The copyright debate is an absurd debate for emerging or the average artist. Only "A" list artists and their handlers worry about copyright and illegal copying. It's actually a 20th century obsession first laid out by Walter Benjamin in his essay, Art in the Age of Mechanical Reproduction. What's strange and new about digital networks is how the information flows and changes. Some of the most advanced information theorists of the 1960's talked about equating information decay with the second law of thermodynamics that talks about entropy. This new century is about information. The question is how does an artist gain support when they produce information? Is information collectible?
digital
networks
copyright
protection
generative
art
flow
information
theory
new media
media art
RANTAPOD
is is an updated riff off The society of the spectacle by Guy Debord. Consumers become marketing data in the ebb and flow of information systems. I edited this by separating all the spoken phrases and the rearranging them. I also created groupings of rythmic patterns based on drumming and drumrolls. I can see with this piece that even though I've shuffled all the bits of the performance, the meaning still comes through. The next steps are to train myself to perform so that in the post production process the material is rich. I'm also creating a rudimentary language system of tics and patterns. All of this leads to a databased performance work that can be generated by an algorithm.
debord
situationist
rant
art
commodity
video
vlog
new media art
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digital art
RANTAPOD