Thursday, June 19, 2008

Creative Apparatus

Subsidizing the advance of Creativity itself
is like performing a Robert Creeley
that is to say you go out of your way
to acknowledge that Creativity rules
on its own terms using the artist-medium
as the conduit for experiential thought
expressed in units that bypass intellect
and find themselves climaxing
in ongoing acts of transmitting ones feelings
and that to become the creative apparatus
in a hacker-driven age of aesthetics defined
by the design culture that fashions us into being

is to "give witness not to the thought of myself,
that specious concept of identity
but, rather, to what I am as simple agency,
a thing evidently alive by virtue
of such activity."

(Evidently performing a Creeley
is no mean trick.)

"What uses me is what I use and in that complex
measure is the issue," says the Creel
laying down a bottom-line principle
in our remixological poetics

"I feel that poetry, in the very subtlety
of its relation to image and rhythm,
offers an intensely various record
of such facts. It is equally one of them."

"An intense experience is an aesthetic fact,"
Whitehead reverbs and then anticipating
the psychosomatic plasticity of causal feelings
"each ultimate unit of fact is a cell-complex
not analysable into components with equivalent
completeness of actuality."

Remixologically speaking, I would say
my basic sense of measure is
experienced as an image-thing
or an intense aesthetic fact
highly manipulable as just-in-time
source material in an open source lifestyle
that in the very subtlety of its relation
to image and rhythm and embodied praxis
offers an intensely various record
of such facts (and is equally one of them)

This does not mean we are destined
to resemble the computers and/or
algorithmically engendered "thinking machines"
we jam with when engaged in "always live"
remixological sessions

nor does it mean that the brain is
a kind of software that we program
with metaphorical algorithms
to selectively filter/render the data
of everyday life

and no our legs are not robo-limbs
but most of the artists I know
can relate to what I'm saying when I suggest
that we do process these image-things
as body-brain-apparatus achievements

(Ginsberg: "Yes, but can it make you come?")

The processual relayerings of our sense data
remixed as intense aesthetic experiences
leads us to develop a sense of measure
that vibrates with the morphic resonance
of a stimulated economy of motion that readies
our brewing creative potential to intuitively
design our "always live" postproduction sets

(in a perfect world the economy of motion
would guarantee no wasted energy in pursuit
of optimum electrochemically charged momentum
formally felt as an ongoing satisfaction
triggered by the intensities of our experience)

Think of your ongoing "story" as a generative fiction
one that operates on the uncertainty principle
while surfing that wave of quantum undecidability
one always seems to find themselves riding on
as they mobilize their neurolingusitic thought-processes
into whatever open compositional field they happen
to be playing in ("the ground of the moment"
to sample from Vito Acconci who in his essay
"Steps Into (and Out of) Performance" tells us
"...if I specialize in a medium, then I would be fixing a ground for myself, a ground I would have to be digging myself out of, constantly, as one medium was substituted for another - so, then instead of turning toward 'ground' I would shift my attention and turn to 'instrument,' I would focus on myself as the instrument that acted on whatever ground was available"

In its many iterations of becoming philosophy
Remixology envisions the artist as a postproduction medium
who becomes instrument while conducting
radical experiments in unconsciously projected thought and experience
(a double agent of distributed aesthetics whose work
quite literally "draws" on/with/from
an open source lifestyle practice
always on the morph)

Many artist-mediums working with new media technologies
are developing (multiple/hybridized/integrated)
daily practices as an alternative approach
to the regimentation of consumer bureaucracies

(perhaps we could call it an epic struggle
one the creative or hacker classes
continually commiserate over as a kind
of informal unionization that collectively
accumulates into some kind of bargaining power

the radical spirit of "always becoming"
a postproduction medium?)

Artists-as-Instruments play out their performances-to-be
on whatever compositional playing fields
they happen to be (re)cycling through when
caught in the heat of postproduction
(think of it as developing an economy
of motion targeted at turning the body
into a renewable energy source)

That playing field would be the ground
of the moment, not one they would
have to dig themselves out of continuously
but one that they would act on as part
of their constructed persona(s) moving
through the networked space of flows

Metadata: , , , , , ,


Post a Comment

<< Home