASTA: I’m in pain, serious pain. Charity, when I was your age, basically, I don’t like your name.
CHARITY: WHAT?!
AMANDA: I like the name Charity.
SEN-TEEN: Ok whatever AmanDUH
PASTA: and I understand this, I do. I changed my name from Uri Anderson Sommerset to Pasta when I was your age. And it was the best decision of my life. I think you need to think about this. This was way back at the end of the millennium.
SEN-TEEN: (pointing at Pasta) you should look up to this person.
PASTA: and not just because your short
CHARITY: whatever.
*
Margaux is a painter, film-maker living in Toronto. She is a favourite contemporary artists as well as trusted source on how the North American contemporary (technological, cultural) complicates and accelerates meaning-production.
The source for this, Marguax Williamson's blog "Movie is my Favourite Word," is a working artist's blog about watching movies in her home. It has all the excitement, and incompleteness, usual to the easy camaraderie and spastic, bright conversations of art friend conspirators.
Sunday, May 9, 2010
Ryan Trecartin's YouTube channel
Ryan Trecartin's YouTube Channel.
Ryan Trecartin is infinitely fun to watch. I think these moments are a joyful parody of the leaden "smart" art film. I also think Ryan Trecartin understands persona in the age of social media more naturally than most cultural producers, perhaps due to his comparative youth, where the game is: be interesting or dry up. A massive exercise in video improvisation, through each new staging, his camera-centric dialogues of a sprawling patois sweetly devour.
Flat, externalized "subjectivity" is treated to endless diversions and revisions. Adoption is as immortality for the Facebook crowd.
I sense the secretary for an arts organization hovers behind many the hero of his gender ambivalent serials. Art-work lackeys dressing themselves up in the toys of perpetual fascination: His family.
Ryan Trecartin is infinitely fun to watch. I think these moments are a joyful parody of the leaden "smart" art film. I also think Ryan Trecartin understands persona in the age of social media more naturally than most cultural producers, perhaps due to his comparative youth, where the game is: be interesting or dry up. A massive exercise in video improvisation, through each new staging, his camera-centric dialogues of a sprawling patois sweetly devour.
Flat, externalized "subjectivity" is treated to endless diversions and revisions. Adoption is as immortality for the Facebook crowd.
I sense the secretary for an arts organization hovers behind many the hero of his gender ambivalent serials. Art-work lackeys dressing themselves up in the toys of perpetual fascination: His family.
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