WEBVTT 00:00:00.074 --> 00:00:02.933 Now what we're seeing is people have more free time 00:00:02.933 --> 00:00:05.100 they have more access to resources 00:00:05.100 --> 00:00:07.833 and they have kind of infinite knowledge 00:00:07.833 --> 00:00:09.497 at their fingertips which means 00:00:09.497 --> 00:00:11.656 they can tap into 00:00:11.656 --> 00:00:14.331 any form of creation almost 00:00:15.116 --> 00:00:17.252 and I think to some extent that 00:00:17.252 --> 00:00:19.827 trumps the Renaissance by orders of magnitude 00:00:20.058 --> 00:00:23.033 The Future of Art 00:00:23.033 --> 00:00:24.752 We don't know what happens when we get 00:00:24.752 --> 00:00:27.067 more and more layers of infrastructure right 00:00:27.067 --> 00:00:28.867 I think if we look back and see the boom 00:00:28.867 --> 00:00:30.267 that happened since the web 00:00:30.267 --> 00:00:31.500 and since the technical stacks that 00:00:31.500 --> 00:00:33.390 became standardized and enabled 00:00:33.390 --> 00:00:34.767 layers of innovation 00:00:34.767 --> 00:00:35.867 to happen on top of them 00:00:35.867 --> 00:00:37.433 We couldn't even predict 10 years ago 00:00:37.433 --> 00:00:39.126 the kinds of things we're seeing nowadays. 00:00:39.988 --> 00:00:41.567 I think I'm mostly interested in the ways 00:00:41.567 --> 00:00:42.800 especially recently 00:00:42.800 --> 00:00:44.996 that people can work together through the Internet 00:00:44.996 --> 00:00:47.253 to create things that would otherwise 00:00:47.253 --> 00:00:48.462 be impossible 00:00:48.908 --> 00:00:50.300 I think now that we have kind of 00:00:50.300 --> 00:00:52.454 more computer resources than we've ever had 00:00:52.454 --> 00:00:53.733 both on the processing side 00:00:53.733 --> 00:00:55.600 and also on the storage and organization 00:00:55.600 --> 00:00:56.967 and communication side 00:00:56.967 --> 00:00:58.333 you know what we're seeing is 00:00:58.333 --> 00:01:00.267 richer and more full content 00:01:00.267 --> 00:01:02.767 that more contextually, that's more human. 00:01:02.767 --> 00:01:05.700 With the democratization that's come with a lot of the 00:01:05.700 --> 00:01:07.033 social networking tools 00:01:07.033 --> 00:01:09.300 and with the web being so democratically available 00:01:09.300 --> 00:01:10.774 I think more people are trying to 00:01:10.774 --> 00:01:12.400 take on the role of curator 00:01:12.400 --> 00:01:14.490 even if it's in very very small parts of their life. 00:01:14.490 --> 00:01:17.236 We will always and still have those "experts" but 00:01:17.236 --> 00:01:19.700 I think that we will start to see more sort of 00:01:19.700 --> 00:01:21.367 more democratic roles of curation. 00:01:21.367 --> 00:01:22.965 There was this discussion at the beginning 00:01:22.965 --> 00:01:24.233 when I was blogging 00:01:24.233 --> 00:01:24.962 and they said, 00:01:24.962 --> 00:01:27.100 "Oh bloggers are curators, you think you're curators" 00:01:27.100 --> 00:01:27.818 No I'm not! 00:01:27.818 --> 00:01:29.327 Sometimes I work as a curator 00:01:29.327 --> 00:01:31.510 but it's something different from my blog. 00:01:31.510 --> 00:01:35.527 The term is being expanded to say select or highlight 00:01:35.527 --> 00:01:37.199 I work a lot with intuition. 00:01:37.199 --> 00:01:39.133 That is the role that we play 00:01:39.133 --> 00:01:40.767 making connections between things 00:01:40.767 --> 00:01:44.049 that might not otherwise be obvious connections. 00:01:44.049 --> 00:01:46.721 Well I think the switch was like a long time ago 00:01:46.721 --> 00:01:48.633 when basically the amount of information 00:01:48.633 --> 00:01:51.267 available and the amount of books available 00:01:51.267 --> 00:01:53.518 suddenly became 00:01:53.518 --> 00:01:56.425 more than the abilities of human beings 00:01:56.425 --> 00:01:59.522 to read for all his life, to even understand. 00:01:59.522 --> 00:02:01.333 And nowadays we're just surrounded 00:02:01.333 --> 00:02:03.700 by so many informations 00:02:03.700 --> 00:02:05.156 so how do we deal with this? 00:02:05.156 --> 00:02:07.900 basically we deal with it on a daily basis one by one 00:02:07.900 --> 00:02:10.967 by sort of like digging our own histories with that 00:02:10.967 --> 00:02:13.833 It's really a very interesting subjective process 00:02:13.833 --> 00:02:16.700 that I'm going to apply myself on a daily basis 00:02:16.700 --> 00:02:19.134 Like grabbing informations here or there 00:02:19.134 --> 00:02:22.733 and putting them in contact and see what happens. 00:02:22.733 --> 00:02:24.600 Each time that I make films now I'm like, 00:02:24.600 --> 00:02:27.267 "oh yeah let's do this film by getting inspired 00:02:27.267 --> 00:02:28.933 by the images of that guy 00:02:28.933 --> 00:02:31.742 and the ideas of that dude, 00:02:31.742 --> 00:02:34.000 And okay I'm going to make a film today like this 00:02:34.000 --> 00:02:35.167 and see what happens." 00:02:35.167 --> 00:02:36.828 It's really exciting and just like 00:02:36.828 --> 00:02:39.010 constantly remixing history. 00:02:39.010 --> 00:02:41.067 Telling our whole history through that. 00:02:41.067 --> 00:02:42.533 It's very exciting. 00:02:42.533 --> 00:02:46.567 The idea of originality and proprietariness 00:02:46.567 --> 00:02:50.922 also contributes to the whole "great man theory" 00:02:50.922 --> 00:02:54.433 which is slowly sort of disintegrating. 00:02:54.433 --> 00:02:57.133 The idea of the genius, you know, the Freud, 00:02:57.133 --> 00:03:00.200 the Marx, the Leonardo 00:03:00.200 --> 00:03:03.809 the Einstein that come up with an idea 00:03:03.809 --> 00:03:07.510 that is completely related to 00:03:07.510 --> 00:03:10.100 the man that came up with it 00:03:10.100 --> 00:03:11.233 whereas today 00:03:11.233 --> 00:03:14.933 ideas just get thrown out there and used 00:03:14.933 --> 00:03:17.904 and it's that use that that in a way is the art 00:03:17.904 --> 00:03:19.300 rather than the person 00:03:19.300 --> 00:03:21.108 who comes up with the idea 00:03:21.108 --> 00:03:31.567 [Take Away Show #41 The Arcade Fire "Neon Bible" by Vincent Moon] 00:04:24.824 --> 00:04:26.800 I think we'll probably see more and more 00:04:26.800 --> 00:04:29.491 non-linear, interactive experiences. 00:04:29.491 --> 00:04:31.627 Lev Manovich says that the twenty-first century 00:04:31.627 --> 00:04:33.276 will be defined by the database. 00:04:33.276 --> 00:04:35.180 And I think there's some truth to that 00:04:35.180 --> 00:04:37.130 but maybe even going beyond the database 00:04:37.130 --> 00:04:38.686 into the interface 00:04:38.686 --> 00:04:40.767 because I think that's really the intersection between 00:04:40.767 --> 00:04:42.533 kind of all the rich data and rich stories 00:04:42.533 --> 00:04:44.537 that we're wrapping our heads around 00:04:44.537 --> 00:04:46.173 and the ability to say something about them. 00:04:46.790 --> 00:04:50.783 Every single experimental film is about time 00:04:50.783 --> 00:04:54.067 because film only captures time and space. 00:04:55.282 --> 00:04:57.099 I think we will 00:04:57.099 --> 00:04:58.446 in some strange way 00:04:58.446 --> 00:05:00.610 enter into new types of film 00:05:01.148 --> 00:05:04.700 probably starting with an idea of three-dimensional 00:05:04.700 --> 00:05:06.721 and probably somehow interactive at the same time. 00:05:06.721 --> 00:05:09.100 It's not something that particularly interests me. 00:05:09.100 --> 00:05:11.356 I like certain limitations. 00:05:11.356 --> 00:05:13.702 I think already film has almost 00:05:13.702 --> 00:05:16.662 not enough limitations to be able to focus 00:05:17.631 --> 00:05:19.158 and so I wouldn't be one to jump in 00:05:19.158 --> 00:05:22.000 and start making 3D interactive 00:05:22.000 --> 00:05:24.033 but I'm sure that people will start to do that 00:05:24.033 --> 00:05:26.276 and you'll start dealing with spaces that are deeper. 00:05:26.676 --> 00:05:30.466 I don't just mean 3D like James Cameron or whatever, 00:05:30.466 --> 00:05:33.415 I mean more dimensions where when you move 00:05:33.415 --> 00:05:35.946 through the space something else is changing 00:05:35.946 --> 00:05:38.175 and you're getting a greater understanding. 00:05:38.175 --> 00:05:40.590 And I think the visual capacity of people to think 00:05:40.590 --> 00:05:42.167 is tremendous, it's really huge 00:05:42.167 --> 00:05:43.957 but it has to be trained a bit 00:05:43.957 --> 00:05:46.567 but I'm always impressed how quickly either 00:05:46.567 --> 00:05:49.200 children or adults can pick up on visual analogy 00:05:49.200 --> 00:05:51.922 and then move more or less through spaces 00:05:51.922 --> 00:05:53.429 that are abstract 00:05:53.429 --> 00:05:55.133 and when they become more dynamic I think 00:05:57.502 --> 00:06:00.536 that will be kind of the front edge of art 00:06:00.536 --> 00:06:02.556 because it will be at the front edge of expanding 00:06:02.556 --> 00:06:04.567 how we understand reality 00:06:04.567 --> 00:06:07.522 and how we can process information. 00:06:07.522 --> 00:06:10.590 The funny thing about video mapping I think 00:06:10.590 --> 00:06:12.982 is that it's getting part of the environment 00:06:12.982 --> 00:06:15.333 so there's no border between you 00:06:15.333 --> 00:06:17.800 and the content and the light. 00:06:17.800 --> 00:06:20.567 So you think about it more naturally 00:06:20.567 --> 00:06:21.833 and everything that happens 00:06:21.833 --> 00:06:23.800 you adapt to it like it's real. 00:06:23.800 --> 00:06:24.733 You don't make the shift 00:06:24.733 --> 00:06:26.000 between the virtual layer 00:06:26.000 --> 00:06:27.400 and the real layer anymore. 00:06:27.400 --> 00:06:28.767 Where is art going? 00:06:28.767 --> 00:06:32.567 I think it will more part of our natural environment. 00:06:32.567 --> 00:06:36.690 and we don't see it as an "add-to" anymore. 00:06:36.690 --> 00:06:39.033 So we react on it more naturally. 00:06:39.033 --> 00:06:41.705 If these shifts were simply documented in a 00:06:41.705 --> 00:06:44.733 holographic medium through mono-channelled P.O.V. 00:06:44.733 --> 00:06:48.114 directionality similar to contemporary cinematic 3D 00:06:48.114 --> 00:06:50.482 technology, the shifts would indeed resemble 00:06:50.482 --> 00:06:52.867 traditional theater complete with the fourth wall 00:06:52.867 --> 00:06:55.733 that maintains the tradition of theatrical realism 00:06:55.733 --> 00:06:58.818 via an audience/performative vision. 00:06:58.818 --> 00:07:01.326 If the holographic medium instead attempted to break 00:07:01.326 --> 00:07:04.100 this fourth wall, such as augmented reality integrated 00:07:04.100 --> 00:07:07.200 with artificial intelligence is progressing towards 00:07:07.200 --> 00:07:09.800 the shifts could become an integral part of future 00:07:09.800 --> 00:07:14.300 genre, creation, knowledge formation/codification. 00:07:14.854 --> 00:07:19.533 [Spatial Sound Sculpture by Daniel Franke & Christopher Warnow] 00:07:29.733 --> 00:07:31.067 I think mostly we're just seeing 00:07:31.067 --> 00:07:33.259 what happens when you reach a point where 00:07:33.259 --> 00:07:35.400 computational resources are no longer 00:07:35.400 --> 00:07:37.467 the most significant factor in thinking. 00:07:37.467 --> 00:07:39.533 We're really able to you know basically waste 00:07:39.533 --> 00:07:42.200 cycles and memory and transfer speeds. 00:07:42.200 --> 00:07:43.424 It lends itself to a completely 00:07:43.424 --> 00:07:45.300 different type of creative process 00:07:45.300 --> 00:07:48.091 where you can really kind of explore and experiment 00:07:48.091 --> 00:07:50.546 a lot more freely than one could before. 00:07:50.546 --> 00:07:51.815 We don't have to necessarily know 00:07:51.815 --> 00:07:52.781 where we're going with a piece of software 00:07:52.781 --> 00:07:54.639 when we start writing it. 00:07:54.639 --> 00:07:57.167 We can actually explore and iterate 00:07:57.167 --> 00:07:59.000 and potentially even throw away something 00:07:59.000 --> 00:08:01.489 that would have taken days or weeks to make 00:08:01.489 --> 00:08:03.254 without feeling any sense of investment 00:08:03.254 --> 00:08:04.786 just start anew. 00:08:05.555 --> 00:08:07.167 That's really powerful I think. 00:08:07.167 --> 00:08:08.400 Perhaps most significantly 00:08:08.400 --> 00:08:10.367 it lets us create our own limitations 00:08:10.367 --> 00:08:11.833 and I think those generally 00:08:11.833 --> 00:08:13.433 can be a lot more meaningful than 00:08:13.433 --> 00:08:15.767 the ones that are arbitrarily put on by the media. 00:08:15.767 --> 00:08:18.700 If you have an artwork for example 00:08:18.700 --> 00:08:22.590 that basically just creates a set of data 00:08:22.590 --> 00:08:26.031 which could be interpreted many different ways 00:08:26.031 --> 00:08:27.449 like you could take the data 00:08:27.449 --> 00:08:30.259 and you could make it into a photograph 00:08:30.259 --> 00:08:32.367 that would be three dimensional 00:08:32.367 --> 00:08:33.858 or have a relief 00:08:33.858 --> 00:08:35.947 or instead of making lots of photographs 00:08:35.947 --> 00:08:37.933 it would be a film or whatever 00:08:37.933 --> 00:08:40.522 that means that the only original thing 00:08:40.522 --> 00:08:42.246 is that set of data. 00:08:43.400 --> 00:08:45.033 So where is the artwork? 00:08:45.033 --> 00:08:46.768 Is the artwork the data? 00:08:46.768 --> 00:08:48.858 Or is the artwork the output? 00:08:48.858 --> 00:08:50.967 There's something really magic and beautiful about 00:08:50.967 --> 00:08:53.780 being able to take something that was created for one 00:08:53.780 --> 00:08:56.633 purpose and then put it towards your art practice and 00:08:56.633 --> 00:08:59.121 make something really new and beautiful 00:08:59.121 --> 00:09:00.839 and meaningful with that. 00:09:00.839 --> 00:09:02.133 On the other hand 00:09:02.133 --> 00:09:04.856 I'm not necessarily excited by 00:09:04.856 --> 00:09:07.567 a technology that comes out just because it's new 00:09:07.567 --> 00:09:09.733 or just because it's available all of a sudden. 00:09:09.733 --> 00:09:12.367 There has to be a reason underlying why 00:09:12.367 --> 00:09:16.033 it's being used to in some way support or enhance 00:09:16.033 --> 00:09:18.171 the meaning or the beauty of what you're making. 00:09:19.433 --> 00:09:21.167 I identified myself as a painter. 00:09:21.167 --> 00:09:22.867 I was pushing away ideas and concepts 00:09:22.867 --> 00:09:24.315 and things that I wanted to work with because 00:09:24.315 --> 00:09:26.149 I didn't feel that I could really paint them. 00:09:26.149 --> 00:09:28.133 The best way to approach a project or a problem is 00:09:28.133 --> 00:09:30.050 to use the best tool for the job. 00:09:30.050 --> 00:09:31.490 And sometimes it is painting 00:09:31.490 --> 00:09:32.767 and sometimes that's programming. 00:09:32.767 --> 00:09:35.000 Often time when I have picked up new technologies 00:09:35.000 --> 00:09:36.567 and incorporated them into my work 00:09:36.567 --> 00:09:38.267 it hasn't been because I saw the technology 00:09:38.267 --> 00:09:40.058 and I thought, "okay I want to do something with this." 00:09:40.058 --> 00:09:41.799 It's because there was another project 00:09:41.799 --> 00:09:43.959 that sort of called for a technological solution. 00:09:43.959 --> 00:09:45.747 Every once in a while you see something and think, 00:09:45.747 --> 00:09:47.700 "Oh that's cool, I want to do something with it." 00:09:48.177 --> 00:09:49.900 For myself, when I've approached things that way 00:09:49.900 --> 00:09:51.180 it's really difficult to make the work 00:09:51.180 --> 00:09:52.533 not about the technology. 00:09:52.533 --> 00:09:54.524 People get sidetracked so easily 00:09:54.524 --> 00:09:56.167 and fall into this like, 00:09:56.167 --> 00:09:58.233 "What can the computer do?" versus 00:09:58.233 --> 00:09:59.767 "How is it a tool helping me?" 00:10:00.459 --> 00:10:02.090 The simpler works 00:10:02.921 --> 00:10:05.767 are finally the more precise works 00:10:05.767 --> 00:10:06.970 and have clear thought 00:10:06.970 --> 00:10:08.400 and I think that will continue 00:10:08.400 --> 00:10:09.700 and be even more poignant when get 00:10:09.700 --> 00:10:11.410 noisier and noisier. 00:10:12.333 --> 00:10:15.200 For example a concept which has been explored by 00:10:15.200 --> 00:10:16.967 Transmediale and many other festivals was 00:10:16.967 --> 00:10:18.208 surveillance! 00:10:18.208 --> 00:10:20.333 And then I would go to the biennale of Lyon 00:10:20.333 --> 00:10:23.200 which is a traditional biennale of contemporary art 00:10:23.200 --> 00:10:25.733 and I would see a very simple artwork 00:10:25.733 --> 00:10:27.000 without any technology 00:10:27.000 --> 00:10:29.400 and it would investigate surveillance 00:10:29.400 --> 00:10:31.908 and comment on it without any technology 00:10:31.908 --> 00:10:33.277 and it would be stronger. 00:10:33.277 --> 00:10:35.800 Performance art is making a big comeback now. 00:10:35.800 --> 00:10:38.247 It's getting a newfound footing 00:10:39.539 --> 00:10:41.933 especially in the major institutions. 00:10:41.933 --> 00:10:44.493 And it seems to me that that's a reaction against 00:10:44.493 --> 00:10:47.167 the computer space and the technology 00:10:47.167 --> 00:10:49.933 so we have this extreme high-tech 00:10:49.933 --> 00:10:52.156 and then it's balanced out by this complete 00:10:52.156 --> 00:10:53.667 appreciation now where 00:10:53.667 --> 00:10:56.500 it's only a person on a stage with no props 00:10:56.500 --> 00:10:57.473 and no help 00:10:57.473 --> 00:10:59.620 and it's the human doing something. 00:11:00.097 --> 00:11:05.033 I'm really interested in going back to objects 00:11:05.033 --> 00:11:06.567 and things that are tangible 00:11:06.567 --> 00:11:08.067 and also on the other side of that 00:11:08.067 --> 00:11:10.400 experiences that are maybe intangible 00:11:10.400 --> 00:11:12.433 but that you have with other people around you 00:11:12.433 --> 00:11:13.611 in their physical presence 00:11:13.611 --> 00:11:15.967 and all the messiness that that entails. 00:11:15.967 --> 00:11:17.883 In a lot of ways I feel like I have a sort of 00:11:17.883 --> 00:11:19.880 split practice 00:11:19.880 --> 00:11:22.458 where on the one hand there's the Internet work 00:11:22.458 --> 00:11:25.941 because it's cheap, ubiquitous, it's available to me 00:11:25.941 --> 00:11:27.000 I can put stuff up there 00:11:27.000 --> 00:11:29.424 it does not take a lot of time 00:11:29.424 --> 00:11:31.833 and you've got potentially this unknown audience 00:11:31.833 --> 00:11:33.092 that you have no idea who they are 00:11:33.092 --> 00:11:35.233 and can get very, very interesting things happening 00:11:35.233 --> 00:11:37.067 when you relate with people. 00:11:37.067 --> 00:11:40.383 But then on the other hand I have this live practice 00:11:40.383 --> 00:11:41.336 sometimes more theatrical 00:11:41.336 --> 00:11:44.354 sometimes more relational where 00:11:44.354 --> 00:11:47.651 it's about actually staring someone in the face 00:11:47.651 --> 00:11:49.346 or being in the same room with them 00:11:49.346 --> 00:11:52.034 and imposing your physical presence on them. 00:12:05.067 --> 00:12:09.223 Our specific desire is basically to create social links. 00:12:09.223 --> 00:12:12.241 And the results are only the pretext to that. 00:12:12.241 --> 00:12:14.902 the films, the music, the albums 00:12:14.902 --> 00:12:16.351 or the pieces on the walls. 00:12:16.351 --> 00:12:17.953 Basically we live in a world where 00:12:17.953 --> 00:12:19.767 so many people create. 00:12:19.767 --> 00:12:21.833 You have people talking about the decay 00:12:21.833 --> 00:12:23.733 of the creative industry. 00:12:23.733 --> 00:12:27.100 How the music industry can survive to adapt. 00:12:27.100 --> 00:12:28.844 This is not the point. 00:12:28.844 --> 00:12:31.233 I think the point is what's really exciting nowadays is 00:12:31.233 --> 00:12:32.867 how do people create? 00:12:33.605 --> 00:12:36.067 and how that way that they create 00:12:36.067 --> 00:12:39.759 changes something in this world. 00:12:40.267 --> 00:12:43.147 I was kind of taken by this 00:12:43.147 --> 00:12:44.889 Bruce Nauman quote that like, 00:12:44.889 --> 00:12:47.900 "Anything I do in the studio, I'm an artist 00:12:47.900 --> 00:12:50.694 I'm in my artist's studio, if I do it here, it's art." 00:12:50.694 --> 00:12:54.037 And I thought like, that seems really freeing and great 00:12:54.037 --> 00:12:56.382 but then he actually limited it to his studio; 00:12:56.382 --> 00:12:58.900 he can only feel secure in his studio 00:12:58.900 --> 00:13:01.514 and I thought well, I'm going to try to shoot stuff 00:13:01.514 --> 00:13:03.067 out of the studio 00:13:03.067 --> 00:13:04.138 I was always shooting in the studio 00:13:04.138 --> 00:13:07.064 now I want to do it in front of an art audience 00:13:07.064 --> 00:13:08.759 call the whole process art 00:13:08.759 --> 00:13:10.067 and not do it in my studio 00:13:10.067 --> 00:13:11.633 and see if there's any barrier 00:13:11.633 --> 00:13:13.467 and of course there's no barrier. 00:13:13.467 --> 00:13:15.028 Anywhere you go and anything you do 00:13:15.028 --> 00:13:17.167 you can call it art if you want to 00:13:17.167 --> 00:13:17.967 if you're an artist 00:13:17.967 --> 00:13:19.933 if you're brave enough to call yourself an artist 00:13:19.933 --> 00:13:22.500 then you can say, "This is my art." 00:13:22.500 --> 00:13:25.018 of course people can laugh at it, but it is art. 00:13:25.433 --> 00:13:28.728 There is no obvious relation between the quality 00:13:28.728 --> 00:13:30.214 of a piece of work for example 00:13:30.214 --> 00:13:31.167 and the value. 00:13:31.167 --> 00:13:33.600 The market is very much disconnected from 00:13:33.600 --> 00:13:36.000 the actual object or the content 00:13:36.000 --> 00:13:38.898 Artists got fascinated with exactly that fact 00:13:38.898 --> 00:13:40.175 a hundred years ago. 00:13:40.175 --> 00:13:42.033 When Duchamp introduced the readymade 00:13:42.033 --> 00:13:43.983 that was exactly his point. 00:13:43.983 --> 00:13:47.884 You can put anything in there and then it will 00:13:47.884 --> 00:13:51.833 eventually become a commodity in that market. 00:13:51.833 --> 00:13:53.367 We are beginning to see new ways of funding 00:13:53.367 --> 00:13:57.010 happening and dissemination and artists participating 00:13:57.010 --> 00:13:59.000 more directly in their own market 00:13:59.000 --> 00:14:00.655 and not necessarily 00:14:00.655 --> 00:14:02.400 being cloistered off in their studios 00:14:02.400 --> 00:14:03.604 where you have the dealer acting 00:14:03.604 --> 00:14:04.788 as the sole middleman between 00:14:04.788 --> 00:14:06.321 the artist and the rest of the world. 00:14:06.321 --> 00:14:07.528 I was in New York with my friend Yancey 00:14:07.528 --> 00:14:09.293 who is one of the guys behind Kickstarter 00:14:09.293 --> 00:14:10.867 and he mentioned something really interesting 00:14:10.867 --> 00:14:12.219 He was like, "Oh yeah, you know 00:14:12.219 --> 00:14:13.449 the way you live your life 00:14:13.449 --> 00:14:16.000 you could probably live your life by having two 00:14:16.000 --> 00:14:18.600 or three Kickstarter projects a year. 00:14:18.600 --> 00:14:20.090 and that's it, you know?" 00:14:20.090 --> 00:14:21.200 And it's kind of true. 00:14:21.200 --> 00:14:23.600 I'm totally into this way of doing things 00:14:23.600 --> 00:14:24.800 of crowdfunding 00:14:24.800 --> 00:14:26.035 which is not a very nice word 00:14:26.497 --> 00:14:28.533 but I really believe in it so much. 00:14:28.533 --> 00:14:30.795 I just really think about it 00:14:30.795 --> 00:14:32.258 from different positions in the world 00:14:32.258 --> 00:14:35.929 and this is really amazing this Kickstarter thing 00:14:35.929 --> 00:14:37.000 to a lot of cultures. 00:14:38.233 --> 00:14:39.800 I think we're going to see 00:14:39.800 --> 00:14:41.633 really fantastic things coming 00:14:41.633 --> 00:14:43.200 especially in the next five years. 00:14:43.200 --> 00:14:44.433 The word is going to be spread out 00:14:44.433 --> 00:14:45.467 all around the world. 00:14:45.467 --> 00:14:49.654 [Braun Tube Jazz Band by Ei Wada] 00:15:01.433 --> 00:15:02.444 Well there has been a long tradition 00:15:02.444 --> 00:15:04.333 of the national artist. 00:15:04.333 --> 00:15:06.233 There are a number of names that you all know 00:15:06.233 --> 00:15:08.033 nations are a really proud about that they are 00:15:08.033 --> 00:15:10.571 British or Indian or U.S. artists. 00:15:10.571 --> 00:15:11.940 I'm a nomad myself. 00:15:11.940 --> 00:15:14.133 For us being in a tribe that moves around 00:15:14.133 --> 00:15:15.267 is not a problem at all 00:15:15.267 --> 00:15:17.159 because we don't care about places at all. 00:15:17.159 --> 00:15:20.900 No matter if you are in Toronto, Berlin or Amsterdam 00:15:20.900 --> 00:15:24.116 what matters for us is which kind of value 00:15:25.039 --> 00:15:26.733 do you embrace for your work. 00:15:26.733 --> 00:15:29.067 This doesn't matter whether you are based in Asia 00:15:29.067 --> 00:15:30.702 Europe or in America. 00:15:30.702 --> 00:15:32.560 Certain values are all over the planet 00:15:32.560 --> 00:15:33.900 and you'll find them anywhere 00:15:33.900 --> 00:15:35.648 and it doesn't matter if you're nomadic 00:15:35.648 --> 00:15:37.467 or a resident of a city. 00:15:37.467 --> 00:15:40.633 We've been seeing a rising of nomad artists 00:15:40.633 --> 00:15:42.633 in the past ten years a lot 00:15:42.633 --> 00:15:45.133 And basically it corresponds 00:15:45.133 --> 00:15:47.933 to a real need in our society 00:15:47.933 --> 00:15:49.800 of movement, of bodies in motion 00:15:49.800 --> 00:15:53.226 who go from one place to another by basically 00:15:53.226 --> 00:15:56.467 taking the pretext of making films or music 00:15:56.467 --> 00:15:57.823 to move around, to travel 00:15:57.823 --> 00:16:00.067 It's a very interesting idea of modern nomadism. 00:16:00.067 --> 00:16:01.515 And I guess, I don't know, but well 00:16:01.515 --> 00:16:03.140 that's what I'm doing and it's quite fantastic! 00:16:03.140 --> 00:16:05.161 I think a lot of people are doing this nowadays 00:16:05.161 --> 00:16:07.041 more and more, and it's not going to stop 00:16:07.041 --> 00:16:07.767 that's for sure. 00:16:07.767 --> 00:16:09.700 There's a real tendency towards that 00:16:09.700 --> 00:16:10.933 in our generation. 00:16:10.933 --> 00:16:13.067 And the Internet and all the digital tools 00:16:13.067 --> 00:16:14.467 or small cameras 00:16:14.467 --> 00:16:17.138 are an incredible way to work, to do this now. 00:16:17.676 --> 00:16:19.600 What I appreciate in my life is 00:16:19.600 --> 00:16:21.067 no matter where I go 00:16:21.067 --> 00:16:22.668 there are at least seven to ten people 00:16:22.668 --> 00:16:25.107 that I really know profoundly well 00:16:25.107 --> 00:16:27.266 I can trust them, they trust me 00:16:27.266 --> 00:16:30.133 and it goes far beyond a Facebook relationship. 00:16:30.133 --> 00:16:32.667 And I think that's really crucially important. 00:16:32.667 --> 00:16:35.033 You need to trust people, they need to know you 00:16:35.033 --> 00:16:37.367 they need to be here for you in good and bad times 00:16:37.367 --> 00:16:40.267 and not just only when you are in the "show mode" 00:16:40.267 --> 00:16:43.334 when you present and you are the cool artist. 00:16:43.334 --> 00:16:45.059 I couldn't imagine being an artist without that. 00:16:45.667 --> 00:16:47.400 For these types of creatives 00:16:47.400 --> 00:16:50.100 identity becomes a series of fragmented reality 00:16:50.100 --> 00:16:52.800 sets that need to be constantly channeled 00:16:52.800 --> 00:16:54.201 monitored and updated. 00:16:54.201 --> 00:16:56.291 This fragmentation does alter 00:16:56.291 --> 00:16:58.567 how we process the world via associated 00:16:58.567 --> 00:17:00.935 emotional and psychological effects. 00:17:00.935 --> 00:17:03.433 These identities, established through the use of 00:17:03.433 --> 00:17:05.533 avatars or profile creation 00:17:05.533 --> 00:17:07.800 alter according to the foibles of specific 00:17:07.800 --> 00:17:09.759 platforms and interfaces. 00:17:09.759 --> 00:17:12.336 A subject may a have a multitude of profiles 00:17:12.336 --> 00:17:14.867 created across a wide distribution base. 00:17:14.867 --> 00:17:17.700 These staggered profiles create a type of 00:17:17.700 --> 00:17:19.933 socialphrenic functioning that eclipses 00:17:19.933 --> 00:17:22.251 solo persona extensions. 00:17:22.251 --> 00:17:24.410 Users may reference a fellow synthetic 00:17:24.410 --> 00:17:26.322 by their character or avatar name 00:17:26.322 --> 00:17:28.233 even when interacting in 00:17:28.233 --> 00:17:30.889 phenomenologically-defined reality. 00:17:30.889 --> 00:17:33.304 According to traditional psychological theory 00:17:33.304 --> 00:17:35.951 these type of identity ecologies would represent 00:17:35.951 --> 00:17:38.551 a subtle splintering of a primary identity 00:17:38.551 --> 00:17:40.502 akin to schizophrenia. 00:17:40.502 --> 00:17:42.533 The base categories denoting emotion 00:17:42.533 --> 00:17:44.733 and psychological states need overhauling 00:17:44.733 --> 00:17:47.746 in line with contemporary/synthetic conceptions. 00:17:48.238 --> 00:17:50.672 I was kind of working with a lot of different voices 00:17:50.672 --> 00:17:52.867 in my head and different little people on my shoulder. 00:17:52.867 --> 00:17:54.367 I had an opportunity to do a program 00:17:54.367 --> 00:17:56.013 at Yale University, and while I was there 00:17:56.013 --> 00:17:58.477 I painted this big very somber black painting 00:17:58.477 --> 00:18:00.448 and as a way to sort of break myself 00:18:00.448 --> 00:18:01.980 of that cycle and kind of push myself 00:18:01.980 --> 00:18:03.188 into a completely new direction 00:18:03.188 --> 00:18:05.233 I painted a tiny little turtle down in the corner 00:18:05.233 --> 00:18:07.733 of this very somber black on black painting 00:18:07.733 --> 00:18:09.318 and that single little defacement 00:18:09.318 --> 00:18:12.333 allowed a whole new part of me into the work. 00:18:12.333 --> 00:18:15.773 I went from thinking of art as a strictly serious thing 00:18:15.773 --> 00:18:16.833 and if you're going to make serious art 00:18:16.833 --> 00:18:18.533 it has to be serious 00:18:18.533 --> 00:18:20.667 but that you can make serious art 00:18:20.667 --> 00:18:23.400 and have a very large amount of humor in it 00:18:23.400 --> 00:18:24.759 and sometimes that's the best way 00:18:24.759 --> 00:18:26.918 because you can use humor as a tool 00:18:26.918 --> 00:18:29.101 to attach things in people's brains 00:18:29.101 --> 00:18:30.733 and to kind of sneak things in the back door 00:18:30.733 --> 00:18:32.584 and allow concepts and ideas and things 00:18:32.584 --> 00:18:34.133 to move into the viewer's consciousness 00:18:34.133 --> 00:18:35.768 without them necessarily knowing it. 00:18:36.367 --> 00:18:39.155 One way that artists can strengthen their ability to 00:18:39.155 --> 00:18:41.570 make these unusual connections is 00:18:41.570 --> 00:18:44.032 through the power of the subconscious mind 00:18:44.032 --> 00:18:46.586 that we normally experience as dreaming. 00:18:46.586 --> 00:18:49.070 I would be very curious to get 00:18:49.070 --> 00:18:50.649 to a level of experience 00:18:50.649 --> 00:18:52.530 that would be dreamlike. 00:18:52.530 --> 00:18:55.267 Where you could be walking through a space 00:18:55.267 --> 00:18:57.290 in someone else's dream 00:18:57.290 --> 00:18:59.333 and have more of a sense because 00:18:59.333 --> 00:19:01.000 it's very hard for me to know if I dream 00:19:01.000 --> 00:19:03.374 similar to the way you dream 00:19:03.374 --> 00:19:05.236 or even to remember my dream so precisely 00:19:05.236 --> 00:19:07.495 that I think it would be quite interesting 00:19:07.495 --> 00:19:09.248 if somebody could make a piece 00:19:09.248 --> 00:19:12.125 that's as real as a dream 00:19:12.125 --> 00:19:13.591 and that you could actually make choices 00:19:13.591 --> 00:19:15.367 maybe but you're not in control 00:19:15.367 --> 00:19:16.700 and things like that. 00:19:16.700 --> 00:19:18.188 And I think in a way that must be 00:19:18.188 --> 00:19:22.136 the future of where art is about 00:19:22.136 --> 00:19:23.876 I have an experience and I'm trying to 00:19:23.876 --> 00:19:25.851 share it with other people 00:19:25.851 --> 00:19:27.615 and I'm limited if I'm painting on a canvas 00:19:27.615 --> 00:19:28.975 and it's square and it's this big. 00:19:29.882 --> 00:19:31.267 For all you cared you could draw the universe 00:19:31.267 --> 00:19:33.002 you could draw little martians 00:19:33.002 --> 00:19:34.419 running all over the place 00:19:34.419 --> 00:19:36.253 you could draw things you imagined 00:19:36.253 --> 00:19:37.855 you could draw real life scenes 00:19:37.855 --> 00:19:39.400 you could draw what you think about 00:19:39.400 --> 00:19:41.455 you could draw dreams 00:19:41.455 --> 00:19:44.450 you could draw people, in fact 00:19:44.450 --> 00:19:46.772 lots of people say they can't draw people but 00:19:46.772 --> 00:19:48.033 when you put your mind to it 00:19:48.033 --> 00:19:50.498 you can really draw anything. 00:19:51.233 --> 00:19:53.767 You know, maybe decorate the street 00:19:53.767 --> 00:19:57.244 because the street's a very nice thing 00:19:57.244 --> 00:20:00.657 but it's not the greatest to look at, you know? 00:20:00.657 --> 00:20:02.863 but what I might do is 00:20:02.863 --> 00:20:04.567 leave the arrows and all the little dots 00:20:04.567 --> 00:20:06.767 and slashes and lines 00:20:06.767 --> 00:20:09.133 but everywhere there wasn't that 00:20:09.133 --> 00:20:12.633 you could make the most beautiful designs 00:20:12.633 --> 00:20:13.823 you could ... 00:20:13.823 --> 00:20:17.533 I'd make it a law that your car would have to have 00:20:17.533 --> 00:20:20.301 wet paint on it every day on its tires 00:20:20.301 --> 00:20:21.904 and when you rode around it would make 00:20:21.904 --> 00:20:25.067 any colored track all over the road 00:20:25.067 --> 00:20:28.467 but it couldn't be on the lines 00:20:28.467 --> 00:20:29.567 and that 00:20:29.567 --> 00:20:31.596 that would make 00:20:31.596 --> 00:20:34.001 I guess the world a better place. 00:20:34.633 --> 00:20:36.700 The Future of Art 00:20:37.734 --> 00:20:39.481 Conceived & Edited by Gabriel Shalom 00:20:40.629 --> 00:20:42.500 Produced by KS12 / Emergence Collective 00:20:43.739 --> 00:20:45.440 Executive Producer: Patrizia Kommerell 00:20:46.819 --> 00:20:48.873 Assistant Editor: Clare Molloy 00:20:49.700 --> 00:20:51.610 Production Assistant: Annika Bauer 00:21:20.785 --> 00:21:25.798 This video was shot, edited and screened at the Transmediale Festival 2011 in Berlin, Germany 00:21:26.733 --> 00:21:29.978 CC 2011 BY-NC-SA KS12 / Emergence Collective 00:21:30.824 --> 00:21:34.118 Join the conversation! #futureofart