Tuesday, February 24, 2015

The Crapshoot / Silicon Beach Connection

While documenting the creative process for my new net art / e-lit / web app project, Crapshoot, I did something unusual. Instead of looking back and focusing exclusively on the making of Crapshoot, I decided to look closely at my current project, one that is still very much in development, and see if and how it may have anticipated Crapshoot ... after the fact.

For those who have been reading this blog over the last two months, you know that I am currently on sabbatical creating a few new art and writing projects in my open air studios in Kailua. One of these projects, Silicon Beach, is all about writing improvised poetic thoughts in the sand while walking on the beach - and not just walking and writing (which is actually harder than walking and chewing gum at the same time) - but also using my free left hand to take hold of my iPhone, open up the camera, and capture an image of the sand writing as a condensed field of digital data before the tide washes the word(s) away. It was only after having finished composing the 1.0 version of my swipe-friendly web app, Crapshoot, and had also begun preparing for its exhibition launch, that I realized there was a deep connection between my creative process for both the sand writing in Silicon Beach and what I had been developing while composing the features of the Crapshoot web app. The point of connectivity, for me, came when I recalled reading Jacques Derrida's remixes of both Mallarmé's Un Coup de Des and Freud's article on the Mystic Writing Pad. Although Derrida himself does not create an elaborate connection between these two "texts," for me they are now loosely braided together by the overlapping creative processes I have developed for these seemingly differentiated art projects. That is to say, even though I have been aware of Derrida's texts for decades, and have found them useful in my thinking, it was only after the fact, while thinking through the inventio informing my still in-progress Silicon Beach, that I realized there was also a simpatico genesis behind the making of Crapshoot.

Anyone who has read my collection of artist writings, META/DATA, knows that this shape-shifting relationship to and with time(lessness) is par for the course. These ongoing and playful experiments with unconsciously manipulating my operationalized information behaviors as a remixologist are what make me more of a "temporal" artist than, say, a contemporary artist. I am no longer with or of my time, but am already leaving time behind.

In my next post (Part 2), I will share with you the time-warped process documentation for Crapshoot by way of Silicon Beach.


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