Cabala Capitalism
The download of the "Trail(er) Mix" excerpt from Immobilité featured at the Tate museum website is now working (the file extension has been corrected to .mov so it's best played on a Quicktime Player).
This sneak preview of the project comes at a good time. We just finished phase one of postproduction and will soon begin developing the online interface as well as begin preparations for future exhibitions and screenings in 2009. There's no particular rush to get it out and we may as well do it right. In the past, I have also been patient in releasing my other major artworks and one thing is clear: the sequence of events that are leading to the production and release of Immobilité follow a similar strategy to the one I devised while producing and releasing other complex works like GRAMMATRON, PHON:E:ME, FILMTEXT, CODEWORK, CHROMOHACK, and MOBILE PHONE VIDEO ART CLASSICS.
Of course, as with my curatorial and gallery director colleagues, I have come to realize that serial innovation in the arts requires attracting ongoing production funds to keep the party going.
Call it Cabala Capitalism where you need just the right amount of leven to raise the dough to make the bread that will feed your next production.
Right now we're amassing whatever resources we can to launch the various aspects of this hybridized work of postproduction art (musuem/gallery, web, book, live A/V performance, open source remix, etc.).
(The third work in the Foreign Film Series will soon go into pre-production).
Some random observations:
The creative process itself feels post-cognitive.
Serial innovation as unconscious playing regardless of the fragile economy requires something like visionary gestalt while operating on 100% vegetarian steroids.
A throw of the dice never abolished chance ...
(OK, so I stole that last one from Mallarmé but at least I conquered the challenge of facing the blank white page.)
This is my way of saying that today I feel like a socialist entrepreneur who believes in Creativity as the principle of novelty.
(Go figure. Maybe I'll change my mind tomorrow)
This does not mean that I am abandoning the anti-art tendencies of avant-garde art as art all in the name of "creative production in the innovative arts."
Besides, can anti-art and innovation and serial entrepreneurialism even co-exist after the Mother of all Bailouts?
From a grass-roots artistic perspective, maybe everything will become clearer and easier to navigate (i.e. if things start appearing totally rotten, perhaps they are just becoming overly ripe for action?).
Professor VJ saw this collapse coming about nine months ago.
Or maybe it was fifteen years ago.
Metadata: economy, Deep Recession, poetry, art
This sneak preview of the project comes at a good time. We just finished phase one of postproduction and will soon begin developing the online interface as well as begin preparations for future exhibitions and screenings in 2009. There's no particular rush to get it out and we may as well do it right. In the past, I have also been patient in releasing my other major artworks and one thing is clear: the sequence of events that are leading to the production and release of Immobilité follow a similar strategy to the one I devised while producing and releasing other complex works like GRAMMATRON, PHON:E:ME, FILMTEXT, CODEWORK, CHROMOHACK, and MOBILE PHONE VIDEO ART CLASSICS.
Of course, as with my curatorial and gallery director colleagues, I have come to realize that serial innovation in the arts requires attracting ongoing production funds to keep the party going.
Call it Cabala Capitalism where you need just the right amount of leven to raise the dough to make the bread that will feed your next production.
Right now we're amassing whatever resources we can to launch the various aspects of this hybridized work of postproduction art (musuem/gallery, web, book, live A/V performance, open source remix, etc.).
(The third work in the Foreign Film Series will soon go into pre-production).
Some random observations:
The creative process itself feels post-cognitive.
Serial innovation as unconscious playing regardless of the fragile economy requires something like visionary gestalt while operating on 100% vegetarian steroids.
A throw of the dice never abolished chance ...
(OK, so I stole that last one from Mallarmé but at least I conquered the challenge of facing the blank white page.)
This is my way of saying that today I feel like a socialist entrepreneur who believes in Creativity as the principle of novelty.
(Go figure. Maybe I'll change my mind tomorrow)
This does not mean that I am abandoning the anti-art tendencies of avant-garde art as art all in the name of "creative production in the innovative arts."
Besides, can anti-art and innovation and serial entrepreneurialism even co-exist after the Mother of all Bailouts?
From a grass-roots artistic perspective, maybe everything will become clearer and easier to navigate (i.e. if things start appearing totally rotten, perhaps they are just becoming overly ripe for action?).
Professor VJ saw this collapse coming about nine months ago.
Or maybe it was fifteen years ago.
Metadata: economy, Deep Recession, poetry, art
posted by Professor VJ at 12:12 AM
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