1 00:00:00,074 --> 00:00:02,933 Now what we're seeing is people have more free time 2 00:00:02,933 --> 00:00:05,100 they have more access to resources 3 00:00:05,100 --> 00:00:07,833 and they have kind of infinite knowledge 4 00:00:07,833 --> 00:00:09,497 at their fingertips which means 5 00:00:09,497 --> 00:00:11,656 they can tap into 6 00:00:11,656 --> 00:00:14,331 any form of creation almost 7 00:00:15,116 --> 00:00:17,252 and I think to some extent that 8 00:00:17,252 --> 00:00:19,827 trumps the Renaissance by orders of magnitude 9 00:00:20,058 --> 00:00:23,033 The Future of Art 10 00:00:23,033 --> 00:00:24,752 We don't know what happens when we get 11 00:00:24,752 --> 00:00:27,067 more and more layers of infrastructure right 12 00:00:27,067 --> 00:00:28,867 I think if we look back and see the boom 13 00:00:28,867 --> 00:00:30,267 that happened since the web 14 00:00:30,267 --> 00:00:31,500 and since the technical stacks that 15 00:00:31,500 --> 00:00:33,390 became standardized and enabled 16 00:00:33,390 --> 00:00:34,767 layers of innovation 17 00:00:34,767 --> 00:00:35,867 to happen on top of them 18 00:00:35,867 --> 00:00:37,433 We couldn't even predict 10 years ago 19 00:00:37,433 --> 00:00:39,126 the kinds of things we're seeing nowadays. 20 00:00:39,988 --> 00:00:41,567 I think I'm mostly interested in the ways 21 00:00:41,567 --> 00:00:42,800 especially recently 22 00:00:42,800 --> 00:00:44,996 that people can work together through the Internet 23 00:00:44,996 --> 00:00:47,253 to create things that would otherwise 24 00:00:47,253 --> 00:00:48,462 be impossible 25 00:00:48,908 --> 00:00:50,300 I think now that we have kind of 26 00:00:50,300 --> 00:00:52,454 more computer resources than we've ever had 27 00:00:52,454 --> 00:00:53,733 both on the processing side 28 00:00:53,733 --> 00:00:55,600 and also on the storage and organization 29 00:00:55,600 --> 00:00:56,967 and communication side 30 00:00:56,967 --> 00:00:58,333 you know what we're seeing is 31 00:00:58,333 --> 00:01:00,267 richer and more full content 32 00:01:00,267 --> 00:01:02,767 that more contextually, that's more human. 33 00:01:02,767 --> 00:01:05,700 With the democratization that's come with a lot of the 34 00:01:05,700 --> 00:01:07,033 social networking tools 35 00:01:07,033 --> 00:01:09,300 and with the web being so democratically available 36 00:01:09,300 --> 00:01:10,774 I think more people are trying to 37 00:01:10,774 --> 00:01:12,400 take on the role of curator 38 00:01:12,400 --> 00:01:14,490 even if it's in very very small parts of their life. 39 00:01:14,490 --> 00:01:17,236 We will always and still have those "experts" but 40 00:01:17,236 --> 00:01:19,700 I think that we will start to see more sort of 41 00:01:19,700 --> 00:01:21,367 more democratic roles of curation. 42 00:01:21,367 --> 00:01:22,965 There was this discussion at the beginning 43 00:01:22,965 --> 00:01:24,233 when I was blogging 44 00:01:24,233 --> 00:01:24,962 and they said, 45 00:01:24,962 --> 00:01:27,100 "Oh bloggers are curators, you think you're curators" 46 00:01:27,100 --> 00:01:27,818 No I'm not! 47 00:01:27,818 --> 00:01:29,327 Sometimes I work as a curator 48 00:01:29,327 --> 00:01:31,510 but it's something different from my blog. 49 00:01:31,510 --> 00:01:35,527 The term is being expanded to say select or highlight 50 00:01:35,527 --> 00:01:37,199 I work a lot with intuition. 51 00:01:37,199 --> 00:01:39,133 That is the role that we play 52 00:01:39,133 --> 00:01:40,767 making connections between things 53 00:01:40,767 --> 00:01:44,049 that might not otherwise be obvious connections. 54 00:01:44,049 --> 00:01:46,721 Well I think the switch was like a long time ago 55 00:01:46,721 --> 00:01:48,633 when basically the amount of information 56 00:01:48,633 --> 00:01:51,267 available and the amount of books available 57 00:01:51,267 --> 00:01:53,518 suddenly became 58 00:01:53,518 --> 00:01:56,425 more than the abilities of human beings 59 00:01:56,425 --> 00:01:59,522 to read for all his life, to even understand. 60 00:01:59,522 --> 00:02:01,333 And nowadays we're just surrounded 61 00:02:01,333 --> 00:02:03,700 by so many informations 62 00:02:03,700 --> 00:02:05,156 so how do we deal with this? 63 00:02:05,156 --> 00:02:07,900 basically we deal with it on a daily basis one by one 64 00:02:07,900 --> 00:02:10,967 by sort of like digging our own histories with that 65 00:02:10,967 --> 00:02:13,833 It's really a very interesting subjective process 66 00:02:13,833 --> 00:02:16,700 that I'm going to apply myself on a daily basis 67 00:02:16,700 --> 00:02:19,134 Like grabbing informations here or there 68 00:02:19,134 --> 00:02:22,733 and putting them in contact and see what happens. 69 00:02:22,733 --> 00:02:24,600 Each time that I make films now I'm like, 70 00:02:24,600 --> 00:02:27,267 "oh yeah let's do this film by getting inspired 71 00:02:27,267 --> 00:02:28,933 by the images of that guy 72 00:02:28,933 --> 00:02:31,742 and the ideas of that dude, 73 00:02:31,742 --> 00:02:34,000 And okay I'm going to make a film today like this 74 00:02:34,000 --> 00:02:35,167 and see what happens." 75 00:02:35,167 --> 00:02:36,828 It's really exciting and just like 76 00:02:36,828 --> 00:02:39,010 constantly remixing history. 77 00:02:39,010 --> 00:02:41,067 Telling our whole history through that. 78 00:02:41,067 --> 00:02:42,533 It's very exciting. 79 00:02:42,533 --> 00:02:46,567 The idea of originality and proprietariness 80 00:02:46,567 --> 00:02:50,922 also contributes to the whole "great man theory" 81 00:02:50,922 --> 00:02:54,433 which is slowly sort of disintegrating. 82 00:02:54,433 --> 00:02:57,133 The idea of the genius, you know, the Freud, 83 00:02:57,133 --> 00:03:00,200 the Marx, the Leonardo 84 00:03:00,200 --> 00:03:03,809 the Einstein that come up with an idea 85 00:03:03,809 --> 00:03:07,510 that is completely related to 86 00:03:07,510 --> 00:03:10,100 the man that came up with it 87 00:03:10,100 --> 00:03:11,233 whereas today 88 00:03:11,233 --> 00:03:14,933 ideas just get thrown out there and used 89 00:03:14,933 --> 00:03:17,904 and it's that use that that in a way is the art 90 00:03:17,904 --> 00:03:19,300 rather than the person 91 00:03:19,300 --> 00:03:21,108 who comes up with the idea 92 00:03:21,108 --> 00:03:31,567 [Take Away Show #41 The Arcade Fire "Neon Bible" by Vincent Moon] 93 00:04:24,824 --> 00:04:26,800 I think we'll probably see more and more 94 00:04:26,800 --> 00:04:29,491 non-linear, interactive experiences. 95 00:04:29,491 --> 00:04:31,627 Lev Manovich says that the twenty-first century 96 00:04:31,627 --> 00:04:33,276 will be defined by the database. 97 00:04:33,276 --> 00:04:35,180 And I think there's some truth to that 98 00:04:35,180 --> 00:04:37,130 but maybe even going beyond the database 99 00:04:37,130 --> 00:04:38,686 into the interface 100 00:04:38,686 --> 00:04:40,767 because I think that's really the intersection between 101 00:04:40,767 --> 00:04:42,533 kind of all the rich data and rich stories 102 00:04:42,533 --> 00:04:44,537 that we're wrapping our heads around 103 00:04:44,537 --> 00:04:46,173 and the ability to say something about them. 104 00:04:46,790 --> 00:04:50,783 Every single experimental film is about time 105 00:04:50,783 --> 00:04:54,067 because film only captures time and space. 106 00:04:55,282 --> 00:04:57,099 I think we will 107 00:04:57,099 --> 00:04:58,446 in some strange way 108 00:04:58,446 --> 00:05:00,610 enter into new types of film 109 00:05:01,148 --> 00:05:04,700 probably starting with an idea of three-dimensional 110 00:05:04,700 --> 00:05:06,721 and probably somehow interactive at the same time. 111 00:05:06,721 --> 00:05:09,100 It's not something that particularly interests me. 112 00:05:09,100 --> 00:05:11,356 I like certain limitations. 113 00:05:11,356 --> 00:05:13,702 I think already film has almost 114 00:05:13,702 --> 00:05:16,662 not enough limitations to be able to focus 115 00:05:17,631 --> 00:05:19,158 and so I wouldn't be one to jump in 116 00:05:19,158 --> 00:05:22,000 and start making 3D interactive 117 00:05:22,000 --> 00:05:24,033 but I'm sure that people will start to do that 118 00:05:24,033 --> 00:05:26,276 and you'll start dealing with spaces that are deeper. 119 00:05:26,676 --> 00:05:30,466 I don't just mean 3D like James Cameron or whatever, 120 00:05:30,466 --> 00:05:33,415 I mean more dimensions where when you move 121 00:05:33,415 --> 00:05:35,946 through the space something else is changing 122 00:05:35,946 --> 00:05:38,175 and you're getting a greater understanding. 123 00:05:38,175 --> 00:05:40,590 And I think the visual capacity of people to think 124 00:05:40,590 --> 00:05:42,167 is tremendous, it's really huge 125 00:05:42,167 --> 00:05:43,957 but it has to be trained a bit 126 00:05:43,957 --> 00:05:46,567 but I'm always impressed how quickly either 127 00:05:46,567 --> 00:05:49,200 children or adults can pick up on visual analogy 128 00:05:49,200 --> 00:05:51,922 and then move more or less through spaces 129 00:05:51,922 --> 00:05:53,429 that are abstract 130 00:05:53,429 --> 00:05:55,133 and when they become more dynamic I think 131 00:05:57,502 --> 00:06:00,536 that will be kind of the front edge of art 132 00:06:00,536 --> 00:06:02,556 because it will be at the front edge of expanding 133 00:06:02,556 --> 00:06:04,567 how we understand reality 134 00:06:04,567 --> 00:06:07,522 and how we can process information. 135 00:06:07,522 --> 00:06:10,590 The funny thing about video mapping I think 136 00:06:10,590 --> 00:06:12,982 is that it's getting part of the environment 137 00:06:12,982 --> 00:06:15,333 so there's no border between you 138 00:06:15,333 --> 00:06:17,800 and the content and the light. 139 00:06:17,800 --> 00:06:20,567 So you think about it more naturally 140 00:06:20,567 --> 00:06:21,833 and everything that happens 141 00:06:21,833 --> 00:06:23,800 you adapt to it like it's real. 142 00:06:23,800 --> 00:06:24,733 You don't make the shift 143 00:06:24,733 --> 00:06:26,000 between the virtual layer 144 00:06:26,000 --> 00:06:27,400 and the real layer anymore. 145 00:06:27,400 --> 00:06:28,767 Where is art going? 146 00:06:28,767 --> 00:06:32,567 I think it will more part of our natural environment. 147 00:06:32,567 --> 00:06:36,690 and we don't see it as an "add-to" anymore. 148 00:06:36,690 --> 00:06:39,033 So we react on it more naturally. 149 00:06:39,033 --> 00:06:41,705 If these shifts were simply documented in a 150 00:06:41,705 --> 00:06:44,733 holographic medium through mono-channelled P.O.V. 151 00:06:44,733 --> 00:06:48,114 directionality similar to contemporary cinematic 3D 152 00:06:48,114 --> 00:06:50,482 technology, the shifts would indeed resemble 153 00:06:50,482 --> 00:06:52,867 traditional theater complete with the fourth wall 154 00:06:52,867 --> 00:06:55,733 that maintains the tradition of theatrical realism 155 00:06:55,733 --> 00:06:58,818 via an audience/performative vision. 156 00:06:58,818 --> 00:07:01,326 If the holographic medium instead attempted to break 157 00:07:01,326 --> 00:07:04,100 this fourth wall, such as augmented reality integrated 158 00:07:04,100 --> 00:07:07,200 with artificial intelligence is progressing towards 159 00:07:07,200 --> 00:07:09,800 the shifts could become an integral part of future 160 00:07:09,800 --> 00:07:14,300 genre, creation, knowledge formation/codification. 161 00:07:14,854 --> 00:07:19,533 [Spatial Sound Sculpture by Daniel Franke & Christopher Warnow] 162 00:07:29,733 --> 00:07:31,067 I think mostly we're just seeing 163 00:07:31,067 --> 00:07:33,259 what happens when you reach a point where 164 00:07:33,259 --> 00:07:35,400 computational resources are no longer 165 00:07:35,400 --> 00:07:37,467 the most significant factor in thinking. 166 00:07:37,467 --> 00:07:39,533 We're really able to you know basically waste 167 00:07:39,533 --> 00:07:42,200 cycles and memory and transfer speeds. 168 00:07:42,200 --> 00:07:43,424 It lends itself to a completely 169 00:07:43,424 --> 00:07:45,300 different type of creative process 170 00:07:45,300 --> 00:07:48,091 where you can really kind of explore and experiment 171 00:07:48,091 --> 00:07:50,546 a lot more freely than one could before. 172 00:07:50,546 --> 00:07:51,815 We don't have to necessarily know 173 00:07:51,815 --> 00:07:52,781 where we're going with a piece of software 174 00:07:52,781 --> 00:07:54,639 when we start writing it. 175 00:07:54,639 --> 00:07:57,167 We can actually explore and iterate 176 00:07:57,167 --> 00:07:59,000 and potentially even throw away something 177 00:07:59,000 --> 00:08:01,489 that would have taken days or weeks to make 178 00:08:01,489 --> 00:08:03,254 without feeling any sense of investment 179 00:08:03,254 --> 00:08:04,786 just start anew. 180 00:08:05,555 --> 00:08:07,167 That's really powerful I think. 181 00:08:07,167 --> 00:08:08,400 Perhaps most significantly 182 00:08:08,400 --> 00:08:10,367 it lets us create our own limitations 183 00:08:10,367 --> 00:08:11,833 and I think those generally 184 00:08:11,833 --> 00:08:13,433 can be a lot more meaningful than 185 00:08:13,433 --> 00:08:15,767 the ones that are arbitrarily put on by the media. 186 00:08:15,767 --> 00:08:18,700 If you have an artwork for example 187 00:08:18,700 --> 00:08:22,590 that basically just creates a set of data 188 00:08:22,590 --> 00:08:26,031 which could be interpreted many different ways 189 00:08:26,031 --> 00:08:27,449 like you could take the data 190 00:08:27,449 --> 00:08:30,259 and you could make it into a photograph 191 00:08:30,259 --> 00:08:32,367 that would be three dimensional 192 00:08:32,367 --> 00:08:33,858 or have a relief 193 00:08:33,858 --> 00:08:35,947 or instead of making lots of photographs 194 00:08:35,947 --> 00:08:37,933 it would be a film or whatever 195 00:08:37,933 --> 00:08:40,522 that means that the only original thing 196 00:08:40,522 --> 00:08:42,246 is that set of data. 197 00:08:43,400 --> 00:08:45,033 So where is the artwork? 198 00:08:45,033 --> 00:08:46,768 Is the artwork the data? 199 00:08:46,768 --> 00:08:48,858 Or is the artwork the output? 200 00:08:48,858 --> 00:08:50,967 There's something really magic and beautiful about 201 00:08:50,967 --> 00:08:53,780 being able to take something that was created for one 202 00:08:53,780 --> 00:08:56,633 purpose and then put it towards your art practice and 203 00:08:56,633 --> 00:08:59,121 make something really new and beautiful 204 00:08:59,121 --> 00:09:00,839 and meaningful with that. 205 00:09:00,839 --> 00:09:02,133 On the other hand 206 00:09:02,133 --> 00:09:04,856 I'm not necessarily excited by 207 00:09:04,856 --> 00:09:07,567 a technology that comes out just because it's new 208 00:09:07,567 --> 00:09:09,733 or just because it's available all of a sudden. 209 00:09:09,733 --> 00:09:12,367 There has to be a reason underlying why 210 00:09:12,367 --> 00:09:16,033 it's being used to in some way support or enhance 211 00:09:16,033 --> 00:09:18,171 the meaning or the beauty of what you're making. 212 00:09:19,433 --> 00:09:21,167 I identified myself as a painter. 213 00:09:21,167 --> 00:09:22,867 I was pushing away ideas and concepts 214 00:09:22,867 --> 00:09:24,315 and things that I wanted to work with because 215 00:09:24,315 --> 00:09:26,149 I didn't feel that I could really paint them. 216 00:09:26,149 --> 00:09:28,133 The best way to approach a project or a problem is 217 00:09:28,133 --> 00:09:30,050 to use the best tool for the job. 218 00:09:30,050 --> 00:09:31,490 And sometimes it is painting 219 00:09:31,490 --> 00:09:32,767 and sometimes that's programming. 220 00:09:32,767 --> 00:09:35,000 Often time when I have picked up new technologies 221 00:09:35,000 --> 00:09:36,567 and incorporated them into my work 222 00:09:36,567 --> 00:09:38,267 it hasn't been because I saw the technology 223 00:09:38,267 --> 00:09:40,058 and I thought, "okay I want to do something with this." 224 00:09:40,058 --> 00:09:41,799 It's because there was another project 225 00:09:41,799 --> 00:09:43,959 that sort of called for a technological solution. 226 00:09:43,959 --> 00:09:45,747 Every once in a while you see something and think, 227 00:09:45,747 --> 00:09:47,700 "Oh that's cool, I want to do something with it." 228 00:09:48,177 --> 00:09:49,900 For myself, when I've approached things that way 229 00:09:49,900 --> 00:09:51,180 it's really difficult to make the work 230 00:09:51,180 --> 00:09:52,533 not about the technology. 231 00:09:52,533 --> 00:09:54,524 People get sidetracked so easily 232 00:09:54,524 --> 00:09:56,167 and fall into this like, 233 00:09:56,167 --> 00:09:58,233 "What can the computer do?" versus 234 00:09:58,233 --> 00:09:59,767 "How is it a tool helping me?" 235 00:10:00,459 --> 00:10:02,090 The simpler works 236 00:10:02,921 --> 00:10:05,767 are finally the more precise works 237 00:10:05,767 --> 00:10:06,970 and have clear thought 238 00:10:06,970 --> 00:10:08,400 and I think that will continue 239 00:10:08,400 --> 00:10:09,700 and be even more poignant when get 240 00:10:09,700 --> 00:10:11,410 noisier and noisier. 241 00:10:12,333 --> 00:10:15,200 For example a concept which has been explored by 242 00:10:15,200 --> 00:10:16,967 Transmediale and many other festivals was 243 00:10:16,967 --> 00:10:18,208 surveillance! 244 00:10:18,208 --> 00:10:20,333 And then I would go to the biennale of Lyon 245 00:10:20,333 --> 00:10:23,200 which is a traditional biennale of contemporary art 246 00:10:23,200 --> 00:10:25,733 and I would see a very simple artwork 247 00:10:25,733 --> 00:10:27,000 without any technology 248 00:10:27,000 --> 00:10:29,400 and it would investigate surveillance 249 00:10:29,400 --> 00:10:31,908 and comment on it without any technology 250 00:10:31,908 --> 00:10:33,277 and it would be stronger. 251 00:10:33,277 --> 00:10:35,800 Performance art is making a big comeback now. 252 00:10:35,800 --> 00:10:38,247 It's getting a newfound footing 253 00:10:39,539 --> 00:10:41,933 especially in the major institutions. 254 00:10:41,933 --> 00:10:44,493 And it seems to me that that's a reaction against 255 00:10:44,493 --> 00:10:47,167 the computer space and the technology 256 00:10:47,167 --> 00:10:49,933 so we have this extreme high-tech 257 00:10:49,933 --> 00:10:52,156 and then it's balanced out by this complete 258 00:10:52,156 --> 00:10:53,667 appreciation now where 259 00:10:53,667 --> 00:10:56,500 it's only a person on a stage with no props 260 00:10:56,500 --> 00:10:57,473 and no help 261 00:10:57,473 --> 00:10:59,620 and it's the human doing something. 262 00:11:00,097 --> 00:11:05,033 I'm really interested in going back to objects 263 00:11:05,033 --> 00:11:06,567 and things that are tangible 264 00:11:06,567 --> 00:11:08,067 and also on the other side of that 265 00:11:08,067 --> 00:11:10,400 experiences that are maybe intangible 266 00:11:10,400 --> 00:11:12,433 but that you have with other people around you 267 00:11:12,433 --> 00:11:13,611 in their physical presence 268 00:11:13,611 --> 00:11:15,967 and all the messiness that that entails. 269 00:11:15,967 --> 00:11:17,883 In a lot of ways I feel like I have a sort of 270 00:11:17,883 --> 00:11:19,880 split practice 271 00:11:19,880 --> 00:11:22,458 where on the one hand there's the Internet work 272 00:11:22,458 --> 00:11:25,941 because it's cheap, ubiquitous, it's available to me 273 00:11:25,941 --> 00:11:27,000 I can put stuff up there 274 00:11:27,000 --> 00:11:29,424 it does not take a lot of time 275 00:11:29,424 --> 00:11:31,833 and you've got potentially this unknown audience 276 00:11:31,833 --> 00:11:33,092 that you have no idea who they are 277 00:11:33,092 --> 00:11:35,233 and can get very, very interesting things happening 278 00:11:35,233 --> 00:11:37,067 when you relate with people. 279 00:11:37,067 --> 00:11:40,383 But then on the other hand I have this live practice 280 00:11:40,383 --> 00:11:41,336 sometimes more theatrical 281 00:11:41,336 --> 00:11:44,354 sometimes more relational where 282 00:11:44,354 --> 00:11:47,651 it's about actually staring someone in the face 283 00:11:47,651 --> 00:11:49,346 or being in the same room with them 284 00:11:49,346 --> 00:11:52,034 and imposing your physical presence on them. 285 00:12:05,067 --> 00:12:09,223 Our specific desire is basically to create social links. 286 00:12:09,223 --> 00:12:12,241 And the results are only the pretext to that. 287 00:12:12,241 --> 00:12:14,902 the films, the music, the albums 288 00:12:14,902 --> 00:12:16,351 or the pieces on the walls. 289 00:12:16,351 --> 00:12:17,953 Basically we live in a world where 290 00:12:17,953 --> 00:12:19,767 so many people create. 291 00:12:19,767 --> 00:12:21,833 You have people talking about the decay 292 00:12:21,833 --> 00:12:23,733 of the creative industry. 293 00:12:23,733 --> 00:12:27,100 How the music industry can survive to adapt. 294 00:12:27,100 --> 00:12:28,844 This is not the point. 295 00:12:28,844 --> 00:12:31,233 I think the point is what's really exciting nowadays is 296 00:12:31,233 --> 00:12:32,867 how do people create? 297 00:12:33,605 --> 00:12:36,067 and how that way that they create 298 00:12:36,067 --> 00:12:39,759 changes something in this world. 299 00:12:40,267 --> 00:12:43,147 I was kind of taken by this 300 00:12:43,147 --> 00:12:44,889 Bruce Nauman quote that like, 301 00:12:44,889 --> 00:12:47,900 "Anything I do in the studio, I'm an artist 302 00:12:47,900 --> 00:12:50,694 I'm in my artist's studio, if I do it here, it's art." 303 00:12:50,694 --> 00:12:54,037 And I thought like, that seems really freeing and great 304 00:12:54,037 --> 00:12:56,382 but then he actually limited it to his studio; 305 00:12:56,382 --> 00:12:58,900 he can only feel secure in his studio 306 00:12:58,900 --> 00:13:01,514 and I thought well, I'm going to try to shoot stuff 307 00:13:01,514 --> 00:13:03,067 out of the studio 308 00:13:03,067 --> 00:13:04,138 I was always shooting in the studio 309 00:13:04,138 --> 00:13:07,064 now I want to do it in front of an art audience 310 00:13:07,064 --> 00:13:08,759 call the whole process art 311 00:13:08,759 --> 00:13:10,067 and not do it in my studio 312 00:13:10,067 --> 00:13:11,633 and see if there's any barrier 313 00:13:11,633 --> 00:13:13,467 and of course there's no barrier. 314 00:13:13,467 --> 00:13:15,028 Anywhere you go and anything you do 315 00:13:15,028 --> 00:13:17,167 you can call it art if you want to 316 00:13:17,167 --> 00:13:17,967 if you're an artist 317 00:13:17,967 --> 00:13:19,933 if you're brave enough to call yourself an artist 318 00:13:19,933 --> 00:13:22,500 then you can say, "This is my art." 319 00:13:22,500 --> 00:13:25,018 of course people can laugh at it, but it is art. 320 00:13:25,433 --> 00:13:28,728 There is no obvious relation between the quality 321 00:13:28,728 --> 00:13:30,214 of a piece of work for example 322 00:13:30,214 --> 00:13:31,167 and the value. 323 00:13:31,167 --> 00:13:33,600 The market is very much disconnected from 324 00:13:33,600 --> 00:13:36,000 the actual object or the content 325 00:13:36,000 --> 00:13:38,898 Artists got fascinated with exactly that fact 326 00:13:38,898 --> 00:13:40,175 a hundred years ago. 327 00:13:40,175 --> 00:13:42,033 When Duchamp introduced the readymade 328 00:13:42,033 --> 00:13:43,983 that was exactly his point. 329 00:13:43,983 --> 00:13:47,884 You can put anything in there and then it will 330 00:13:47,884 --> 00:13:51,833 eventually become a commodity in that market. 331 00:13:51,833 --> 00:13:53,367 We are beginning to see new ways of funding 332 00:13:53,367 --> 00:13:57,010 happening and dissemination and artists participating 333 00:13:57,010 --> 00:13:59,000 more directly in their own market 334 00:13:59,000 --> 00:14:00,655 and not necessarily 335 00:14:00,655 --> 00:14:02,400 being cloistered off in their studios 336 00:14:02,400 --> 00:14:03,604 where you have the dealer acting 337 00:14:03,604 --> 00:14:04,788 as the sole middleman between 338 00:14:04,788 --> 00:14:06,321 the artist and the rest of the world. 339 00:14:06,321 --> 00:14:07,528 I was in New York with my friend Yancey 340 00:14:07,528 --> 00:14:09,293 who is one of the guys behind Kickstarter 341 00:14:09,293 --> 00:14:10,867 and he mentioned something really interesting 342 00:14:10,867 --> 00:14:12,219 He was like, "Oh yeah, you know 343 00:14:12,219 --> 00:14:13,449 the way you live your life 344 00:14:13,449 --> 00:14:16,000 you could probably live your life by having two 345 00:14:16,000 --> 00:14:18,600 or three Kickstarter projects a year. 346 00:14:18,600 --> 00:14:20,090 and that's it, you know?" 347 00:14:20,090 --> 00:14:21,200 And it's kind of true. 348 00:14:21,200 --> 00:14:23,600 I'm totally into this way of doing things 349 00:14:23,600 --> 00:14:24,800 of crowdfunding 350 00:14:24,800 --> 00:14:26,035 which is not a very nice word 351 00:14:26,497 --> 00:14:28,533 but I really believe in it so much. 352 00:14:28,533 --> 00:14:30,795 I just really think about it 353 00:14:30,795 --> 00:14:32,258 from different positions in the world 354 00:14:32,258 --> 00:14:35,929 and this is really amazing this Kickstarter thing 355 00:14:35,929 --> 00:14:37,000 to a lot of cultures. 356 00:14:38,233 --> 00:14:39,800 I think we're going to see 357 00:14:39,800 --> 00:14:41,633 really fantastic things coming 358 00:14:41,633 --> 00:14:43,200 especially in the next five years. 359 00:14:43,200 --> 00:14:44,433 The word is going to be spread out 360 00:14:44,433 --> 00:14:45,467 all around the world. 361 00:14:45,467 --> 00:14:49,654 [Braun Tube Jazz Band by Ei Wada] 362 00:15:01,433 --> 00:15:02,444 Well there has been a long tradition 363 00:15:02,444 --> 00:15:04,333 of the national artist. 364 00:15:04,333 --> 00:15:06,233 There are a number of names that you all know 365 00:15:06,233 --> 00:15:08,033 nations are a really proud about that they are 366 00:15:08,033 --> 00:15:10,571 British or Indian or U.S. artists. 367 00:15:10,571 --> 00:15:11,940 I'm a nomad myself. 368 00:15:11,940 --> 00:15:14,133 For us being in a tribe that moves around 369 00:15:14,133 --> 00:15:15,267 is not a problem at all 370 00:15:15,267 --> 00:15:17,159 because we don't care about places at all. 371 00:15:17,159 --> 00:15:20,900 No matter if you are in Toronto, Berlin or Amsterdam 372 00:15:20,900 --> 00:15:24,116 what matters for us is which kind of value 373 00:15:25,039 --> 00:15:26,733 do you embrace for your work. 374 00:15:26,733 --> 00:15:29,067 This doesn't matter whether you are based in Asia 375 00:15:29,067 --> 00:15:30,702 Europe or in America. 376 00:15:30,702 --> 00:15:32,560 Certain values are all over the planet 377 00:15:32,560 --> 00:15:33,900 and you'll find them anywhere 378 00:15:33,900 --> 00:15:35,648 and it doesn't matter if you're nomadic 379 00:15:35,648 --> 00:15:37,467 or a resident of a city. 380 00:15:37,467 --> 00:15:40,633 We've been seeing a rising of nomad artists 381 00:15:40,633 --> 00:15:42,633 in the past ten years a lot 382 00:15:42,633 --> 00:15:45,133 And basically it corresponds 383 00:15:45,133 --> 00:15:47,933 to a real need in our society 384 00:15:47,933 --> 00:15:49,800 of movement, of bodies in motion 385 00:15:49,800 --> 00:15:53,226 who go from one place to another by basically 386 00:15:53,226 --> 00:15:56,467 taking the pretext of making films or music 387 00:15:56,467 --> 00:15:57,823 to move around, to travel 388 00:15:57,823 --> 00:16:00,067 It's a very interesting idea of modern nomadism. 389 00:16:00,067 --> 00:16:01,515 And I guess, I don't know, but well 390 00:16:01,515 --> 00:16:03,140 that's what I'm doing and it's quite fantastic! 391 00:16:03,140 --> 00:16:05,161 I think a lot of people are doing this nowadays 392 00:16:05,161 --> 00:16:07,041 more and more, and it's not going to stop 393 00:16:07,041 --> 00:16:07,767 that's for sure. 394 00:16:07,767 --> 00:16:09,700 There's a real tendency towards that 395 00:16:09,700 --> 00:16:10,933 in our generation. 396 00:16:10,933 --> 00:16:13,067 And the Internet and all the digital tools 397 00:16:13,067 --> 00:16:14,467 or small cameras 398 00:16:14,467 --> 00:16:17,138 are an incredible way to work, to do this now. 399 00:16:17,676 --> 00:16:19,600 What I appreciate in my life is 400 00:16:19,600 --> 00:16:21,067 no matter where I go 401 00:16:21,067 --> 00:16:22,668 there are at least seven to ten people 402 00:16:22,668 --> 00:16:25,107 that I really know profoundly well 403 00:16:25,107 --> 00:16:27,266 I can trust them, they trust me 404 00:16:27,266 --> 00:16:30,133 and it goes far beyond a Facebook relationship. 405 00:16:30,133 --> 00:16:32,667 And I think that's really crucially important. 406 00:16:32,667 --> 00:16:35,033 You need to trust people, they need to know you 407 00:16:35,033 --> 00:16:37,367 they need to be here for you in good and bad times 408 00:16:37,367 --> 00:16:40,267 and not just only when you are in the "show mode" 409 00:16:40,267 --> 00:16:43,334 when you present and you are the cool artist. 410 00:16:43,334 --> 00:16:45,059 I couldn't imagine being an artist without that. 411 00:16:45,667 --> 00:16:47,400 For these types of creatives 412 00:16:47,400 --> 00:16:50,100 identity becomes a series of fragmented reality 413 00:16:50,100 --> 00:16:52,800 sets that need to be constantly channeled 414 00:16:52,800 --> 00:16:54,201 monitored and updated. 415 00:16:54,201 --> 00:16:56,291 This fragmentation does alter 416 00:16:56,291 --> 00:16:58,567 how we process the world via associated 417 00:16:58,567 --> 00:17:00,935 emotional and psychological effects. 418 00:17:00,935 --> 00:17:03,433 These identities, established through the use of 419 00:17:03,433 --> 00:17:05,533 avatars or profile creation 420 00:17:05,533 --> 00:17:07,800 alter according to the foibles of specific 421 00:17:07,800 --> 00:17:09,759 platforms and interfaces. 422 00:17:09,759 --> 00:17:12,336 A subject may a have a multitude of profiles 423 00:17:12,336 --> 00:17:14,867 created across a wide distribution base. 424 00:17:14,867 --> 00:17:17,700 These staggered profiles create a type of 425 00:17:17,700 --> 00:17:19,933 socialphrenic functioning that eclipses 426 00:17:19,933 --> 00:17:22,251 solo persona extensions. 427 00:17:22,251 --> 00:17:24,410 Users may reference a fellow synthetic 428 00:17:24,410 --> 00:17:26,322 by their character or avatar name 429 00:17:26,322 --> 00:17:28,233 even when interacting in 430 00:17:28,233 --> 00:17:30,889 phenomenologically-defined reality. 431 00:17:30,889 --> 00:17:33,304 According to traditional psychological theory 432 00:17:33,304 --> 00:17:35,951 these type of identity ecologies would represent 433 00:17:35,951 --> 00:17:38,551 a subtle splintering of a primary identity 434 00:17:38,551 --> 00:17:40,502 akin to schizophrenia. 435 00:17:40,502 --> 00:17:42,533 The base categories denoting emotion 436 00:17:42,533 --> 00:17:44,733 and psychological states need overhauling 437 00:17:44,733 --> 00:17:47,746 in line with contemporary/synthetic conceptions. 438 00:17:48,238 --> 00:17:50,672 I was kind of working with a lot of different voices 439 00:17:50,672 --> 00:17:52,867 in my head and different little people on my shoulder. 440 00:17:52,867 --> 00:17:54,367 I had an opportunity to do a program 441 00:17:54,367 --> 00:17:56,013 at Yale University, and while I was there 442 00:17:56,013 --> 00:17:58,477 I painted this big very somber black painting 443 00:17:58,477 --> 00:18:00,448 and as a way to sort of break myself 444 00:18:00,448 --> 00:18:01,980 of that cycle and kind of push myself 445 00:18:01,980 --> 00:18:03,188 into a completely new direction 446 00:18:03,188 --> 00:18:05,233 I painted a tiny little turtle down in the corner 447 00:18:05,233 --> 00:18:07,733 of this very somber black on black painting 448 00:18:07,733 --> 00:18:09,318 and that single little defacement 449 00:18:09,318 --> 00:18:12,333 allowed a whole new part of me into the work. 450 00:18:12,333 --> 00:18:15,773 I went from thinking of art as a strictly serious thing 451 00:18:15,773 --> 00:18:16,833 and if you're going to make serious art 452 00:18:16,833 --> 00:18:18,533 it has to be serious 453 00:18:18,533 --> 00:18:20,667 but that you can make serious art 454 00:18:20,667 --> 00:18:23,400 and have a very large amount of humor in it 455 00:18:23,400 --> 00:18:24,759 and sometimes that's the best way 456 00:18:24,759 --> 00:18:26,918 because you can use humor as a tool 457 00:18:26,918 --> 00:18:29,101 to attach things in people's brains 458 00:18:29,101 --> 00:18:30,733 and to kind of sneak things in the back door 459 00:18:30,733 --> 00:18:32,584 and allow concepts and ideas and things 460 00:18:32,584 --> 00:18:34,133 to move into the viewer's consciousness 461 00:18:34,133 --> 00:18:35,768 without them necessarily knowing it. 462 00:18:36,367 --> 00:18:39,155 One way that artists can strengthen their ability to 463 00:18:39,155 --> 00:18:41,570 make these unusual connections is 464 00:18:41,570 --> 00:18:44,032 through the power of the subconscious mind 465 00:18:44,032 --> 00:18:46,586 that we normally experience as dreaming. 466 00:18:46,586 --> 00:18:49,070 I would be very curious to get 467 00:18:49,070 --> 00:18:50,649 to a level of experience 468 00:18:50,649 --> 00:18:52,530 that would be dreamlike. 469 00:18:52,530 --> 00:18:55,267 Where you could be walking through a space 470 00:18:55,267 --> 00:18:57,290 in someone else's dream 471 00:18:57,290 --> 00:18:59,333 and have more of a sense because 472 00:18:59,333 --> 00:19:01,000 it's very hard for me to know if I dream 473 00:19:01,000 --> 00:19:03,374 similar to the way you dream 474 00:19:03,374 --> 00:19:05,236 or even to remember my dream so precisely 475 00:19:05,236 --> 00:19:07,495 that I think it would be quite interesting 476 00:19:07,495 --> 00:19:09,248 if somebody could make a piece 477 00:19:09,248 --> 00:19:12,125 that's as real as a dream 478 00:19:12,125 --> 00:19:13,591 and that you could actually make choices 479 00:19:13,591 --> 00:19:15,367 maybe but you're not in control 480 00:19:15,367 --> 00:19:16,700 and things like that. 481 00:19:16,700 --> 00:19:18,188 And I think in a way that must be 482 00:19:18,188 --> 00:19:22,136 the future of where art is about 483 00:19:22,136 --> 00:19:23,876 I have an experience and I'm trying to 484 00:19:23,876 --> 00:19:25,851 share it with other people 485 00:19:25,851 --> 00:19:27,615 and I'm limited if I'm painting on a canvas 486 00:19:27,615 --> 00:19:28,975 and it's square and it's this big. 487 00:19:29,882 --> 00:19:31,267 For all you cared you could draw the universe 488 00:19:31,267 --> 00:19:33,002 you could draw little martians 489 00:19:33,002 --> 00:19:34,419 running all over the place 490 00:19:34,419 --> 00:19:36,253 you could draw things you imagined 491 00:19:36,253 --> 00:19:37,855 you could draw real life scenes 492 00:19:37,855 --> 00:19:39,400 you could draw what you think about 493 00:19:39,400 --> 00:19:41,455 you could draw dreams 494 00:19:41,455 --> 00:19:44,450 you could draw people, in fact 495 00:19:44,450 --> 00:19:46,772 lots of people say they can't draw people but 496 00:19:46,772 --> 00:19:48,033 when you put your mind to it 497 00:19:48,033 --> 00:19:50,498 you can really draw anything. 498 00:19:51,233 --> 00:19:53,767 You know, maybe decorate the street 499 00:19:53,767 --> 00:19:57,244 because the street's a very nice thing 500 00:19:57,244 --> 00:20:00,657 but it's not the greatest to look at, you know? 501 00:20:00,657 --> 00:20:02,863 but what I might do is 502 00:20:02,863 --> 00:20:04,567 leave the arrows and all the little dots 503 00:20:04,567 --> 00:20:06,767 and slashes and lines 504 00:20:06,767 --> 00:20:09,133 but everywhere there wasn't that 505 00:20:09,133 --> 00:20:12,633 you could make the most beautiful designs 506 00:20:12,633 --> 00:20:13,823 you could ... 507 00:20:13,823 --> 00:20:17,533 I'd make it a law that your car would have to have 508 00:20:17,533 --> 00:20:20,301 wet paint on it every day on its tires 509 00:20:20,301 --> 00:20:21,904 and when you rode around it would make 510 00:20:21,904 --> 00:20:25,067 any colored track all over the road 511 00:20:25,067 --> 00:20:28,467 but it couldn't be on the lines 512 00:20:28,467 --> 00:20:29,567 and that 513 00:20:29,567 --> 00:20:31,596 that would make 514 00:20:31,596 --> 00:20:34,001 I guess the world a better place. 515 00:20:34,633 --> 00:20:36,700 The Future of Art 516 00:20:37,734 --> 00:20:39,481 Conceived & Edited by Gabriel Shalom 517 00:20:40,629 --> 00:20:42,500 Produced by KS12 / Emergence Collective 518 00:20:43,739 --> 00:20:45,440 Executive Producer: Patrizia Kommerell 519 00:20:46,819 --> 00:20:48,873 Assistant Editor: Clare Molloy 520 00:20:49,700 --> 00:20:51,610 Production Assistant: Annika Bauer 521 00:21:20,785 --> 00:21:25,798 This video was shot, edited and screened at the Transmediale Festival 2011 in Berlin, Germany 522 00:21:26,733 --> 00:21:29,978 CC 2011 BY-NC-SA KS12 / Emergence Collective 523 00:21:30,824 --> 00:21:34,118 Join the conversation! #futureofart