September 30, 2014
Only Lovers Left Alive….

The most remarkable thing about Jim Jarmusch’s modern vampire movie (the only non-Japanese movie I’ve seen all month) was the way in which street landscapes where represented. The nighttime photography from a moving vehicle, of Detroit, created an authentic awareness and respect of space. Similarly but with equal contrast, Tangiers was an opium infused hallucination, one that was a throwback to expressionist soundstage production design and mis-en-scene. 

Using what amounted to a spotlight as the car moved through the night was an interesting choice and certainly one born out of necessity. You could rather keep the scene very dark, or with a light on a moving vehicle, do what in essence, wedding videographers do with those small LED lights attached to a camera. Of course, this is not as simple, but that’s probably what was going on.

On a Hollywood Production, the whole street would have to be lit to mimic the “feeling” of nighttime by making sure everything damn thing was completely visible and exposed “the right way”.  Of course this is a generalization, but If you’ve ever scene a large production take up a block on Hollywood Blvd, or Downtown LA, you are keenly aware of the fact that enough amps are used to light up Kabul for a week.

The other peculiar thing I found about this movie is Jarmusch’s subtle disdain of the internet and it’s culture of accessibility. Most artist dealing with the enormous digitization of the world probably feel nostalgic about the old days, whereby we couldn’t find every image ever created on Youtube or Tumblr. 

Memory is but a memory. But memory is often more beautiful then the real thing.





September 27, 2014
#creature

#creature

September 26, 2014
#nightvapor ….

#nightvapor ….

September 26, 2014
Drops in the Stream….

Launching a new single channel (for now) web project on Oct 1 2014 that runs daily until Dec 31st 2014, titled DROPS IN THE STREAM.  A set of instructions is available but is hidden from plain site. We drift through the binary, and reconciliation is not promised. 

You can be a visual participant by bookmarking this page which will feature a new video daily, or subscribe to the Youtube page , that hosts the videos.   

We also have a Tumblr page that gets pushed the same content from Youtube if you so happen to prefer that format.  

If you have any questions, please send them my way through the contact page. And remember, all of life is in beta now.
 


September 25, 2014
DROPS IN THE STREAM - new single channel(for now) work running daily from Oct 1 - Dec 31st.

DROPS IN THE STREAM - new single channel(for now) work running daily from Oct 1 - Dec 31st.

September 25, 2014
#nightstalkers

#nightstalkers

September 23, 2014
what kind of sleep is this pumkin….

Two or three times a year I am burdened by insomnia.  Actually, I’m not quite sure I can call it that because in my most natural state, I am of the species of animal that thrives in the night.  But, adulthood makes that a difficult condition.

All through my teens and college years I had a habit of staying awake almost right before the sun came through the horizon.  I always schedule my classes at UCLA to occur afternoon, and when I couldn’t, those classes were hardly attended.  I learned to pass classes with technique instead of attendance.  

In high school, my senior year marine biology class attendance was under 20 days total that semester, because of the unbearable 8am start time. Most of those days where quiz or test days. The teacher whom I won’t name lead the class with a round of applause everyday I would show up (terrible social reinforcement). At the time, I thought it was funny what I was able to get away with, but I can’t imagine how any of this was helpful instruction. To my benefit, I did receive an A in class with the usage of my survival “technique”.  This was also when I figured out that the educational system that I was receiving in the public schools was a sham.  This gut feeling, even though I continued through a similar system for many years afterwards, persisted.

As a first generation immigrant, schooling was a necessity, not a choice. It is almost impossible to describe what this feels like, but I can assure you, other immigrants of certain cultures understand this very well.



September 22, 2014
the rewards of music….

The learning of a musical instrument is a great metaphor to our shifting world. An instrument by its nature is difficult. You learn it through discipline, one small step after another, till one day, many years later, you feel comfortable holding it and skilled at playing; it but still, the nagging feeling that you know absolutely nothing about it persists.  A guitar, piano, the trumpet, the tabla, they’re infinite in regards to mastery.

Now, as we shift from an analog world to a digital one in all aspects of life, we also change the relationships of process with regards to analog tools. Our traditional instruments are analog. Our most recent instruments however are software (and in fact, they don’t have to represent an analog doppelgänger), and as is the nature of digital tools, constantly changing and updating. Although the base of said software might remain the same through the course of its development, it is in continual iterations. Software instrumentation is also non-linear, automated, capable of interacting with many inputs and outputs and sometimes capable of creating its own musicality with just a set of parameters without even being “played” (a theremin on binary steroids). Our analog instruments do not work in this capacity, for the most part.  

The other key difference is that often, the actual recording software (DAW) is the instrument. This mixes both the instrument(s), and the recording, in one space. This obvious insight might not seem important, but think it through. When I first picked up a guitar, I had no idea that one day I might learn how to record music. But, kids with an iphone or ipad start recording immediately. The instrument is just one piece of the recording puzzle. And we are now handed the recording capability first (without even asking for it in many cases), then the instrument.  This is a complete flip of process. This gives precedent to the making of music, as opposed to the playing of music. 

So, the process is different. Software is by it’s nature, much easier to understand, and the brevity of it’s learning curve makes proficiency come at a much swifter rate. People do not spend a decade learning a piece of software and then suddenly coming to an “aw haw”, a moment of absolute clarity that happens periodically to players of analog instruments.  Mostly because software gives a much swifter response to hardship. With software, you are ready to go after browsing a manual, checking some tutorials, and chugging a huge cup of coffee blended. Of course it helps to have a musical background, but its not a necessity to get started. Sure it gets more difficult when you expand your range and tools, but, it wants you to learn it fast. Your muscle memory is never tested. 

This is a non-judgmental observation.  This is the reality. If you are a teenager thinking about music, a small investment (or, ripping) will get you started, almost immediately. In fact, an intro software is probably included on your phone or computer already for free.  In roughly two years, with some tenacity, talent and luck, you might have uploaded a song on Youtube or Soundcloud and have thousands of people hear it.  In the old world, two years on a guitar might not even be enough time to get you in front of 10 people at your local open mic’d coffee shop. Just look at the ultra youngster electronic producers who are making hit songs, all by themselves and in record time.  

Just like everything else in this new world; we are glued to our screens and creating everything inside a little box with a backlight.

September 20, 2014

Astonishing Experience Box Set, a video installation from 2006 is now contextless & lives on the internet. (trt: 6:52)

September 20, 2014
Astonishing Experience Box Set (2006 Video Installation)

I’ve been sitting on a couple pieces from yesteryear never really sure what to do with them anymore.  Two video pieces in particular have stood in the vault since their premieres, both with context specific deliveries.

One particular piece, 2006’s ASTONISHING EXPERIENCE BOX SET was a video installation that had its run at the Seed Gallery space in Santa Ana, California, and after, was boxed away indefinitely.  Only one DVD was made at the time (as was the plan), and was bid on, but me being overtly idealist at the time, refused to sell.  The money wasn’t that great anyways, if i remember correctly.  

Now, a good many years have passed, and, in due course, the source materials been transferred into digital binary, making it’s indefinite disappearance kind of disingenuous these days. My thinking is that, yes, it’s stripped of its context in a pure sense, and with that, what kind of a video installation is it, when the installation is gone? And the simple answer is, a video of course. Here below is the description, and some instructions into how to make it work.  Or, just press play. I provided some context on its original form below.

_______________________________________

Installation Premiere: 10-7-2006
Online Premiere: 9-19-14
Instructions: Headphones and a dark room preferable.  In fact, a pseudo living room would be best (of course, I can’t force you to do anything in a virtual space).

Performance Notes: 
On Oct 7, 2006, the Astonishing Experience Box Set installation premiered at the Seed Gallery at the artist village in Santa Ana California. The show ran from Oct 7 - Dec 2, 2006. The show was billed as “Light. Shadow and Motion: exploring the way light alter our environments”.

The installation included an old television, a dvd player, optional headphones, a chair, and a faux living room setup. In some ways, similar to the old Maxell tape commercials, although the living space was more archaic. On the television, the Astonishing Experience Box Set played as a loop.

This was the only time that this particular installation was made available to the public, and the DVD that hosts the Astonishing Experience Box Set was never played again. The total run time of the video from start to finish was 6:52, and was broken up into 6 distinct experiences. But, in direct conflict with the installation setup, there was no restriction to the viewing of the the video in linear terms, and the option of sound (headphones) was the direct responsibility of the viewer.


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