The LEAP towards Youtube in 2007 or scared shitless of bad comments....

It's hard to believe that Youtube is not even a decade old. It seems to have been with us from the beginning.

What is more astonishing is that Youtube stars are more popular with teens than even the biggest top down celebrities as this Variety Survey documents. Poor ol Leo sitting in last place.

Now, these are the biggest of the big, but Youtube works in more lateral ways, and in smaller and smaller tribes, who remain vibrant and relevant. But this relevancy is different than what we were conditioned to understand. As Kevin Kelley described in his now famous (and in internet terms, dated) manifesto, "1,000 True Fans", relevancy is really only important to the people who care.

And you don't need too many people to care about what you bring to the table, as long as you're bringing something to that proverbial table in the first place. As Seth Godin would state, something REMARKABLE. Now, remember, remarkable is a shifting phrase. Pewdiepie is not remarkable to baby boomers, but he sure is too millions of teens. And that's the damn point.

So, this gets to my original thought. Back in 2007, while I was going through the ringer of an MFA program at this place, me and my pals (pretty much the whole class of fairly bright kids), all kind of shrugged our collective shoulders about using this new platform to reach out.

In the world of the higher arts, it was prestige less, a self publishing platform for people who couldn't find support in the business. A bunch of self absorbed people talking about non-important things, or terribly produced home videos with nothing to offer.   

What a fucking absolutely rubbish thought that was! And that's the difference between leaping fearlessly forward, or sticking to the status quo. You rather jump, watch somebody else jump, or sit on the sidelines watching other people take initiative and change the world.

So, here is a lesson for anybody reading this. Nothing is sacred in the arts or business, and all empires fall sooner or later (much sooner now). So, when an opportunity(really an obligation) presents itself, jump of that cliff and maybe it will work. Maybe it won't. But it's much cooler to be an explorer than a hesitant wimp. And Youtube won't last forever either. In fact, on the internet clock, it's running out of time, while a host of new platforms are springing up left and right. Are you experimenting, or rolling your eyes again? It's a choice.

So, cheers to a great 2015!

The Amateurs vs learning about Picasso

"In my opinion, though, it's more important that someone learn to make music, draw, photograph, write, or create in any form, regardless of the quality, than it is for them to understand and appreciate Picasso, Warhol, or Bill Shakespeare..." 

David Byrne writes the above quote in the fantastic thought piece, HOW MUSIC WORKS. Here, he talks about the need of amateurs to keep the arts vibrant, and more importantly, to bond a self healing glue for societies, with an emphasis on the disadvantaged.

At a certain point in the American industrialized education system, we abandoned the active creative arts, for art history.

The powers that be thought it more wise (and certainly less expensive) to teach an understanding of mostly Western Classical Art, than to let children create. Funding for arts programs plummeted all through the country in the last decade. 

But the creative act itself is the most vital. Art history and criticism is more the perpetuation of an elitist system created to worship monuments, over intuition.

Now, don't get me wrong, I've worshipped some of those masters works myself, but I would advocate for less worship, and more encouragement to the youth, who are seeking ways to figure out problems.

One of the best vehicles human beings "created" for problem solving, is art. And the evidence is clear that problem solving skills is an extremely desirable trait in industry now. So, if you want to give a gift to a child and an advantage, a nice pat on the back and a Beat Machine can go a long way.

Mirs - Take Away (Official Visuals)

Took a long while to finish this out for a host of reasons, but, the video is now live. I collaborated with my friend Tom Flynn on the concept, and we where both so busy with other projects that it never finalized. The footage, sitting all alone, for many months, deep in the throes of a mechanical hard drive in Burbank. The song itself was released in 2012.

the lusting after things beyond our control....

One thought of late has been about my relatively recent obsession with animation. Ghibli obviously being the crown jewel of the cinematic version, has my complete undivided attention, a feat of impossibility these attention starved days. My most anticipated movie this year for me, the one that really gets me excited is THE TALE OF THE PRINCESS KAGUYA, and the previous year was Miyazaki's THE WING RISES. 

That happened to be my favorite movie going experience as well. I was all alone in the theater. 

My reasoning can be in due part to Ghibli's scarcity. Miyazaki is retired, and Takahata I'm assuming will too. Takahata is in his late seventies. They are the last of the 2D master's and with them retired, the cinematic art form of traditional animation will suffer a great, incalculable loss.

I also feel that my obsession is driven by the fact that this process is so foreign to me, but such a specialized gift that is not aided much by other things in it's raw sense. It is an expression from hand to screen. And, I also know with almost absolute certainty that I can never personally draw a 2D movie. (However, I would be more than happy to direct. In fact, I have a concept ready to go, so go ahead and hit that contact button if you're a a visionary first, and a super cool investor second. Thanks.)

We often do storyboards in live action, then film it. The process itself is always a reenactment of something. A reenactment of life when we work in the pseudo realism tradition of today. One that is in love with it's scripts.  Of course, cinema is full of examples of people who strove for something else. The Tarkovsky's, Chris Marker's and a grand host of other's rejected this traditional Western reenactment for for something else. I only use these two examples to expedite this thought to page. 

Animation to me is a pure process. Of course, massive amounts of man power and time (often much more time than live action) are needed to make it happen, but in it's purest sense, it lives on a piece of paper. Less tools, less middle men, less technology and much more a translation of a dream.

this is my favorite studio  logo....

leaving projects behind or always finishing.....

I recently picked up footage from a shoot we did over a year ago. We had some hiccups immediately during post, mostly because the world we were going to build in the box was a bit too complicated and time consuming without a larger team. This was an in-house production, so we aimed high, but the cost analysis did not add up.  A little after that realization we actually continued forward with some progress, but life got busy and other important priorities took over.

Now, this happens now and again. Personally, I just move forward without the burden of the past. If the ship is moving, why hit the brakes?

However, deep down, I'm often bothered by projects left to burn in their own ashes. Mostly because other people put in the time.

This is different than long term projects that are continuous and take time because of aesthetics, strategies or just out of necessities. I'm specifically talking about projects abandoned. Nine times out of ten, these are just scripts, treatments or half baked ideas that get pushed aside for newer scripts; but every once in awhile, its actually raw footage being tossed. You took the time to write something, got people together, and you shot the damn thing, and without any hesitation, you just threw it away. 

But here is where everything gets tricky. We are in the throes of "content world" now. Everything counts. The golden goose, and the piles of trash. They all have utility, serving the purpose of fulfilling the highs and lows of our culture. The stream of life is not historical. The origin story is now. Do you have enough material to feed this voracious monster?

With that in mind, I just salvaged some visuals locked away in harddrive hell.  Conceptually, the idea has changed, I'll be honest. But, the adjustment actually makes more sense now, since it's more in line with a certain creative process I'm dealing with, NOW.

Here is a still from the upcoming MIRS TAKE AWAY visual. The record is two years old and the footage, recently rescued from the depths of a harddrive in Burbank California, is over a year old. Who the fuck would know if I didn't say anything anyways.

Visuals from MIRS TAKE AWAY

Running an experiment.....

I'm on day 13 of my single channel video work, DROPS IN THE STREAM. My web-host Squarespace is helping to trouble shoot a minor glitch in the page that I'm hosting my project on. It seems that the videos sometimes skip ahead or move around at odd times. The easiest fix so far is to go back to the previous video that skipped ahead, and play it again. However, it should be resolved shortly.

But, aside from this little UI blip, and the fact that a Youtube Channel and Playlist exist for it without any glitches(along with Tumblr), I am excited about its strange development. We got a long way towards our Dec 31st completion, so please subscribe here, or bookmark here. 

The original post with the only hint of info can be found here:

musings of youth and hip hop....

This last few days I've been on one of my periodic pop culture rendezvous, where I survey a specific landscape that I feel my touch slipping away from.

This round happened to be hip-hop, it's new culture and the first wave of OG's reflecting on where the form has gone. Just a footnote before I get labeled; my youth was spent listening to rap and hip-hop and my roots are that of B-Boy. My crew, OSB used to battle at malls, schools, clubs and anywhere else little dudes could roam the streets and engage in rhythmic warfare. Violence hardly ever broke out, but occasionally a dance battle would turn into an actual battle.

This was during the second wave of breakdancing. I experienced the first wave as well, but I was too little to understand the culture. From spreading out cardboards to keeping PLEDGE in my backpack for lubricating linoleum, this was one of my true teenage passion. I'll provide visual evidence at the end. But alas, i grew out of favor with hip-hop, mostly as a result of new hobby's and experiences. Still however, I am a fan to this day.

One particular note of interest in my recent cultural prowling was promo videos featuring the new kids on the block in hip hop. This being the social media age, the youngsters are all savvy of the technology of promotion.  You don't need to fork over big bucks of your advance to do elaborate music videos or smart campaigns, because in essence, you are doing it all the time. Always on twitter, always on instagram, and tumblr, the homies have some form of capture device on them at all times.

It's not hard to come by a 5d, or a Red Scarlett, or a slew of semi-professional camera's these days (and hell, what is professional anyways anymore). Everybody, including your momma has them. And shit, on a 1080 screen, an iphone is good to go. So, everybody is shooting something all the time. Now you just package that extra footage into "promo's" that end up going on youtube as a way to diversify.

The flow of content is a stream. And to not participate is death to an up and comer. In fact, it's death to everybody except a very select few who've managed to keep those giant, top down, middle of America careers of yesteryear. 

One thing that struck me odd about these promos is that the subject of the piece often, if not incessantly, would be looking down at their phones. This was a very common thread. It's jarring watching videos of somebody who spends an inordinate amount of time looking down at their phones. They're not even fully present through the prism of something that is trying to capture them in the present. And this becomes self reflexive. You ask, "do I do that, because, it looks really dumb". In fact, you might. I know I'm guilty at times.

Further, the subjects would often use their phones to capture another fleeting moment through a picture (instagram) or video. Always looking at a screen, or through a screen. Contextualizing everything through pixel.s

Now, granted I was looking mostly at Hip Hop promos because that's where pop culture is now. I don't think there are 17 year old rock and roll kids getting 6 million dollar 360 deals. And they too probably spend time staring into the abyss of electronics. It's an age thing. It's a culture thing. But, my guess is that there is more to this story.

Which brings me to my theory that our phones, through technology serve some strange psychological need to stare at moving things through light, while desperately trying to hoard moments, and store them away; basically trying to capture a life that's always slipping away, ungraspable. 

There is no doubt that our second life in digitalism will be our preferable choice in a very near future. It's an extremely effective opioid, creating the distance from the dirt and grime of reality. You can break up a relationship without direct conflict. You can insult someone without consequence; you can be a sexist, a misogynistic creep, all without even a cold stare from the other end.  However, it comes with many consequences. Chief among them, loneliness and detachment. That might not sound so bad, but when added up, the results are terrifying.

And with all that talk; here is some breakdancing in a living room, featuring your's truly and some ol school homies.

Peace.

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.

insomnia, can't quite shake this lovely feeling, oh baby.....

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.

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.

creatives in a world of more creatives....

It's hard to imagine sustaining the creative class as the numbers inflate and the capital diminishes.  But, we are also in the throws of the chopped hierarchical tree, in which a select few where given the whole share of resources and attention for their creative endeavors.

Length, size, genre, mediums, fidelity, production values are just some of the things that seem to matter less and less, as ultimately, attention becomes the trophy creatives seek, sometimes in the most desperate ways.

The death of the critical class is inevitable because the distribution of the voice is constant. An opinion is an opinion after all, and control of content doesn't exist.  What you ultimately get is the good with the bad.  Then this naturally follows, "what is good and what is bad". Nobody gets to decide for you anymore. 

9.7.14 - 9.14.14 - THE LIST

Film list from the previous week:

1. Steamboy - Kazahuro Otomo 
2. Metropolis - Rintaro 
3. Battles Without Honor and Humanity - Kinji Fukasaku
4. Dodes'ka-den - Akira Kurosawa
5. Galaxy Express 999 - Rintaro (the film version)

This was an anime heavy month for me, as I had to reexamine the form for various purposes. The sensibilities at times are out of sync with what I personally enjoy, but in other moments and depending on direction, the works are spellbinding.  

Some of my favorite films of all time are "anime", although most of those titles fall unto the Ghibli team, which mostly functions in a separate category then "anime" in it's most common associations. It's almost impossible to dislike what Ghibli produces, but I feel hesitant to even write about those works, because to do so feels heavily redundant. If you don't enjoy what Ghibil has to offer, you're probably not interesting in movies in general.  

But there are some other anime classics that remain deeply integrated into my psyche.  The sheer weight of imagery in AKIRA, the collective works of Satoshi Kon, and Shinichirō Watanabe's Cowboy Bebop series are some examples.  Yes, these examples are generally the touchstones for the genre, but again, I'm far from an expert in this subject.   

just gander at the insanity of this image....

Japanese cinema, "now" now, and then....

I've been on a Japanese kick of late.  I happen to return to this culture, frequently, for a vast bouquet of inspiration.  Simply, the well is never dry.

The last five films I've watched this week were Japanese. One observation I've made is that the Western Cinematic tradition has lifted heavily from this world, and Akira Kurosawa ( i feel silly leaving a link here, but I'm going to assume that a good percentage of people are not that familiar with him, and do not give the same unwavering adulation to say, Stanley Kubrick) being on the receiving end of this homage ripping, while also being the most universally influential. But aside from the good type of artistic stealing which is mostly an "influential" lifting, there has been a much more malignant form of culture appropriation, which comprises of the more serious form of perjury. And yes, this bad form of stealing is rampant in cinema.

In the prior decades, distribution was the real barrier to familiarity with international cinema. The world, before NETFLIX and the web was a localized arena.  So localized in fact, that believe it or not, you'd have to go to a movie theater to see a movie (perhaps a film festival, or art-house theater, school, etc).  And, if you didn't catch it, then you'd have to hope for some form of taped distribution.  It wasn't till the late 70's whereby people were actually renting and buying movies.  At this juncture in the space time continuum, the selection was incredible limited.

With the explosion of VHS and the video store, more titles could be discovered. But, media was not ubiquitous, and our reference points were limited to stuff we heard about, or actually saw; which again, had serious limitations in breath, scope, and in memory. Image those days, in which Wikipedia, Google and Youtube were not at your beckon call, and did not serve as your assistant brain (soon to be, First Brain). Yes, scary indeed.       

Say you saw something really interesting in an obscure Japanese movie from the early 70's, and were a filmmaker in the 80's and even early 90's, and you happened to steal heavily from it.  In fact, even go so far as to purge it's images, its style, its flow.   People would hardly know.  Only a relative few.  And surprisingly, unlike music and other types of arts, this type of heavy lifting would not even be frowned upon critically, and certainly not by the general movie going audience.  For the most part.

The idea of originality in Western Cinema has long been a secondary by-product; a term Hollywood tried to bury (and successfully) in the 50's (purely conjecture here).  It's worked.  This is one of the only arts where familiarity gets a pass almost every-time.  And as the post-modern infiltrated movie making in the early nineties, it was even considered cool.  

But on a personal level, I always felt a more kindred liking to original works (herein I'm referring to a more direct style of moviemaking) then post modern assemblies of those styles.  But that was then, and now is now.      

But, "now" now, is not like the 90's now.  People dream up movement phrases like, "The New Sincerity", and while this might last for "now", it can never congeal into anything resembling the classical arts movements of a prior century.  Because we have moved past time oriented "movements".  We are in a post-movement world; better yet, post-mechanical-watch.  Human time doesn't neatly pack itself into bubbles anymore, because it's umbilical cord to our evolutionary clock has been cut.  

And "now" is like the scene from the Mel Brooks film SPACEBALLS:  Now "Now", Not "Then" Now.  This sentence above, however is not my own, i'll gladly admit.  In fact, I lifted it from a wonderful conversation between media theorist David Ryan Polgar and Douglas Rushoff.  If only cinema were so nice to attribute.

I'll leave you with this apropos image from Kinji Fukasaku's BATTLES WITHOUT HONOR AND HUMANITY

a quantum question....

Mirs - Summer God Complex (Official Visualization 2014)

Here is the visual representation for the MIRS track SUMMER GOD COMPLEX. This video is a digital deconstruction of footage that originated from an infamous, lonely and appalling source.

That source was also the lead-in into the writing process, although it was just a jumping point, a kernel of story that evolved into something else.

The deconstruction of the source footage also plays into an internal, corrupt mind grasping at order, and at times seeing beauty in it's own destruction. The process involved the breaking down of codecs.

the future: a robot, the human....

Last night, towards the end of an intimate wedding, three men huddled together at the back of a fancy hotel courtyard, cocktails in hand, discussing THE SINGULARITY. An almost spontaneous conversation with very little pre-talk. Straight faced, and committed.     

Two days prior, in a small downtown bar, the patron and bartender sparked up several conversations. It was obvious that these talks happened quite regularly. As one conversation bounced to the next, THE SINGULARITY reared its once ambiguous head into the dialogue seconds before serialized Japanese Yakuza movies from the 70's.   

A week before this, in a large cafe with a direct path to the Hollywood sign, a man and a women, after a lemonade and espresso chatted about the robotic overlords; one part jest, one part contemplative certainty.  

THE SINGULARITY: no longer relegated to sci-fi dork-hood, or computer scientist savants and futurist with lots of time on their hands.  It is now part of the dialogue. Maybe not with the same rapidity as The Kardashians, but in enough minds to infer that it's manifestation is inevitable. Lets just make sure we can become friendly enough to make room, because our time as the top of the chain is limited.  As Douglas Rushkoff states, "I'm on team human".