Inspiration

Things that other do or did and made an impact. (see also http://novadeviator.tumblr.com for another stream of inspirations)

Herman Kolgen

HERMAN KOLGEN-SEISMIK-perfo extracts from Herman Kolgen on Vimeo.

-> Herman_Kolgen_Seismik_perfo_extracts.mp4

 

AN ACCLAIMED MULTIDISCIPLINARY ARTIST WITH MORE THAN TWO DECADES OF EXPERIENCE IN MEDIA ARTS, HERMAN KOLGEN LIVES AND WORKS IN MONTREAL. AN AUDIOCINETIC SCULPTOR, HE DRAWS HIS RAW MATERIAL FROM THE INTIMATE RELATIONSHIP BETWEEN SOUND AND IMAGE. KOLGEN CREATES PIECES THAT TAKE ON THE FORM OF INSTALLATIONS, VIDEO AND FILM WORKS, PERFORMANCES AND SOUND SCULPTURES. HE WORKS IN A CONSTANT CYCLE OF EXPLORATION, AT THE CROSSROADS OF DIFFERENT MEDIA, TO CONJURE UP A NEW TECHNICAL LANGUAGE AND A SINGULAR AESTHETIC.

THE IMPACT OF TERRITORIES ON HUMAN LIFE LIES AT THE HEART OF HIS CONCEPTUAL PURSUITS. THE RESULTING BRUTAL TENSIONS AS WELL AS THE INTERPLAY BETWEEN VARIOUS ELEMENTS CONSITUTE THE EPICENTRE OF HIS PRACTICE. HIS MULTIFACETED WORK IS CHARACTERIZED BY A RADIOGRAPHIC APPROACH. IT’S THIS X-RAY EFFECT, WITH ITS IMMATERIAL QUALITY, THAT ALLOWS THE INVISIBLE TO BE SEEN.

INITIALLY ASSOCIATED WITH THE DIGITAL AND ELECTRONIC REALMS ACROSS AN ASSORTMENT OF HIGHLY SENSITIVE WORKS, HIS APPROACH THEN TAKES A SHARP TURN TOWARDS INCREASINGLY HYBRIDIZED FORMS. HIS INSTALLATION PRACTICE ALSO INTEGRATES AN IMPORTANT SPATIALISATION COMPONENT, MOST NOTABLY REGARDING THE FIELD OF SOUND. THE DESIGN AND APPLICATION OF RANDOM SYSTEMS OF AUTOGENERATIVE IMAGE/SOUND ALSO ALLOW FOR THE CREATION OF AUDIOPHONIC SPACES MARKED BY THEIR IMMERSIVE QUALITY.

HERMAN KOLGEN’S WORKS HAVE MOST NOTABLY BEEN PRESENTED AT THE VENICE BIENNALE, ARS ELECTRONICA, BERLIN’S TRANSMEDIALE, ISEA, THE GEORGES POMPIDOU CENTRE, CIMATICS, DISSONANZE, MUTEK, ELEKTRA, SONAR, TAPEI DIGITAL ARTS AND SHANGHAI E-ARTS. HE HAS ALSO PERFORMED WITH PARIS’ ENSEMBLE INTERCONTEMPORAIN AND THE LOS ANGELES PHILHARMONIC. HERMAN KOLGEN HAS BEEN AWARDED MANY PRESTIGIOUS PRIZES, INCLUDING ARS ELECTRONICA, QWARTZ AND THE NEW YORK AND LOS ANGELES INDEPENDENT FILM FESTIVALS’ BEST EXPERIMENTAL FILM. FROM 1996 TO 2008, HE DEVOTED MUCH OF HIS CREATIVE OUTPUT TO THE SKOLTZ_ KOLGEN DUO.

https://vimeo.com/user2308701
http://www.kolgen.net/

rules for beginning writers

  1. Do not write long sentences. A sentence should not have more than ten or twelve words.
  2. Each sentence should make a clear statement. It should add to the statement that went before. A good paragraph is a series of clear, linked statements.
  3. Do not use big words. If your computer tells you that your average word is more than five letters long, there is something wrong. The use of small words compels you to think about what you are writing. Even difficult ideas can be broken down into small words.
  4. Never use words whose meaning you are not sure of. If you break this rule you should look for other work.

— V. S. Naipaul

Anthony Storr: Music is a temporal art

“Music is a temporal art. Its patterns exist in time and require duration for their development and completion. Although painting and architecture and sculpture make statements about relationships between space, objects, and colours, these relationships are static. Music more aptly represents human emotional processses because music, like life, appears to be in constant motion.” — Anthony Storr in Music and the Mind, p. 79

Deleuze: work of art – act of resistance

Let’s say that is what information is, the controlled system of the order-words used in a given society. What does the work of art have to do with it? Let’s not talk about works of art, but let’s at least say that there is counter-information. In Hitler’s time, the Jews arriving from Germany who were the first to tell us about the concentration camps were performing counter-information. We must realize that counter-information was never enough to do anything. No counter-information ever bothered Hitler. Except in one case. What case? This is what’s important. Counter-information only becomes really effective when it is—and it is by nature—or becomes an act of resistance. An act of resistance is not information or counter-information. Counter-information is only effective when it becomes an act of resistance.

What relationship is there between the work of art and communication? None at all. A work of art is not an instrument of communication. A work of art has nothing to do with communication. A work of art does not contain the least bit of information. In contrast, there is a fundamental affinity between a work of art and an act of resistance. It has something to do with information and communication as an act of resistance. What is this mysterious relationship between a work of art and an act of resistance when the men and women who resist neither have the time nor sometimes the culture necessary to have the slightest connection with art? I do not know.

Malraux developed an admirable philosophical concept. He said something very simple about art. He said it was the only thing that resists death. Let’s go back to the beginning: What does someone who does philosophy do? They invent concepts. I think this is the start of an admirable philosophical concept. Think about it… what resists death? You only have to look at a statuette from three thousand years before the Common Era to see that Malraux’s response is a pretty good one. We could then say, not as well, from the point of view that concerns us, that art resists, even if it is not the only thing that resists. Whence the close relationship between an act of resistance and a work of art. Every act of resistance is not a work of art, even though, in a certain way, it is. Every work of art is not an act of resistance, and yet, in a certain way, it is.

Take the case of the Straubs, for example, when they operate the disconnection of voice and visual image. They approach it in the following way: the voice rises, it rises, it rises and what it is talking about passes under the naked, deserted ground that the visual image was showing us, a visual image that had nothing to do with the sound image. What is this speech act rising in the air while its object passes underground? Resistance. Act of resistance. And in all of the Straubs’ works, the speech act is an act of resistance. From Moses to the last Kafka including—I am not citing them in order—Not Reconciled or Bach. Bach’s speech act is that his music is an act of resistance, an active struggle against the separation of the profane and the sacred. This act of resistance in the music ends wich a cry. Just as there is a cry in Wozzeck, there is acry in Bach: “Out! Out! Get out! I don’t want to see you!” When the Straubs place an emphasis on this cry, on Bach’s cry, or the cry of the old schizophrenic women in Not Reconciled, it has to account for a double aspect. The act of resistance has two faces. It is human and it is also the act of art. Only the act of resistance resists death, either as a work of art or as human struggle.

What relationship is there between human struggle and a work of art? The closest and for me the most mysterious relationship of all. Exactly what Paul Klee meant when he said: “You know, the people are missing.” The people are missing and at the same time, they are not missing. The people are missing means that the fundamental affinity between a work of art and a people that does not yet exist is not, will never be clear. There is no work of art that does not call on a people who does not yet exist.”

 

from Deleuze’s lecture/conference “What is the creative act?”

 

download: Gilles-Deleuze-on-Cinema_-What-is-the-Creative-Act-1987-English-Subs.mp4

Rick Falkvinge: Creative Commons Torpedoes Copyright Industry Lies

The copyright industry has long repeated the claim to politicians that the copyright monopoly is necessary for any culture to be created at all, to the point where politicians actually believe this nonsense. Actually, their ‘lie’ is divided into two parts:

The first falsehood is that authors, makers, and inventors must be paid for anything to be created at all. This lie is actually rather obscene coming from an industry which has deliberately created structures that make sure 99.99% of musicians never see a single cent in royalties: 99% of good musicians are never signed by a label, and of those who are, 99% never see a cent in royalties. So it’s quite obscene arguing that culture must be paid for, when this very industry makes sure that less than one artist in ten thousand get any money for their art.

The second lie is that the only way for artists to make any money is to give the copyright industry an absolute private governmentally-sanctioned distribution monopoly, the copyright monopoly, that takes precedence over any kind of innovation, technology, and civil liberties. This is an equally obscene lie: all research shows that artists make more money than ever since the advent of file sharing, but the sales-per-copy is down the drain. The fact that the parasitic middlemen are hurting is the best news ever for artists, who get a much larger piece of the pie. Of course, the copyright industry – the parasitic middlemen in question – insist on pretending their interests are aligned with those of the artist, which they never were.

Therefore, in believing these two lies combined, politicians grant this private governmentally-sanctioned monopoly – the copyright monopoly – in the belief that such a harmful monopoly is necessary for culture to exist in society. (Just to illustrate what kind of blatant nonsense this is, all archeological digs have been rich in various expressions of culture. We create as a species because we can’t exist in a society and not express culture – it’s because of our fundamental wiring: not because of a harmful monopoly.)

So what could act as conclusive proof that these lies are, well, lies?

Creative Commons.

In the construct of Creative Commons, you have placed the power over this monopoly with the authors and makers themselves, rather with the parasitic middlemen. And the interesting observation is, that once you do, millions of creators renounce their already-awarded harmful monopolies for a number of reasons – because they make more money that way, because they prefer to create culture that way, or because it’s the moral thing to do.

Once you point out that the actual people who create are renouncing their already-awarded monopolies, and are doing so by the millions – actually, more than an estimated one billion works of art according to the Creative Commons organization – the entire web of lies falls apart.

The copyright monopoly isn’t necessary for culture to exist. It was always tailored to benefit the parasitic middlemen. And these middlemen have tried their damndest to prevent actual artists from seeing any of the money.

Now, you could argue that specific expressions of culture couldn’t exist. You’d be easily disproven – for example, most multimillion-dollar blockbusters make their investment back on opening weekend, far before any digital copy exists as a torrent. Besides, why would you prop up and lock in a specific form of culture with a harmful monopoly, when forms of culture have always evolved with humanity?


Rick Falkvinge is a regular columnist on TorrentFreak, sharing his thoughts every other week. He is the founder of the Swedish and first Pirate Party, a whisky aficionado, and a low-altitude motorcycle pilot. His blog at falkvinge.net focuses on information policy.

(via TorrentFreak)

30 Patreon secrets to success

Do it consistently. Mean it every time. Love it, and never force it.” –Flight Chops

“Stop waiting to make the perfect thing — what you can release this week will always beat what you dream of releasing next year”. –Mike McHargue (Science Mike)

Be consistent in releasing your creations. Content is king. Do it because you love what you do, not because you think it’ll make you a million dollars.  Happiness = Reality – Expectations” –Stuart Yoshida (Ooktown)

“Think long term. Things might not happen overnight for most of us, but if you’re in it for long term, things will probably go exponential.” –Cuckoo

Be dedicated. Life as a creator can be really tough to be honest, so many people give up and leave their dreams behind. I’ve been holding onto my dream as a media creator for over 12 years and if I ever gave up, I wouldn’t never have had the opportunity to say ‘I made that,’ nor would I have met other cool creators. One of the greatest feelings is seeing your imagination come to life and it opens so many windows to an amazing future! Always keep your old work too, no matter how bad you think it is, it shows how you’ve improved and tells the story of where you began and what made you, you today.” –Mindstorm Productions

“Channel your creativity into something you’re passionate about — don’t just create something to please others or to gain views. That won’t get you anywhere you want to go, and isn’t nearly as rewarding. There are a million creators out there, but only one you… so create what only you can.” –Amanda Lee (LeeAndLie)

“Try to convey the pure sense of joy you get from creating. Let people know there’s always room on your team. Encourage interaction, suggestions, and feedback.”-Tim (Table To Paudio)

“Create, create, create! Don’t wait for things to be perfect. Improvement will come through iteration, practice, and persistence.” –Dr. Kiki Sanford (This Week In Science)

Do the work, build the community, then ask for money. Don’t get the order wrong.” –Patrick Beja (RDVTech)

“Create. Create all the time and keep releasing stuff, even the stuff you aren’t proudest of. Keep that flow of information and creativity going and you will find yourself constantly needing to create. The constant flow also attracts more attention. People show up to experience your creations and the act of creating.” –Dyson Logos

“Don’t expect money to roll in until you’ve established a loyal fan base (by creating consistent quality content).” –Gregor Czaykowski (Loading Artist)

“Despite what it might look like from the outside, being serious about content creation is much more about staying true to the content and much less about trying to please your audience. If you are under the impression that being ‘serious’ means tweaking so that everyone’s happy, then you’re missing the point.” -Anon

“Just do it — keep creating and sharing.” –Cassy Fry

“I’ve met people who have stressed out for days, weeks, months or years over how to make their first video absolutely perfect. Well let me tell you a little secret. It never will be! The only way to get better at something is to do it over and over, again and again. So just accept that your first video won’t be the best. Your second will be better, and your third even better. It’s all upwards from there! So if you’re serious about creating… Get creating!” –John Atkins (Uke Teacher)

“Know your audience.” –Max Vaehling

Do it often because you love it and there is little else that brings you more joy. Listen to feedback and make adjustments as you see fit, but always understand that it’s your work and you have final say. Trust your instincts.”  –Daniel Anderson

“Make the content you would want to watch!” -Anon

“Bank plenty of material! I find it’s important to release material regularly to keep patrons engaged, so I have a backlog of recordings & videos I can draw on when I’m too busy to make something new.” –Carsie Blanton

Be patient, be disciplined, be productive, and don’t be shy about promoting yourself.” –Anna Landin

“Make time to work and just do it. Keep working and trying to improve instead of worrying that your work isn’t good enough.” -Tait

“Only create what you enjoy creating, you need to have fun and love what you doing or it won’t work out. Keep consistent, don’t let dislikes or haters get to you. Pay attention to the ones who love what you do.” -ParamoreMike

Invest, be patient, reach out to other creators for help. Share the love and build a community.” -Laura Brouwers (Cyarin)

“More than anything, don’t give up. I know that sounds super generic and wishy-washy but it’s true. Content creation is hard work, and sometimes in the dank hours of 2 AM it feels like nobody but you cares about what you do. But guess what? There are people out there who love what you do but probably haven’t heard of you yet! Get out there and let them know about your passion for making orchestral soundtracks using a spatula, xylophone and several kinds of mason jars, or whatever it is you do!” –Jessica Vandyk

Be the #1 fan of your own work!” –Junk

“Engage with your community as best you can, but don’t beat yourself up when your community grows too large for you to engage with everyone.” -Anon

“Stop giving your stuff away for free. Let people in on your process.” –Ian Durias

“Produce work, share it, and don’t get down if it seems you’re throwing it into the void at times. Do what you enjoy in a way that doesn’t make you cease to enjoy it any longer.”  –Tallulah Cunningham

“Start creating what you love, and release, release, release. Properly tag your work and be sure to tag related artists, songs, etc. Casting a wide net will bring in people who may love your work that otherwise would not have discovered it.” –Luke McQuillan

Stay true to your heart, create with love and passion. The rest happens through that.” –Nate Maingard