Culture is the flowering of the effort to select. Selection means rejection, pruning, cleansing; the clear and naked emergence of the Essential. — Le Corbusier, Towards A New Architecture
- The market for tools and materials used for creative endeavors has more growth potential than the market for art. The cult of the unique artifact will continue to retain value; any twentieth-century item already in place will price itself out of individual collections, losing fluidity beneath a crippling insurance overhead. Machine-made forgeries will make a mockery of the museum charter, but no one will care because geographical bias will be as moot as mortgages by then.
- As we welcome ourselves into a world wherein all of us are artists of sorts, dilettantes of all media, we will begin to reap the rewards of our disastrous profligacy. We will contrive a global lingua franca which will be the sum of all our art histories—a gesamtkunstwerk that engages all the senses will supplant our impoverished single-channel narrative tongues.
- Gameplay abstracted is the music of thought. Chess teaches us to see in flux that which sits motionless within a grid. We learn that to dance within architectural constraints may bind us bodily but also unmoors our motile souls from the tidal brackwaters of diurnal drudgery.
- Suetonius was a Roman writer who gave us all the dirt on ‘The Lives of the Twelve Caesars.‘ Robert Graves was a poetic historian who breathed dignity into the bones of the emperor Claudius, who stammered and was thereby underestimated. The BBC’s dramatization of Graves’ two Claudius novels was the best thing on television until their next best thing, ‘The Singing Detective’ by Dennis Potter. Graves’ Augustus was assisted in his largely benevolent machinations of power by his wife, Livia, who just couldn’t stop herself from poisoning those who crossed her or her husband. ‘Poison is queen,’ the graffiti pundits asserted. Courtney Love loved ‘I, Claudius,’ and wrote it into her rider, I’d wager, that she was never to go without it while on tour. David Chase based Tony Soprano’s mother on his own problematic mother, but gave the character the name ‘Livia,’ openly acknowledging the influence in his creation of the first masterpiece of American television, ‘The Sopranos.’
- ‘The Sopranos‘ mesmerized its audience to the extent that its central figure was a moving target. We couldn’t predict his behaviors, even if his reactions played with transparent ease across his features and his body language was a primer on alpha-male swag. He was inscrutable; a hollow, holographic null space whose shape we could only infer by his reactions to the various antagonists who ran dizzy passes around his gravity well. The American audience was troubled by the proximity of the monstrous to the familiar and the familial. ‘The problem of evil’ is topographical, and only requires an imagination to resolve. We are all capable of the most hideous acts of cruelty against those we love, or those we don’t even know; and those acts don’t preclude a life of otherwise sanguine, gentle grace.
- There is an artifact of language at work here, muddying the discourse. Gore Vidal understood its significance, and was not merely being slippery when he made the distinction between saying,’I am a homosexual’ and ‘I have engaged in a homosexual act.’ Branding yourself into a demographic based upon a single act or a lifetime of single acts makes you an easier consumer to target. Understand, however, that we are all far more suggestible than we’d like to believe, and so just saying the words, ‘I’m a Gore Vidal fanatic’ smooths out some willful edge of you which would otherwise be inclined to challenge Mr. Vidal on some arguing point, the next book of his you devour. (Rest in peace, Mr. Vidal; you were our Suetonius and more.)
- Other television shows which turn upon the centrifuge of a problematic singularity of self include: House, Mad Men, Breaking Bad, Boss, Nurse Jackie… (If you can think of more, please illuminate me!) In a world grown increasingly narrow, our most human of human frailties are pathologized and criminalized; our most difficult, deepest wells of nonverbal, chthonian yearning find their chemical foil in pharmaceutical form. I posit no value judgment. There is a greater good that obviates the human greater good, and the age of the individual has already passed its apogee; it’s still just possible to wrest an interesting life from the Jaws of fate’s banal Summer Blockbuster, but our sentient attention isn’t essential anymore. Let’s take this moment while no one’s paying us any mind and use it for its least probable capacity.
- Genius states the obvious no one’s yet noticed. Duh.
- When someone says, ‘I’m an artist,’ they are signing themselves up for a daily awareness of living that has, as its principal premise. a lively engagement to the notion that change is the inverse of death. The artist’s Hippocratic oath is: ‘First, do not bore.’
- This blog will be an arena within which aesthetics will be autopsied without the use of anaesthetics.