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Public Grace

Having watched several episodes of Black Mirror recently, I think it’s intriguing to discuss it. It almost doesn’t make sense to talk about Black Mirror as a whole because it consists of non-interrelated episodes, tied together by very inspired production and storytelling of a very talented team of people. Today I mainly want to talk about one episode, which goes by the name Nosedive. Be aware, there are spoilers ahead, so if you haven’t seen Season 3 Episode 1 of Black Mirror, make sure you do it before reading this.

Happy with her score: Lacie (Black Mirror: Nosedive)

Enjoying a private moment with her score: Lacie (Black Mirror: Nosedive)


Visions of the future are a common thing not only within arts, but also science and technology, and — on a more personal level — of course for each individual. Black Mirror has been giving us different scenarios in each episode. This one is kind of spinning forth a vision of an omnipresent social evaluation system that can be thought of as a logical step in development of social media (such as facebook). Bringing together social media and augmented reality could be considered a natural combination, as it’s already the case with games, see e.g. Pokemon Go.

What would have been perceived as an almost unrealistically futuristic scenario years ago, or at least far enough away, is now approaching us in a very apparent or immediate way. I guess you could say that Black Mirror is thinking things through, outlining a specific future scenario that is terrifyingly plausible.

But back to the episode: Social implications are probably the most important part here. We are being confronted with an environment of constant monitoring and self-censorship, which is clearly stressing people out, as indicated on several occasions in this episode. Yet a couple of promising questions arise: How much self-restriction are you willing to take in order to fit in? As in: How much do we all have to ‘shut up’ (or do the opposite)?

Constant Evaluation

Nosedive takes us to a very unrelaxed world of constant social evaluation.

Then there are those pastel colors. They soften the overall impression and perhaps leave the viewer with a somewhat numb or anesthetized vision of a dystopia, as a world where UI is omnipresent, where your social score is transparent and publicly accessible. The future looks very watered down and sugary, an image reminiscent of Pleasantville (1998) or even Brave New World — suppressed emotions resulting in a state that is sedated and tense at the same time.

In other words: The future wears a ton of make up. And this is where the development happens: Over time the episode progresses from clean to dirty, from silent to loud, from friendly to angry, gradually making the viewer come back to ‘normal’, or real life, the actual pre-technology default mode — with all its conflicts and raw stuff. My verdict: ★★★★★.


► Read summary on Wikipedia
► Watch the episode on Vimeo
► Wikihow: How To Stop Comparing Yourself to Others

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Mid-late

Sorry, Top 30 of 2016, but you will have to deal with an update. I have just discovered The Kilimanjaro Darkjazz Ensemble and its Mutations shall be my new #1 album of the year. I know it sounds a little exuberant, but just listen to this.

My blog has been discussing so much music lately that it seems to be slowly turning into a music reviews magazine. In order to prevent this from happening, next post is going to be about something entirely different.

Speaking of music though: As I have discovered very recently, Tame Impala’s The Moment is one shameless rip-off of Tears for Fears’ Everybody Wants to Rule the World. Isn’t it fascinating? Dibs on that idea.

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Discoveries 2016

As this year is coming to an end, it’s time to summarize it. Here’s my albums/EPs top 30. The list is based on different factors and especially the second part of it could have a (slightly) different order. Don’t be bothered with the order more than necessary.

I have discovered many new artists this year. This is largely due to my especially intense curiosity and Spotify. Thank you Spotify. Even though you might not be good for the music industry, you’re an excellent discovery tool. Artists (and thus albums) I have left out in the below list include Steve Hauschildt, Jon Bap, Eastghost, Helado Negro, Chinese Man, Whitney, Doctor Flake, Jonny Nash, Scraps, Cocainejesus, Idealism, S U R V I V E, Leisure and too many others.

The list is probably incomplete. While I’m writing this, Omar Rodriguez Lopez has released another album. This man has been releasing albums like a cornflakes factory this year.


Kind of out of this world: This picture.

Kind of out of this world: This picture.

ALBUMS & EPs of the year 2016: 1-10


    1. The Black Dog – The Book of Dogma III
      ► Mental Health Hotline (video)
      This is my #1. Experimental, hypnotic, dark, has something ungraspable to it.
    2. Tidus – Why We’re Here On Earth (EP)
      ► See You There (video)
      Tidus is probably my #1 discovery this year. I absolutely adore his style and his sometimes indiscernible speek.
    3. STS9 – The Universe Inside
      ► Supercluster (video); Sun, Moon & Stars
      This is out of this world. There’s even a track called Out Of This World on this album.
    4. Leron Thomas – Good Kung Fu (EP)
      ► Lychenstadt
      Something like a #2 artist discovery. Bold, and I wouldn’t exactly know what genre this falls under.
    5. Radiohead – A Moon Shaped Pool
      ► Burn the Witch (video)
      This one has to be on the list. I love the new album; I looove Radiohead.
    6. Electric Wire Hustle – 11th Sky
       Golden Ladder; March (video)
      Smooth stuff. Unexpectedly offbeat.
    7. Black Atlass – Haunted Paradise
      ► Permanent SmileBlonde (video)
      Also smooth stuff. This very young man sounds older than he is.
    8. The-Dream – Love You To Death (EP/Single)
       Ferris Wheel; Rih-Flex
      See my review. Great lyrical depth coming from someone who looks like a phony poser.
    9. Junior Boys – Big Black Coat
      ► Big Black Coat
      This album was released in the beginning of the year. I’ve stopped listening to it in the meantime, but it belongs in this section.
    10. The Weeknd – Starboy
      ► Starboy (video); False Alarm (video)
      The Weeknd is now someone else and this album is rather a loose collection than a round concept. I think this is more than appropriate in 2016. Pitchfork perceives it as an incoherent, “watered-down” “opportunistic compilation” by a “sanitized version of the second coming of Michael Jackson”. I’m going to ignore Pitchfork in 2017.


      Another cultural milestone this year (though not music): Finally watched Gerry.

      Another cultural milestone this year (though not music): Finally watched Gerry.


      ALBUMS & EPs of the year 2016: 11-30

    11. David Bowie – Blackstar
    12. Anohni – Hopelessness
    13. Zammuto – Veryone
    14. BADBADNOTGOOD – IV
    15. Gallant – Ology
    16. Drugdealer – The End Of Comedy
    17. Adrian Younge – The Electronique Void: Black Noise
    18. Goat – Requiem
    19. Seahawks – Escape Hatch
    20. Nicolas Jaar – Sirens
    21. DVSN – SEPT 5th
    22. Omar Rodriguez Lopez – Arañas el la Sombra
    23. Gonzo Jones – Misty Dreams
    24. Soft Hair – Soft Hair
    25. Woods – City Sun Eater in the River of Light
    26. River Tiber – Indigo
    27. Rihanna – ANTI
    28. Sports – People Can’t Stop Chillin’
    29. Tricky – Skilled Mechanics
    30. Mild High Club – Skiptracing

 

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Shock Value

I was going to write about The Weeknd’s new album Starboy, but having heard The-Dream’s new EP Love You To Death, I’m cancelling my earlier plan in favor of this stunning piece of music. I never thought I’d ever even talk about The-Dream. The artist from North Carolina, whose real name is Terius Youngdell Nash, never striked me as special, but this new release blows my mind. Initially it had me thinking of Jeremih.


The-Dream / Frame from music video for Falsetto

Keeps it low: The-Dream / Frame from music video for Falsetto (2007)


Bad things first: The visual artwork for Love You To Death is rather disappointing. Recently I’ve seen so many bad artworks (among them e.g. Kuedo’s Slow Knife) that are so bad they hurt your eyes. I can’t help but wonder if everyone involved were blind for approving these uninspired and, let’s not kid ourselves, plain ugly graphics. A 6-year-old could have done a better job there.

Good things: Obviously the content of this record, i.e. the music. I don’t remember the last time I came across something as heartbreaking as Love You To Death. It consists of five tracks, and they all deal with the usual things, such as feelings, sex and drugs, but enhanced with a lot of nostalgia and longing . The difference to many other R’n’B and hip hop artists (like A$AP Rocky or even The Weeknd) is that Love You To Death is not about social status or wealth — something usually accompanied by fancy cars and meaningless hookups. Wealth and money have been a topic to The Weeknd, as he says in this long interview with Zane Lowe for Apple Music, where he also talks about cars (which is where I started yawning).


We do candy until we’re ill
Isn’t this how love feels

The-Dream, Ferris Wheel


There is so much poetry to this record, it almost makes me cry. You will rarely see so much underlying vulnerability with those artists wearing caps and golden chains. Although of course we needn’t forget that artists like Drake have been attempting to show this kind of emotional realness in their work, all while trying to maintain street cred and confidence. I just didn’t expect this from The-Dream (on the other hand I’m not that familiar with his entire opus). It makes me think about what it is about showing vulnerability that is so beautiful and strange at the same time. The-Dream doesn’t look deep, wise, poetic or even smart in any way, yet his language use has a careful thoughtfulness to it, in a way that is yet to be challenged by most. Drake’s Marvin’s Room is perhaps most suitable to illustrate what I mean by “careful thoughtfulness”: Things like specific memories, vivid depiction of emotions, transport of emotional depth in general. Of course these are just few things out of many things that can be done via artistic expression, but they’re valuable because they are contributing to you learning about people.

Then there are those explicit elements. In fact, one of the most touching pieces on Love You To Death, namely Rih-Flex, is about a body part of a girl that the protagonist considers special, memorable or unique. It seems to be inspired by Rihanna. My jaw just keeps dropping at this almost psychedelic, or dizzying, mixture of emotional depth and sexual fixation. Lines like “Sit back, let it resonate” bear the potential to give you the chills. On the surface, the whole thing still manages to sound like your average R’n’B.

If we wanted to extract social criticism out of Rih-Flex, it would refer to this certain kind of women that successful artists seem to be surrounded with a lot — gorgeous and perfect, but emotionally unavailable and promiscuous. They somehow make it into a group of successful artists, but are not an artist themselves. They’re good at partying. They strike out of the mass of girls that are generally considered to be anonymous, meaningless hookups (“Woke up by a girl / I don’t even know her name”, The Weeknd, Party Monster), as mentioned above. I think The Weeknd sings about such a situation in Party Monster, False Alarm and other tracks. Among the above-mentioned people there might be some that are more ethically questionable than other people from same group, e.g. in terms of materialistic opportunism. The latter, shall we call them the good party gurls, are probably just confused by life. Party gurls are a source of suffering, because they represent the unreachable.


To sum up everything: The R’n’B gaze seems to be wandering from A to B to C, from b*tch to another b*tch, from car to another car. The artist is constantly zoomed in on singular experiences, apparently unable to zoom out to see the meaning of the whole picture, having an underlying identity crisis, being immersed in materialistic thinking, representing the smooth face of capitalism. Is this what cultural ADD looks like? I wouldn’t know, and also this doesn’t make sense, but hell, I love it when there’s all this reverb behind it.

In our age of individualism we are of course in search of experiences that will enhance our picture of everything, including ourselves. We are getting increasingly aware of options and possibilities, and the big picture is overwhelming because it doesn’t immediately make sense in its complexity.

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Beautiful II


Don’t throw a penny into the wishing well. If the penny lands on the hole, it will block out the air. If the penny falls on the hole, it will block out the sky.*

The Black Dog – Wishing Well


water


* My transcription

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interview

On Goats

Introduction. We all know: Goats have been around for centuries, millennia even. However, it’s not obvious to most that goats are also an important factor in terms of economy — today more than ever. They are actively co-shaping our world, making it a better, more nutritious, and at times more complex place. Without goats there would be no bees or trees, not to mention goat cheese. This interview is all about these divine creatures.

_

Talking to:  Claudiu-Vlad Ursache 

Who: Goat Expert and Software Writer
What: Goats

I’d like to thank the expert interviewee Claudiu for dedicating a bit of his precious time to discuss this deeply existential topic with us. Get in touch with him here (‣ Claudiu’s website), in case some of your personal questions remained unanswered in this interview.

Memorable moment for the goat (left): Claudiu-Vlad Ursache

Knows and understands most goats: Claudiu-Vlad Ursache | (c) Arcin / Claudiu

If you look at the DNA of a goat, you will discern many similarities to human DNA. In fact, goat’s DNA is ten times closer to human’s than Michael Jackson’s DNA. That is not to say that goats function in the same way we do. There are crucial differences regarding methods, goals and values. Before we get nosebleeds trying to figure out goats’ internal life and their role in co-shaping this world, it’s best to ask an expert. Here we go.


Let’s talk goats. How important are they for global economy?

Like the rubber O-rings of NASA’s Space Shuttle Challenger, goats may be often forgotten but they play a crucial role in today’s no government involvement, unless we’re in big trouble, in which case taxpayers please, please, please pay for our gamble free-market system. To give just a few examples of unexpected places in which these agile ruminants exert their influence: increased demand for capretto (found in Gucci shoes and narrations of 85$-dishes delivered by Michelin-starred generals) directly leads farmers in Texas to owning fewer cattle; a glance inside Palestinian smuggler tunnels uncovers animal fodder priced ten times above global market value as a direct consequence of goats kicking ass at being livestock in war-ridden terrain (and the Israeli trade embargo, of course); finally, the feral goat herds of Senkaku Islands are a diplomatic aura that keeps the $350 billion trade between Japan and China on track. ‣ Further reading

Can people and goats be friends despite different value systems?

Yes! The viral Hand-shaking Hoof-Facebook-profile-picture-filter movement in low-GDP countries has brought to light millions of homo-caprine relationships. A better proof for this natural inter-species bond we share is hardly necessary, especially considering the embodiment of aristotelian virtues that every goat has shown itself to be.


A glance inside Palestinian smuggler tunnels uncovers animal fodder priced ten times above global market value as a direct consequence of goats kicking ass at being livestock in war-ridden terrain.


What kind of goat would have the most difficulties changing a light bulb?

Survivors of the Capra eléctrica project — the undertaking planned by Thomas Edison in which goats were bred, trained and clockwork-oranged over the course of two decades for the sole purpose of discrediting AC-powered light bulbs in a carefully planed public demonstration at a New York amusement park in 1903.

Imagine you’re walking down the street at night. A goat crosses your way. What goat is it?

The Trump-supporting billy goat.

Pick any goat you can think of and say how it fits in today’s world and society.

I’ll go with Armin Ibrisagic’s goat. Even though it’s made out of bytes, vertex shaders, git commits, not atoms, molecules, eukaryotic cells, this digital Magna Capra has brought evening peace to as many people as Paris holds by unleashing the wrath of straight-horns upon unsuspecting cities.


Takeaway. This interview leaves us with quite a few insights into how goats act within our system. I’m glad our interviewee mentioned Armin Ibrisagic’s goat, as I was secretly hoping. You gotta see this special goat, if you get the chance, during the Goats United Festival, next edition kicking off coming June. There will be surprise guests and a firework, as I’ve been told by insiders. Keep an eye open for that one. As for economical advice we can derive from the above: Ditch gold and art hedgefonds. Invest in goat stock.

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Gold

As I’ve mentioned in one of the previous posts, I see a lot of potential in using technology to experiment with ideas. For my current purposes I’m going to narrow down technology to digital technology.

Contact forms and buttons, for example, mainly used for meaningful interaction between user and website, can be taken out of context on so many levels. The whole thing boils down to working with the concept rather than with the medium, and doesn’t have to be limited to a digital UI (but can also be printed on paper).


legst


The idea is more important than its physical representation 


Some theory on conceptual art, because it’s so interesting: The movement itself started in late 60s, but the influences date back to Duchamp’s Fountain (1917), which had caused controversy back in the days because it challenged two ideas:

a) a work of art must demonstrate artistic skill.
b) a work of art must be created using a traditional medium.

Both of these claims are to this day subject of discussions, dividing the public roughly into two groups. People who obviously lack the capacity of being sufficiently open-minded about the nature and potential of art would therefore often say something like my grandmother could do that about a conceptual artwork.

Something your grandmother might like: William Turner - Snowstorm

Artistic skill paired with traditional medium: William Turner, Snow Storm: Steam-Boat off a Harbour’s Mouth (1842)

This is something I often find idiotic. I just cannot see their grandmother doing that. Not because she’s physically or mentally incapable of bringing a urinal to a museum with the intent to get it featured, but because she won’t do it. She won’t do it because she, like many other people, likely won’t have what it takes to make conceptual art: confidence in an idea, courage to break conventions, ability to think on a pure level, artistic vision, motivation to bring forward public discourse. But I’m sure she can paint nice flowers.

What I love about conceptual approach is that it’s pushing the boundaries of art further than a traditional approach could do, by asking things like what objects can be art, does it have to be a physical object at all?

It goes even further asking questions like who owns a concept or how do you sell a concept? Maybe if you’re good at selling concepts, you can sell an invisible sheet of paper for $45.000,- to a respectable art collector. 


“When an artist uses a multiple modular method he usually chooses a simple and readily available form. The form itself is of very limited importance; it becomes the grammar for the total work. In fact, it is best that the basic unit be deliberately uninteresting so that it may more easily become an intrinsic part of the entire work.”¹²  Sol LeWitt, Paragraphs on Conceptual Art (1967)


Conceptual artworks will often confuse, but it’s what they’re meant to do. The process of consuming conceptual art is entirely different from, say, going to a Biedermeier-themed exhibition and marveling at nicely painted realistic looking horses. Horses are for the eye, concepts are for the mind.

Maurizio Bolognini, Programmed Machines (Nice, France, 1992-97). This installation uses computer codes to create endless flows of random images that nobody would see. Images are continuously generated but they are prevented from becoming a physical artwork.

Post-conceptual: Maurizio Bolognini, Programmed Machines (Nice, France, 1992-97). This installation uses computer codes to create endless flows of random images that nobody would see. Images are continuously generated but they are prevented from becoming a physical artwork. via

We arrived at the big dematerialization of idea about 50 years ago. Sol LeWitt’s Paragraphs on Conceptual Art (1967) is probably the most mentionable manifesto-like work on this. After all the discourse and movements and Duchamp and everything that has been put in a museum (throughout the history) it’s absolutely ridiculous to insist on traditional values in the way the above mentioned people do. Same goes for anti-conceptual movements, such as Stuckism4, whose members claim to be “on a quest for authenticity”. Please.

Present times need current methods, because ideas as well as tools change over time. Traditional art gets challenged by conceptual art. Conceptual art gets challenged by post-conceptual³ art.

I’m not saying an oil painting on a canvas in a golden frame is an obsolete form of art, because anything from the past can be referenced to and because traditional way is an equally valid way of expression.

Conceptual and traditional can both work or not work and be good or not good. But out of all things in this world, art requires an open mind. If you just want pretty pictures, then why don’t you watch a documentary about New Zealand.


References

¹ Paragraphs on Conceptual Art
² If You Don’t Understand Conceptual Art, It’s Not Your Fault
³ Wikipedia: Post-Conceptual
Wikipedia: Stuckism
Figures: Joseph Beuys, Sol Lewitt, Marcel Duchamp, John Baldessari, Marina Abramovic, Damien Hirst, Joseph Kosuth, Jeff Koons […]

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Re:

Dear Sir, dear Madam,

perhaps there’s some way you can help me. I’m a promising artist who makes unique art. I was wondering whether you would be interested in working on my behalf. Let’s help me together. Don’t bother booking an appointment. I know what your consulting fees are; lunch is far cheaper.

Damien Hirst is my spirit animal.

Damien Hirst is my spirit animal.

I just want to call and ask you a bunch of questions about myself and my situation. Please take time out of your day, read and study everything I’ve sent you, consider my circumstances, come up with some worthwhile ideas about how I can do things better, and then write everything up in a report and email it to me. I have no website traffic; you have lots. If I can get a link to my website on yours, then I can increase my traffic.

I would really appreciate if you would review everything I’ve emailed you about my situation, and either call and speak with me, or write up a report with your opinions on what I’m doing now, recommendations on how best to proceed from this point forward, and then email it to me.

I’d like to ask you questions about how I can improve everything I’m trying to do. Please review my situation, circumstances, resume, work history, website, approach to the marketplace, business plan, overall presentation, and then write up a report with your ideas and recommendations, and email it to me. What do you think about what I’m doing and how I’m doing it?

Please write your thoughts up in a report along with your recommendations and email it to me. Review my materials, think about what you can do to improve my status, stature or quality of life, write up a proposal about how you intend to do that, and then email it to me. I’ll look it over and decide whether you’re good enough for me to work with.

Regards,
the Artist


References

The above text is for the larger part selectively taken from Alan Bamberger‘s amazing blog about art industry. It consists of everything not to do when writing to galleries, agents or art dealers. This has been done purely for the joy of the experiment. Main lesson to be learnt here: Do not approach people in such a self-centered way, unless you really overdo it.

Photo cred: (c) Michael Birt

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Subject #1

Introduction. Hello and welcome to the first interview. The interviewee is me. The questions come from my friend Katy, who happens to be as enthusiastic about the idea as I am. As I’m still experimenting with layout and methods of display, this may not be the final form of how all upcoming interviews will look like.

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One of my pictures

In this introduction section I’ll usually talk about the interviewee and the topic of the interview. In this case, Katy decided to talk about creative practice and general things like places, seasons and cultural differences. Next interviews will revolve around goats and Marinara sauce, among other things, and might turn out completely different from this one.

Talking to: Yournamehere

Who: Description of whatever role is relevant to the interview. Can be occupation, something hobby-related or anything else. I’m open to suggestions here.

What: Topic (here: predominantly creative practice). Can be virtually anything.


Having talked to some of my future interviewees, I’m coming to the conclusion that an interactive interview might be more interesting or profound. The reasons are pretty obvious: Sending a list of questions means not taking the opportunity to immediately build on what the interviewee is saying. At the moment I’m still settling for just sending them five questions, because it’s the easier thing to do. About this specific paragraph: Switching to italics might put more structure into the layout. This is the extended part of the introduction.


You have a number of online names or personas. How far do these divides permeate? For example, is your creative process different for each name?

This is a complex question. I do at times have different names for different projects, yet I feel like I, as the person behind them, am the common denominator. I’m not trying to be anonymous at all costs when using a certain pseudonym, but I do enjoy taking a little step away from myself as a person by using a different name. The creative process feels like the same thing for everything I do, as it originates in my head (and ends up outside of it), so I always feel some kind of integrity towards what I want to represent.

You articulate in a number of mediums – painting, photography, writing, animation, to name a few. I wanted to know if you start your work with a disembodied idea and then you seek to find the right medium in which to express this idea (like perhaps a multi-lingual person searching for the right language through which to articulate in the least compromising way*) or if you begin with the medium and the idea comes from that point? Or if neither apply, please elaborate.

Ludwig Wittgenstein playing the banjo

Unrelated: Ludwig Wittgenstein playing the banjo

It starts with an idea. Disembodied idea is a good term for that. I tend to create very spontaneously (in all of the cases), and then work excessively for a couple of minutes or hours. In my case I think the ideas are born very quickly, it seems like they would appear out of nothing. So I pick the medium after the idea came up. The only (partial) exception is perhaps photography, because it relies on what’s happening in the outside world (you have to have the camera ready to take a picture when someone catches a beer glass with their forehead, for example). 

As for languages: Similar usage dependence issue as with photography, for me at least. Even more: I almost always use English for everything I do. I’m never really aware of the ‘least compromising’ way, as I’m rather focused on possibilities instead of limitations. Language limitations can also be seen as an advantage, or as something that can potentially enrich the idea, by challenging the ‘creator’ to think more.

Knowing that translation and language use always has to do with limitations though, I can also relate to people seeking to reduce compromise when it comes to expressing their ideas. Language kind of falls out of the above mentioned group of mediums by the way, because it’s so omnipresent and much more basic.

*I only speak one language, so I am not sure if this is something people commonly feel, but I’ve experienced multi-lingual friends reference feeling something like this.

I’m sometimes impatient when it comes to executing an idea.

You’ve become increasingly interested in coding and web design. Do you consider this work as a creative practice and in what way? And if not, how would you position this work in relationship to your more traditionally ‘creative’ work.

I think coding is the cleanest version of creation. You create something that makes sense or has meaning in whatever way, and it’s relatively free of certain references — the ones that are typical of traditional art. Artists often work with references, or they’re unintended but identified by the audience. References are not always manageable, so the outcome or impact of ‘traditional creative practice’ is not manageable either. With coding you can have a more streamlined and pure realization of your idea. Yet coding requires a lot of knowledge of crucial details, so the learning process, or the process of developing skills in this area, is slow (at least for me). 

I’m sometimes impatient when it comes to executing an idea. That’s why I’ve always appreciated ‘traditionally creative’ work for being more effortless. I won’t give up on the coding though. For now I’m working on a new, more lightweight, way of deploying dropdown menus so the user can determine what phrase fits best into sentence, as in here. I believe this can turn into a new way of deploying technology for ‘creative practice’.

A more personal question: You’ve mentioned wanting to find a work that demands you leave the house during winter. How do you see that the city of Berlin changes from season to season?

img_3418Seasons are very crucial around here. The climate will decide whether you stay indoors or go outside. The reason for this is very simple: It’s just the temperature. In the summer you always have more options, like a BBQ or a nice hike. In the winter the hikes always seem more difficult and laborious, and not only them, but every step you’re taking outside of the house. You then stay indoors more, but as you’re surrounded by the same setting, you need to constantly get something new into the setting. For example, many people would watch TV shows. I don’t really watch a lot of things and would like to leave house more in the winter to have more of a change or dynamic in my day.

I am interested in the period you spent in America and would like to know if, and to what extent, on returning from america you saw Germany and Russia in a new light? If so please expand.

I guess you can feel the ‘old world order’ in everything on our continent, as opposed to the U.S. It’s applicable to Germany as well as Russia. I’m thinking architecture here, but also interior design, the look and feel of everything. Other than that, I’ve come to understand political or ideologic differences a little better. Also I might tend to (want to) see more similarities between people of different origins, their beliefs and values. For example I think every culture would appreciate similar values, such as honesty or empathy. The appreciation of values and following these values might just be expressed in a different way or with different intensity with people from different cultures.


Takeaway. This section will aim to summarize the topic of the interview. What do we learn from this demo interview? Because I’m the interviewed person, my insights here are mainly related to layout. If we wanted to nevertheless talk about the point of this interview: Katy seems to be interested in how people come up with ideas and how these ideas work with certain mediums. I’ve been talking about this just yesterday, and I’m noticing that the way we see the medium is different for everybody. When you use a medium to express an idea, the medium can control you (by limiting) or you can control the medium (by not feeling limited). Thank you for these thoughtful questions, Katy!

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