Thursday, August 09, 2007

Nature Updates

The Professor VJ blog feeds into the latest update at MANP where the concept of nature photography gets turned on its head. Speaking of nature, here's an idea: instead of buying into the idea of nature as distant other that needs to become reintegrated into our lives via green consumerism, what if we were to generatively postproduce our latest version of nature per se by embodying its psychic rhythm, spinning narratological remixes of what it means to become a natural (player), of role-playing an entrepreneurial remixologist using the methods of alchemy to design otherwordly Life Style Practice.

Nature responds:
The body is a great void.

Any technology is a value-added prosthetic to the remixological processes of the creative unconscious, even as the artist knowingly inserts their own brand name identity into the global flow of capital.

The state of confusion and general unclarity preceding the creative breakthrough in any work of art is an indication of the prophetic (and hauntological) tendencies of the artist as medium.

Technologies attach themselves to the interface between our conscious and unconscious states so, in a sense, they are alive. Or at least they seem to be.

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Tuesday, August 07, 2007


Yes, I am still researching all of the newly available data on Antonioni and Bergman now that they have both died on the same day (last Monday). A lot is being written, way too much to track it all at once, but gems do appear and resonate with current themes or methodologies running parallel to my Foreign Film Series of artworks. For instance, Antonioni talking to Roger Ebert way back in 1969:
Until the film is edited, I have no idea myself what it will be about. And perhaps not even then. Perhaps the film will only be a mood, or a statement about a style of life. Perhaps it has no plot at all, in the way you use the word. I depart from the script constantly. I may film scenes I had no intention of filming; things suggest themselves on location, and we improvise. I try not to think about it too much. Then, in the cutting room, I take the film and start to put it together, and only then do I begin to get an idea of what it is about.
Meanwhile, here is a still from my forthcoming high-definition video artwork entitled Foreign Film (My Autoerotic Muse):

And, as part of an unintentional cinematic (mirror) reflection, here is another still, this one from Bergman's Persona:

They are not the same.

But I am still watching, just in case.

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