been feeling like my butt is burning
the blue crystals are additives that keep the sigi lit
it goes fast, just in time for another
too bad i quit years ago
time to go again
in case you really need to know, the closeup of the sigi paper has been magnified x650
stop motion generational video of (barely any) movement in (barely any) space
one of my favorite creators, David Byrne, in his youth and more than a generation later, in an imaginary self conversation:
both images courtesy of www—first by mapplethorpe, second unknown.
david: hi David
David: Hi, david.
david: congratulations on your new book HOW MUSIC WORKS
David: Oh, thanks.
david: looking back from your advanced years, what advice could you give young creators like me?
David: Well, david, as you know, I didn’t really think life was going to turn this way. You are incredibly shy and very much an introvert, and life on stage seems an odd choice for someone like you. I read somewhere that 69% of creative individuals have a mental disorder. You are one of the nutters! Perhaps you even have a mild case of Asperger’s syndrome. Get used to it, and get over your demons, david. Face your fear.
david: hmm…that’s challenging, thanks, David. So once I’ve done that, in a few years, what should I look to then?
David: My second advice would be to forget about the ‘do something else to it’ method. It’s total bologna. Take something and make it yours. Claim it. Be the best at it. Situate yourself in relationship to what else is going on. I wish someone had told me when I was you, to think about the context of my work. How is it being experienced, what location is it recorded for. In other words- context actually determines what is being created (painted, sculpted, written or sung). If I had made music for a chamber hall rather than CBGBs, you can imagine you’d be working quite differently today. Simply because your electric guitar would sound horrible in there. Think about the conditions in which your music is being heard. Is the place small and sounds flat? You might want to start thinking about what it would sound like in open air in, say, Prospect Park 2009.
david: are you serious?
David: As serious as a catatonic schizophrenic who broke a years-long silence to ask Sun Ra: “Do you call that music?
Instead of a physical dimension, I decided to let the other dimension happen in your mind. Take yesterday’s generational image, and here’s a recent story. It’s real, by the way:
Hannah thinks she’s constantly being filmed by pilots through all windows, anywhere she goes. Her life is being shown on channel 32. Every weekend, she takes out her photo albums, and reminisces about the past. See, this is me with friends on the beach. Look at my long hair. Those were the best days. You can also see it on TV, she says. You know how to find it. And stop asking all these questions. You don’t know how to find it? C’mon, stop pretending. I’m sick of your questions.
Rebecca can’t hear. And nana can’t remember.
sequential tri-generational image represents two generations in content
— justaposed with —
sequential tri-generational image represents a single generation in content
the single generation is not singular
done something to it
done something else to it
shoot a photograph, photograph it, photograph it, photograph it,photograph it, photograph it,photograph it,photograph itphotographitphotographitphotograaphitphit (X eleven times)
trees in rain. do something else to it. does it become art, and if you keep going, does it then stop being art?
Drawing on Jasper John’s thoughts on making art: “Take an object. Do something to it. Do something else to it.” I’m wondering — if this is the process of making art, then what is the process of making not art, or at which point this process of turning something into art reverses itself.
I sort of did the same thing over and over to it, but I assume that if you paint you’d also be doing the act of painting over and over on it.