Future of Art, an immediated autodocumentary that reinforces the ideas behind contemporary art practice by having been created during the Transmediale digital cultural festival in Berlin.
A structural analogy could be compared with how the dichotomy of music has rippled over time. I'm no embracive authority on musical history, but periods where musicians, technology and production have been reclaimed by the fans has seemingly played an integral part in reshaping the aural industry over time.
For instance, backyard Bluegrass before Jazz in swanky clubs, the portable guitar removing the Big Band equation from making Rock 'n' Roll, the ripping through of Punk when Art-University Psychedelic Rock had reached the epitome of their Marshall Stacks, the scratching of records on two turntables with a microphone when Disco flared its flourishes in the exclusive NightClubs, and the onset of Grunge made in garages when Glam Metal and Pop dressed-up to the nine carrots for a crack at the Golden Record. It's ironic that music culture was one of the first media forms to tackle head-on the concept of the net, notably, Napster. When its nourishment and endurance rested with those times the people reclaimed the art-form and reinvented it back into the community.
As media artists, virtual virtuosos, internet inventors, or digital designers the need for a massive million dollar studio to realise a concept, or expensive crew with oodles of experience with "I've been in this industry a long time" skill-sets, or chic editing houses with SMPTE bar-fridges packed with a PLUGE of refreshments, or business-suited distribution deals ... is no longer the standard predicament of the potential production master.
The studio is the bedroom, the kitchen, the backyard, the urban streets, and the crew are friends, enthusiasts, civilians, netizens with enthusiasm more so then union membership, and the editing houses are portable technologies, open source software, a mishmash of affordable but effective hardware, and the distribution is peer processed to a diverse audience by a few cycles of clicks from a net-smart index finger.
Okay, so we all get that now, and the vibe tends to put many into an arbitrary fit of success seeking, whereas the most rich sources stem from the sincere contributions made to the cultural milieu, media motivated by the freedom (I have outlined) from the previous decades of decision makers who made a buck pulling strings and plugs on personal projects by independent artists.
I've embedded the Future of Art autodocumentary below.
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