0:00:00.074,0:00:02.933
Now what we're seeing is people have more free time

0:00:02.933,0:00:05.100
they have more access to resources

0:00:05.100,0:00:07.833
and they have kind of infinite knowledge

0:00:07.833,0:00:09.497
at their fingertips which means

0:00:09.497,0:00:11.656
they can tap into

0:00:11.656,0:00:14.331
any form of creation almost

0:00:15.116,0:00:17.252
and I think to some extent that

0:00:17.252,0:00:19.827
trumps the Renaissance by orders of magnitude

0:00:20.058,0:00:23.033
The Future of Art

0:00:23.033,0:00:24.752
We don't know what happens when we get

0:00:24.752,0:00:27.067
more and more layers of infrastructure right

0:00:27.067,0:00:28.867
I think if we look back and see the boom

0:00:28.867,0:00:30.267
that happened since the web

0:00:30.267,0:00:31.500
and since the technical stacks that

0:00:31.500,0:00:33.390
became standardized and enabled

0:00:33.390,0:00:34.767
layers of innovation

0:00:34.767,0:00:35.867
to happen on top of them

0:00:35.867,0:00:37.433
We couldn't even predict 10 years ago

0:00:37.433,0:00:39.126
the kinds of things we're seeing nowadays.

0:00:39.988,0:00:41.567
I think I'm mostly interested in the ways

0:00:41.567,0:00:42.800
especially recently

0:00:42.800,0:00:44.996
that people can work together through the Internet

0:00:44.996,0:00:47.253
to create things that would otherwise

0:00:47.253,0:00:48.462
be impossible

0:00:48.908,0:00:50.300
I think now that we have kind of

0:00:50.300,0:00:52.454
more computer resources than we've ever had

0:00:52.454,0:00:53.733
both on the processing side

0:00:53.733,0:00:55.600
and also on the storage and organization

0:00:55.600,0:00:56.967
and communication side

0:00:56.967,0:00:58.333
you know what we're seeing is

0:00:58.333,0:01:00.267
richer and more full content

0:01:00.267,0:01:02.767
that more contextually, that's more human.

0:01:02.767,0:01:05.700
With the democratization that's come with a lot of the

0:01:05.700,0:01:07.033
social networking tools

0:01:07.033,0:01:09.300
and with the web being so democratically available

0:01:09.300,0:01:10.774
I think more people are trying to

0:01:10.774,0:01:12.400
take on the role of curator

0:01:12.400,0:01:14.490
even if it's in very very small parts of their life.

0:01:14.490,0:01:17.236
We will always and still have those "experts" but

0:01:17.236,0:01:19.700
I think that we will start to see more sort of

0:01:19.700,0:01:21.367
more democratic roles of curation.

0:01:21.367,0:01:22.965
There was this discussion at the beginning

0:01:22.965,0:01:24.233
when I was blogging

0:01:24.233,0:01:24.962
and they said,

0:01:24.962,0:01:27.100
"Oh bloggers are curators, you think you're curators"

0:01:27.100,0:01:27.818
No I'm not!

0:01:27.818,0:01:29.327
Sometimes I work as a curator

0:01:29.327,0:01:31.510
but it's something different from my blog.

0:01:31.510,0:01:35.527
The term is being expanded to say select or highlight

0:01:35.527,0:01:37.199
I work a lot with intuition.

0:01:37.199,0:01:39.133
That is the role that we play

0:01:39.133,0:01:40.767
making connections between things

0:01:40.767,0:01:44.049
that might not otherwise be obvious connections.

0:01:44.049,0:01:46.721
Well I think the switch was like a long time ago

0:01:46.721,0:01:48.633
when basically the amount of information

0:01:48.633,0:01:51.267
available and the amount of books available

0:01:51.267,0:01:53.518
suddenly became

0:01:53.518,0:01:56.425
more than the abilities of human beings

0:01:56.425,0:01:59.522
to read for all his life, to even understand.

0:01:59.522,0:02:01.333
And nowadays we're just surrounded

0:02:01.333,0:02:03.700
by so many informations

0:02:03.700,0:02:05.156
so how do we deal with this?

0:02:05.156,0:02:07.900
basically we deal with it on a daily basis one by one

0:02:07.900,0:02:10.967
by sort of like digging our own histories with that

0:02:10.967,0:02:13.833
It's really a very interesting subjective process

0:02:13.833,0:02:16.700
that I'm going to apply myself on a daily basis

0:02:16.700,0:02:19.134
Like grabbing informations here or there

0:02:19.134,0:02:22.733
and putting them in contact and see what happens.

0:02:22.733,0:02:24.600
Each time that I make films now I'm like,

0:02:24.600,0:02:27.267
"oh yeah let's do this film by getting inspired

0:02:27.267,0:02:28.933
by the images of that guy

0:02:28.933,0:02:31.742
and the ideas of that dude,

0:02:31.742,0:02:34.000
And okay I'm going to make a film today like this

0:02:34.000,0:02:35.167
and see what happens."

0:02:35.167,0:02:36.828
It's really exciting and just like

0:02:36.828,0:02:39.010
constantly remixing history.

0:02:39.010,0:02:41.067
Telling our whole history through that.

0:02:41.067,0:02:42.533
It's very exciting.

0:02:42.533,0:02:46.567
The idea of originality and proprietariness

0:02:46.567,0:02:50.922
also contributes to the whole "great man theory"

0:02:50.922,0:02:54.433
which is slowly sort of disintegrating.

0:02:54.433,0:02:57.133
The idea of the genius, you know, the Freud,

0:02:57.133,0:03:00.200
the Marx, the Leonardo

0:03:00.200,0:03:03.809
the Einstein that come up with an idea

0:03:03.809,0:03:07.510
that is completely related to

0:03:07.510,0:03:10.100
the man that came up with it

0:03:10.100,0:03:11.233
whereas today

0:03:11.233,0:03:14.933
ideas just get thrown out there and used

0:03:14.933,0:03:17.904
and it's that use that that in a way is the art

0:03:17.904,0:03:19.300
rather than the person

0:03:19.300,0:03:21.108
who comes up with the idea

0:03:21.108,0:03:31.567
[Take Away Show #41 The Arcade Fire "Neon Bible" by Vincent Moon]

0:04:24.824,0:04:26.800
I think we'll probably see more and more

0:04:26.800,0:04:29.491
non-linear, interactive experiences.

0:04:29.491,0:04:31.627
Lev Manovich says that the twenty-first century

0:04:31.627,0:04:33.276
will be defined by the database.

0:04:33.276,0:04:35.180
And I think there's some truth to that

0:04:35.180,0:04:37.130
but maybe even going beyond the database

0:04:37.130,0:04:38.686
into the interface

0:04:38.686,0:04:40.767
because I think that's really the intersection between

0:04:40.767,0:04:42.533
kind of all the rich data and rich stories

0:04:42.533,0:04:44.537
that we're wrapping our heads around

0:04:44.537,0:04:46.173
and the ability to say something about them.

0:04:46.790,0:04:50.783
Every single experimental film is about time

0:04:50.783,0:04:54.067
because film only captures time and space.

0:04:55.282,0:04:57.099
I think we will

0:04:57.099,0:04:58.446
in some strange way

0:04:58.446,0:05:00.610
enter into new types of film

0:05:01.148,0:05:04.700
probably starting with an idea of three-dimensional

0:05:04.700,0:05:06.721
and probably somehow interactive at the same time.

0:05:06.721,0:05:09.100
It's not something that particularly interests me.

0:05:09.100,0:05:11.356
I like certain limitations.

0:05:11.356,0:05:13.702
I think already film has almost

0:05:13.702,0:05:16.662
not enough limitations to be able to focus

0:05:17.631,0:05:19.158
and so I wouldn't be one to jump in

0:05:19.158,0:05:22.000
and start making 3D interactive

0:05:22.000,0:05:24.033
but I'm sure that people will start to do that

0:05:24.033,0:05:26.276
and you'll start dealing with spaces that are deeper.

0:05:26.676,0:05:30.466
I don't just mean 3D like James Cameron or whatever,

0:05:30.466,0:05:33.415
I mean more dimensions where when you move

0:05:33.415,0:05:35.946
through the space something else is changing

0:05:35.946,0:05:38.175
and you're getting a greater understanding.

0:05:38.175,0:05:40.590
And I think the visual capacity of people to think

0:05:40.590,0:05:42.167
is tremendous, it's really huge

0:05:42.167,0:05:43.957
but it has to be trained a bit

0:05:43.957,0:05:46.567
but I'm always impressed how quickly either

0:05:46.567,0:05:49.200
children or adults can pick up on visual analogy

0:05:49.200,0:05:51.922
and then move more or less through spaces

0:05:51.922,0:05:53.429
that are abstract

0:05:53.429,0:05:55.133
and when they become more dynamic I think

0:05:57.502,0:06:00.536
that will be kind of the front edge of art

0:06:00.536,0:06:02.556
because it will be at the front edge of expanding

0:06:02.556,0:06:04.567
how we understand reality

0:06:04.567,0:06:07.522
and how we can process information.

0:06:07.522,0:06:10.590
The funny thing about video mapping I think

0:06:10.590,0:06:12.982
is that it's getting part of the environment

0:06:12.982,0:06:15.333
so there's no border between you

0:06:15.333,0:06:17.800
and the content and the light.

0:06:17.800,0:06:20.567
So you think about it more naturally

0:06:20.567,0:06:21.833
and everything that happens

0:06:21.833,0:06:23.800
you adapt to it like it's real.

0:06:23.800,0:06:24.733
You don't make the shift

0:06:24.733,0:06:26.000
between the virtual layer

0:06:26.000,0:06:27.400
and the real layer anymore.

0:06:27.400,0:06:28.767
Where is art going?

0:06:28.767,0:06:32.567
I think it will more part of our natural environment.

0:06:32.567,0:06:36.690
and we don't see it as an "add-to" anymore.

0:06:36.690,0:06:39.033
So we react on it more naturally.

0:06:39.033,0:06:41.705
If these shifts were simply documented in a

0:06:41.705,0:06:44.733
holographic medium through mono-channelled P.O.V.

0:06:44.733,0:06:48.114
directionality similar to contemporary cinematic 3D

0:06:48.114,0:06:50.482
technology, the shifts would indeed resemble

0:06:50.482,0:06:52.867
traditional theater complete with the fourth wall

0:06:52.867,0:06:55.733
that maintains the tradition of theatrical realism

0:06:55.733,0:06:58.818
via an audience/performative vision.

0:06:58.818,0:07:01.326
If the holographic medium instead attempted to break

0:07:01.326,0:07:04.100
this fourth wall, such as augmented reality integrated

0:07:04.100,0:07:07.200
with artificial intelligence is progressing towards

0:07:07.200,0:07:09.800
the shifts could become an integral part of future

0:07:09.800,0:07:14.300
genre, creation, knowledge formation/codification.

0:07:14.854,0:07:19.533
[Spatial Sound Sculpture by Daniel Franke & Christopher Warnow]

0:07:29.733,0:07:31.067
I think mostly we're just seeing

0:07:31.067,0:07:33.259
what happens when you reach a point where

0:07:33.259,0:07:35.400
computational resources are no longer

0:07:35.400,0:07:37.467
the most significant factor in thinking.

0:07:37.467,0:07:39.533
We're really able to you know basically waste

0:07:39.533,0:07:42.200
cycles and memory and transfer speeds.

0:07:42.200,0:07:43.424
It lends itself to a completely

0:07:43.424,0:07:45.300
different type of creative process

0:07:45.300,0:07:48.091
where you can really kind of explore and experiment

0:07:48.091,0:07:50.546
a lot more freely than one could before.

0:07:50.546,0:07:51.815
We don't have to necessarily know

0:07:51.815,0:07:52.781
where we're going with a piece of software

0:07:52.781,0:07:54.639
when we start writing it.

0:07:54.639,0:07:57.167
We can actually explore and iterate

0:07:57.167,0:07:59.000
and potentially even throw away something

0:07:59.000,0:08:01.489
that would have taken days or weeks to make

0:08:01.489,0:08:03.254
without feeling any sense of investment

0:08:03.254,0:08:04.786
just start anew.

0:08:05.555,0:08:07.167
That's really powerful I think.

0:08:07.167,0:08:08.400
Perhaps most significantly

0:08:08.400,0:08:10.367
it lets us create our own limitations

0:08:10.367,0:08:11.833
and I think those generally

0:08:11.833,0:08:13.433
can be a lot more meaningful than

0:08:13.433,0:08:15.767
the ones that are arbitrarily put on by the media.

0:08:15.767,0:08:18.700
If you have an artwork for example

0:08:18.700,0:08:22.590
that basically just creates a set of data

0:08:22.590,0:08:26.031
which could be interpreted many different ways

0:08:26.031,0:08:27.449
like you could take the data

0:08:27.449,0:08:30.259
and you could make it into a photograph

0:08:30.259,0:08:32.367
that would be three dimensional

0:08:32.367,0:08:33.858
or have a relief

0:08:33.858,0:08:35.947
or instead of making lots of photographs

0:08:35.947,0:08:37.933
it would be a film or whatever

0:08:37.933,0:08:40.522
that means that the only original thing

0:08:40.522,0:08:42.246
is that set of data.

0:08:43.400,0:08:45.033
So where is the artwork?

0:08:45.033,0:08:46.768
Is the artwork the data?

0:08:46.768,0:08:48.858
Or is the artwork the output?

0:08:48.858,0:08:50.967
There's something really magic and beautiful about

0:08:50.967,0:08:53.780
being able to take something that was created for one

0:08:53.780,0:08:56.633
purpose and then put it towards your art practice and

0:08:56.633,0:08:59.121
make something really new and beautiful

0:08:59.121,0:09:00.839
and meaningful with that.

0:09:00.839,0:09:02.133
On the other hand

0:09:02.133,0:09:04.856
I'm not necessarily excited by

0:09:04.856,0:09:07.567
a technology that comes out just because it's new

0:09:07.567,0:09:09.733
or just because it's available all of a sudden.

0:09:09.733,0:09:12.367
There has to be a reason underlying why

0:09:12.367,0:09:16.033
it's being used to in some way support or enhance

0:09:16.033,0:09:18.171
the meaning or the beauty of what you're making.

0:09:19.433,0:09:21.167
I identified myself as a painter.

0:09:21.167,0:09:22.867
I was pushing away ideas and concepts

0:09:22.867,0:09:24.315
and things that I wanted to work with because

0:09:24.315,0:09:26.149
I didn't feel that I could really paint them.

0:09:26.149,0:09:28.133
The best way to approach a project or a problem is

0:09:28.133,0:09:30.050
to use the best tool for the job.

0:09:30.050,0:09:31.490
And sometimes it is painting

0:09:31.490,0:09:32.767
and sometimes that's programming.

0:09:32.767,0:09:35.000
Often time when I have picked up new technologies

0:09:35.000,0:09:36.567
and incorporated them into my work

0:09:36.567,0:09:38.267
it hasn't been because I saw the technology

0:09:38.267,0:09:40.058
and I thought, "okay I want to do something with this."

0:09:40.058,0:09:41.799
It's because there was another project

0:09:41.799,0:09:43.959
that sort of called for a technological solution.

0:09:43.959,0:09:45.747
Every once in a while you see something and think,

0:09:45.747,0:09:47.700
"Oh that's cool, I want to do something with it."

0:09:48.177,0:09:49.900
For myself, when I've approached things that way

0:09:49.900,0:09:51.180
it's really difficult to make the work

0:09:51.180,0:09:52.533
not about the technology.

0:09:52.533,0:09:54.524
People get sidetracked so easily

0:09:54.524,0:09:56.167
and fall into this like,

0:09:56.167,0:09:58.233
"What can the computer do?" versus

0:09:58.233,0:09:59.767
"How is it a tool helping me?"

0:10:00.459,0:10:02.090
The simpler works

0:10:02.921,0:10:05.767
are finally the more precise works

0:10:05.767,0:10:06.970
and have clear thought

0:10:06.970,0:10:08.400
and I think that will continue

0:10:08.400,0:10:09.700
and be even more poignant when get

0:10:09.700,0:10:11.410
noisier and noisier.

0:10:12.333,0:10:15.200
For example a concept which has been explored by

0:10:15.200,0:10:16.967
Transmediale and many other festivals was

0:10:16.967,0:10:18.208
surveillance!

0:10:18.208,0:10:20.333
And then I would go to the biennale of Lyon

0:10:20.333,0:10:23.200
which is a traditional biennale of contemporary art

0:10:23.200,0:10:25.733
and I would see a very simple artwork

0:10:25.733,0:10:27.000
without any technology

0:10:27.000,0:10:29.400
and it would investigate surveillance

0:10:29.400,0:10:31.908
and comment on it without any technology

0:10:31.908,0:10:33.277
and it would be stronger.

0:10:33.277,0:10:35.800
Performance art is making a big comeback now.

0:10:35.800,0:10:38.247
It's getting a newfound footing

0:10:39.539,0:10:41.933
especially in the major institutions.

0:10:41.933,0:10:44.493
And it seems to me that that's a reaction against

0:10:44.493,0:10:47.167
the computer space and the technology

0:10:47.167,0:10:49.933
so we have this extreme high-tech

0:10:49.933,0:10:52.156
and then it's balanced out by this complete

0:10:52.156,0:10:53.667
appreciation now where

0:10:53.667,0:10:56.500
it's only a person on a stage with no props

0:10:56.500,0:10:57.473
and no help

0:10:57.473,0:10:59.620
and it's the human doing something.

0:11:00.097,0:11:05.033
I'm really interested in going back to objects

0:11:05.033,0:11:06.567
and things that are tangible

0:11:06.567,0:11:08.067
and also on the other side of that

0:11:08.067,0:11:10.400
experiences that are maybe intangible

0:11:10.400,0:11:12.433
but that you have with other people around you

0:11:12.433,0:11:13.611
in their physical presence

0:11:13.611,0:11:15.967
and all the messiness that that entails.

0:11:15.967,0:11:17.883
In a lot of ways I feel like I have a sort of

0:11:17.883,0:11:19.880
split practice

0:11:19.880,0:11:22.458
where on the one hand there's the Internet work

0:11:22.458,0:11:25.941
because it's cheap, ubiquitous, it's available to me

0:11:25.941,0:11:27.000
I can put stuff up there

0:11:27.000,0:11:29.424
it does not take a lot of time

0:11:29.424,0:11:31.833
and you've got potentially this unknown audience

0:11:31.833,0:11:33.092
that you have no idea who they are

0:11:33.092,0:11:35.233
and can get very, very interesting things happening

0:11:35.233,0:11:37.067
when you relate with people.

0:11:37.067,0:11:40.383
But then on the other hand I have this live practice

0:11:40.383,0:11:41.336
sometimes more theatrical

0:11:41.336,0:11:44.354
sometimes more relational where

0:11:44.354,0:11:47.651
it's about actually staring someone in the face

0:11:47.651,0:11:49.346
or being in the same room with them

0:11:49.346,0:11:52.034
and imposing your physical presence on them.

0:12:05.067,0:12:09.223
Our specific desire is basically to create social links.

0:12:09.223,0:12:12.241
And the results are only the pretext to that.

0:12:12.241,0:12:14.902
the films, the music, the albums

0:12:14.902,0:12:16.351
or the pieces on the walls.

0:12:16.351,0:12:17.953
Basically we live in a world where

0:12:17.953,0:12:19.767
so many people create.

0:12:19.767,0:12:21.833
You have people talking about the decay

0:12:21.833,0:12:23.733
of the creative industry.

0:12:23.733,0:12:27.100
How the music industry can survive to adapt.

0:12:27.100,0:12:28.844
This is not the point.

0:12:28.844,0:12:31.233
I think the point is what's really exciting nowadays is

0:12:31.233,0:12:32.867
how do people create?

0:12:33.605,0:12:36.067
and how that way that they create

0:12:36.067,0:12:39.759
changes something in this world.

0:12:40.267,0:12:43.147
I was kind of taken by this

0:12:43.147,0:12:44.889
Bruce Nauman quote that like,

0:12:44.889,0:12:47.900
"Anything I do in the studio, I'm an artist

0:12:47.900,0:12:50.694
I'm in my artist's studio, if I do it here, it's art."

0:12:50.694,0:12:54.037
And I thought like, that seems really freeing and great

0:12:54.037,0:12:56.382
but then he actually limited it to his studio;

0:12:56.382,0:12:58.900
he can only feel secure in his studio

0:12:58.900,0:13:01.514
and I thought well, I'm going to try to shoot stuff

0:13:01.514,0:13:03.067
out of the studio

0:13:03.067,0:13:04.138
I was always shooting in the studio

0:13:04.138,0:13:07.064
now I want to do it in front of an art audience

0:13:07.064,0:13:08.759
call the whole process art

0:13:08.759,0:13:10.067
and not do it in my studio

0:13:10.067,0:13:11.633
and see if there's any barrier

0:13:11.633,0:13:13.467
and of course there's no barrier.

0:13:13.467,0:13:15.028
Anywhere you go and anything you do

0:13:15.028,0:13:17.167
you can call it art if you want to

0:13:17.167,0:13:17.967
if you're an artist

0:13:17.967,0:13:19.933
if you're brave enough to call yourself an artist

0:13:19.933,0:13:22.500
then you can say, "This is my art."

0:13:22.500,0:13:25.018
of course people can laugh at it, but it is art.

0:13:25.433,0:13:28.728
There is no obvious relation between the quality

0:13:28.728,0:13:30.214
of a piece of work for example

0:13:30.214,0:13:31.167
and the value.

0:13:31.167,0:13:33.600
The market is very much disconnected from

0:13:33.600,0:13:36.000
the actual object or the content

0:13:36.000,0:13:38.898
Artists got fascinated with exactly that fact

0:13:38.898,0:13:40.175
a hundred years ago.

0:13:40.175,0:13:42.033
When Duchamp introduced the readymade

0:13:42.033,0:13:43.983
that was exactly his point.

0:13:43.983,0:13:47.884
You can put anything in there and then it will

0:13:47.884,0:13:51.833
eventually become a commodity in that market.

0:13:51.833,0:13:53.367
We are beginning to see new ways of funding

0:13:53.367,0:13:57.010
happening and dissemination and artists participating

0:13:57.010,0:13:59.000
more directly in their own market

0:13:59.000,0:14:00.655
and not necessarily

0:14:00.655,0:14:02.400
being cloistered off in their studios

0:14:02.400,0:14:03.604
where you have the dealer acting

0:14:03.604,0:14:04.788
as the sole middleman between

0:14:04.788,0:14:06.321
the artist and the rest of the world.

0:14:06.321,0:14:07.528
I was in New York with my friend Yancey

0:14:07.528,0:14:09.293
who is one of the guys behind Kickstarter

0:14:09.293,0:14:10.867
and he mentioned something really interesting

0:14:10.867,0:14:12.219
He was like, "Oh yeah, you know

0:14:12.219,0:14:13.449
the way you live your life

0:14:13.449,0:14:16.000
you could probably live your life by having two

0:14:16.000,0:14:18.600
or three Kickstarter projects a year.

0:14:18.600,0:14:20.090
and that's it, you know?"

0:14:20.090,0:14:21.200
And it's kind of true.

0:14:21.200,0:14:23.600
I'm totally into this way of doing things

0:14:23.600,0:14:24.800
of crowdfunding

0:14:24.800,0:14:26.035
which is not a very nice word

0:14:26.497,0:14:28.533
but I really believe in it so much.

0:14:28.533,0:14:30.795
I just really think about it

0:14:30.795,0:14:32.258
from different positions in the world

0:14:32.258,0:14:35.929
and this is really amazing this Kickstarter thing

0:14:35.929,0:14:37.000
to a lot of cultures.

0:14:38.233,0:14:39.800
I think we're going to see

0:14:39.800,0:14:41.633
really fantastic things coming

0:14:41.633,0:14:43.200
especially in the next five years.

0:14:43.200,0:14:44.433
The word is going to be spread out

0:14:44.433,0:14:45.467
all around the world.

0:14:45.467,0:14:49.654
[Braun Tube Jazz Band by Ei Wada]

0:15:01.433,0:15:02.444
Well there has been a long tradition

0:15:02.444,0:15:04.333
of the national artist.

0:15:04.333,0:15:06.233
There are a number of names that you all know

0:15:06.233,0:15:08.033
nations are a really proud about that they are

0:15:08.033,0:15:10.571
British or Indian or U.S. artists.

0:15:10.571,0:15:11.940
I'm a nomad myself.

0:15:11.940,0:15:14.133
For us being in a tribe that moves around

0:15:14.133,0:15:15.267
is not a problem at all

0:15:15.267,0:15:17.159
because we don't care about places at all.

0:15:17.159,0:15:20.900
No matter if you are in Toronto, Berlin or Amsterdam

0:15:20.900,0:15:24.116
what matters for us is which kind of value

0:15:25.039,0:15:26.733
do you embrace for your work.

0:15:26.733,0:15:29.067
This doesn't matter whether you are based in Asia

0:15:29.067,0:15:30.702
Europe or in America.

0:15:30.702,0:15:32.560
Certain values are all over the planet

0:15:32.560,0:15:33.900
and you'll find them anywhere

0:15:33.900,0:15:35.648
and it doesn't matter if you're nomadic

0:15:35.648,0:15:37.467
or a resident of a city.

0:15:37.467,0:15:40.633
We've been seeing a rising of nomad artists

0:15:40.633,0:15:42.633
in the past ten years a lot

0:15:42.633,0:15:45.133
And basically it corresponds

0:15:45.133,0:15:47.933
to a real need in our society

0:15:47.933,0:15:49.800
of movement, of bodies in motion

0:15:49.800,0:15:53.226
who go from one place to another by basically

0:15:53.226,0:15:56.467
taking the pretext of making films or music

0:15:56.467,0:15:57.823
to move around, to travel

0:15:57.823,0:16:00.067
It's a very interesting idea of modern nomadism.

0:16:00.067,0:16:01.515
And I guess, I don't know, but well

0:16:01.515,0:16:03.140
that's what I'm doing and it's quite fantastic!

0:16:03.140,0:16:05.161
I think a lot of people are doing this nowadays

0:16:05.161,0:16:07.041
more and more, and it's not going to stop

0:16:07.041,0:16:07.767
that's for sure.

0:16:07.767,0:16:09.700
There's a real tendency towards that

0:16:09.700,0:16:10.933
in our generation.

0:16:10.933,0:16:13.067
And the Internet and all the digital tools

0:16:13.067,0:16:14.467
or small cameras

0:16:14.467,0:16:17.138
are an incredible way to work, to do this now.

0:16:17.676,0:16:19.600
What I appreciate in my life is

0:16:19.600,0:16:21.067
no matter where I go

0:16:21.067,0:16:22.668
there are at least seven to ten people

0:16:22.668,0:16:25.107
that I really know profoundly well

0:16:25.107,0:16:27.266
I can trust them, they trust me

0:16:27.266,0:16:30.133
and it goes far beyond a Facebook relationship.

0:16:30.133,0:16:32.667
And I think that's really crucially important.

0:16:32.667,0:16:35.033
You need to trust people, they need to know you

0:16:35.033,0:16:37.367
they need to be here for you in good and bad times

0:16:37.367,0:16:40.267
and not just only when you are in the "show mode"

0:16:40.267,0:16:43.334
when you present and you are the cool artist.

0:16:43.334,0:16:45.059
I couldn't imagine being an artist without that.

0:16:45.667,0:16:47.400
For these types of creatives

0:16:47.400,0:16:50.100
identity becomes a series of fragmented reality

0:16:50.100,0:16:52.800
sets that need to be constantly channeled

0:16:52.800,0:16:54.201
monitored and updated.

0:16:54.201,0:16:56.291
This fragmentation does alter

0:16:56.291,0:16:58.567
how we process the world via associated

0:16:58.567,0:17:00.935
emotional and psychological effects.

0:17:00.935,0:17:03.433
These identities, established through the use of

0:17:03.433,0:17:05.533
avatars or profile creation

0:17:05.533,0:17:07.800
alter according to the foibles of specific

0:17:07.800,0:17:09.759
platforms and interfaces.

0:17:09.759,0:17:12.336
A subject may a have a multitude of profiles

0:17:12.336,0:17:14.867
created across a wide distribution base.

0:17:14.867,0:17:17.700
These staggered profiles create a type of

0:17:17.700,0:17:19.933
socialphrenic functioning that eclipses

0:17:19.933,0:17:22.251
solo persona extensions.

0:17:22.251,0:17:24.410
Users may reference a fellow synthetic

0:17:24.410,0:17:26.322
by their character or avatar name

0:17:26.322,0:17:28.233
even when interacting in

0:17:28.233,0:17:30.889
phenomenologically-defined reality.

0:17:30.889,0:17:33.304
According to traditional psychological theory

0:17:33.304,0:17:35.951
these type of identity ecologies would represent

0:17:35.951,0:17:38.551
a subtle splintering of a primary identity

0:17:38.551,0:17:40.502
akin to schizophrenia.

0:17:40.502,0:17:42.533
The base categories denoting emotion

0:17:42.533,0:17:44.733
and psychological states need overhauling

0:17:44.733,0:17:47.746
in line with contemporary/synthetic conceptions.

0:17:48.238,0:17:50.672
I was kind of working with a lot of different voices

0:17:50.672,0:17:52.867
in my head and different little people on my shoulder.

0:17:52.867,0:17:54.367
I had an opportunity to do a program

0:17:54.367,0:17:56.013
at Yale University, and while I was there

0:17:56.013,0:17:58.477
I painted this big very somber black painting

0:17:58.477,0:18:00.448
and as a way to sort of break myself

0:18:00.448,0:18:01.980
of that cycle and kind of push myself

0:18:01.980,0:18:03.188
into a completely new direction

0:18:03.188,0:18:05.233
I painted a tiny little turtle down in the corner

0:18:05.233,0:18:07.733
of this very somber black on black painting

0:18:07.733,0:18:09.318
and that single little defacement

0:18:09.318,0:18:12.333
allowed a whole new part of me into the work.

0:18:12.333,0:18:15.773
I went from thinking of art as a strictly serious thing

0:18:15.773,0:18:16.833
and if you're going to make serious art

0:18:16.833,0:18:18.533
it has to be serious

0:18:18.533,0:18:20.667
but that you can make serious art

0:18:20.667,0:18:23.400
and have a very large amount of humor in it

0:18:23.400,0:18:24.759
and sometimes that's the best way

0:18:24.759,0:18:26.918
because you can use humor as a tool

0:18:26.918,0:18:29.101
to attach things in people's brains

0:18:29.101,0:18:30.733
and to kind of sneak things in the back door

0:18:30.733,0:18:32.584
and allow concepts and ideas and things

0:18:32.584,0:18:34.133
to move into the viewer's consciousness

0:18:34.133,0:18:35.768
without them necessarily knowing it.

0:18:36.367,0:18:39.155
One way that artists can strengthen their ability to

0:18:39.155,0:18:41.570
make these unusual connections is

0:18:41.570,0:18:44.032
through the power of the subconscious mind

0:18:44.032,0:18:46.586
that we normally experience as dreaming.

0:18:46.586,0:18:49.070
I would be very curious to get

0:18:49.070,0:18:50.649
to a level of experience

0:18:50.649,0:18:52.530
that would be dreamlike.

0:18:52.530,0:18:55.267
Where you could be walking through a space

0:18:55.267,0:18:57.290
in someone else's dream

0:18:57.290,0:18:59.333
and have more of a sense because

0:18:59.333,0:19:01.000
it's very hard for me to know if I dream

0:19:01.000,0:19:03.374
similar to the way you dream

0:19:03.374,0:19:05.236
or even to remember my dream so precisely

0:19:05.236,0:19:07.495
that I think it would be quite interesting

0:19:07.495,0:19:09.248
if somebody could make a piece

0:19:09.248,0:19:12.125
that's as real as a dream

0:19:12.125,0:19:13.591
and that you could actually make choices

0:19:13.591,0:19:15.367
maybe but you're not in control

0:19:15.367,0:19:16.700
and things like that.

0:19:16.700,0:19:18.188
And I think in a way that must be

0:19:18.188,0:19:22.136
the future of where art is about

0:19:22.136,0:19:23.876
I have an experience and I'm trying to

0:19:23.876,0:19:25.851
share it with other people

0:19:25.851,0:19:27.615
and I'm limited if I'm painting on a canvas

0:19:27.615,0:19:28.975
and it's square and it's this big.

0:19:29.882,0:19:31.267
For all you cared you could draw the universe

0:19:31.267,0:19:33.002
you could draw little martians

0:19:33.002,0:19:34.419
running all over the place

0:19:34.419,0:19:36.253
you could draw things you imagined

0:19:36.253,0:19:37.855
you could draw real life scenes

0:19:37.855,0:19:39.400
you could draw what you think about

0:19:39.400,0:19:41.455
you could draw dreams

0:19:41.455,0:19:44.450
you could draw people, in fact

0:19:44.450,0:19:46.772
lots of people say they can't draw people but

0:19:46.772,0:19:48.033
when you put your mind to it

0:19:48.033,0:19:50.498
you can really draw anything.

0:19:51.233,0:19:53.767
You know, maybe decorate the street

0:19:53.767,0:19:57.244
because the street's a very nice thing

0:19:57.244,0:20:00.657
but it's not the greatest to look at, you know?

0:20:00.657,0:20:02.863
but what I might do is

0:20:02.863,0:20:04.567
leave the arrows and all the little dots

0:20:04.567,0:20:06.767
and slashes and lines

0:20:06.767,0:20:09.133
but everywhere there wasn't that

0:20:09.133,0:20:12.633
you could make the most beautiful designs

0:20:12.633,0:20:13.823
you could ...

0:20:13.823,0:20:17.533
I'd make it a law that your car would have to have

0:20:17.533,0:20:20.301
wet paint on it every day on its tires

0:20:20.301,0:20:21.904
and when you rode around it would make

0:20:21.904,0:20:25.067
any colored track all over the road

0:20:25.067,0:20:28.467
but it couldn't be on the lines

0:20:28.467,0:20:29.567
and that

0:20:29.567,0:20:31.596
that would make

0:20:31.596,0:20:34.001
I guess the world a better place.

0:20:34.633,0:20:36.700
The Future of Art

0:20:37.734,0:20:39.481
Conceived & Edited by Gabriel Shalom

0:20:40.629,0:20:42.500
Produced by KS12 / Emergence Collective

0:20:43.739,0:20:45.440
Executive Producer: Patrizia Kommerell

0:20:46.819,0:20:48.873
Assistant Editor: Clare Molloy

0:20:49.700,0:20:51.610
Production Assistant: Annika Bauer

0:21:20.785,0:21:25.798
This video was shot, edited and screened at the Transmediale Festival 2011 in Berlin, Germany

0:21:26.733,0:21:29.978
CC 2011 BY-NC-SA KS12 / Emergence Collective

0:21:30.824,0:21:34.118
Join the conversation! #futureofart