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Cory Arcangel did an interview with me, published today at Rhizome.org [dead link - see below]. Thanks to him for the good back-and-forth, once I got my rather long-winded biographical reminiscing out of the way, and Marisa Olson for her editing. (Update: Marisa just reposted the lead-in to the interview--newsGRIST's reblogging of Rhizome's original post.)*
It was great to talk about music with Cory, whose work I really like. The 8-Bit Construction Set LP--which he made with the BEIGE crew--still gets props, most recently in an article in Wired. Also "Rudy Tardy and the Slowes," his solo music that I posted here a while back, continues to be listened and linked to, just this month by an Italian site called neural.it. We also talked about visual art--Chris Ashley found a good excerpt that I will probably post as a teaser; see the comments for now. In fact, I'll probably end up putting up goodly chunks of the interview here as I continue to have second thoughts and/or run out of new things to say.
At the end of the interview we discussed what it means for an artist to be "all over the place," i. e., not just sitting in the studio turning out objects in that same signature style. I gave the best answer I could--it's tough. I understand the benefits of that kind of forced discipline, and go in and out of periods of Tim Hawkinson-like focus myself, but I hate that it's the only measure of commitment or worth as an artist. One hope I had in starting the blog was that the various diverse activities documented here could be seen as feeding into some kind of overall artistic sensibility. But for all the lip service paid to the idea of cross-disciplinary practice by curators, etc., it's still viewed with skepticism. In the art world's collective unconscious, the prime model is still a romantic primitive like Albert Pinkham Ryder, painting all day and sleeping on the streets at night in a rolled up carpet. And doing nothing else.
reposted with more verbiage...and ranting
Update: New Link to Cory's interview with me.
*Update 2: Marisa Olson's lead-in is now at http://rhizome.org/editorial/2005/oct/31/tom-moody-chats-w-cory-arcangel/
Digital Media Tree blogger Jim Louis returned to his house in New Orleans, in one of the neighborhoods not smiled upon by the gods in the recent weather disaster, and has this report. Jim has been living in another state but still owns property in the city; he went back to assess the damage and is there now with his laptop. In a related post he said the water level on his block came to four feet, which is just slightly higher than his floor. My thoughts are with Jim as he surveys the damage in a city he has been reporting to us on for years.
Shoutback Dept., No. 1. Thanks to Marius Watz for his nice post on the Generator.x blog, published in connection with a conference and exhibition in Oslo examining the current role of software and generative strategies in art and design. Check out some of Marius' interactive abstractions here; they are seductive to look at, fun, and actually use the computer's image-making capabilities in way that lets the machine do some of the thinking, as opposed to my low-tech simulacra.
Shoutback Dept., No 2. Thanks to Ran Prieur for seconding my complaint about the Carter "energy sweater" urban myth, which holds that "Nerdy Jimmy Carter Wore a Sweater When Talking About Energy." This is wrong. To reiterate: Carter wore the sweater on many occasions after the '76 election, it was part of his laid-back "man of the people" persona, post-Nixon and his foppish uniforms for White House guards. Yet for some reason, media mavens of the left and right and even bloggers continue to enliven their prose with the image of the "nerdy energy sweater."
I've been enjoying Ran's site, which has many interesting things to say about dropping out and living off the grid that I hope to respond to in the coming weeks. Here's a pearl from his blog:
Notice that every article about energy systems contains the word "needs." How much energy do we need? Our ancestors did fine for two million years, or two hundred million if you count our pre-human ancestors, with energy gathered by plants through photosynthesis, taken into our bodies through eating, and channeled through our muscles. Do industrial energy systems make us happy? Do they give our lives meaning? Then why are suicide and depression rates higher in countries with greater per-capita energy consumption?
The only thing we need, beyond basic survival, is participation in a system that builds itself bottom-up from autonomous action. "Energy" makes us miserable and stupid when and only when it is gathered and parceled out by control systems. The nice thing about oil and coal is that they run out, and that they pollute the air to cause eco-catastrophes, which are far preferable to having our lives managed by the institutions that own the energy. Sustainable, clean energy that you can't cheaply gather in your back yard is the worst technology possible, because it will enable the systems that enslave us to continue forever.
I think behind human history is an evil collective consciousness that wants to crush the spirit of life, and techies are unwittingly resonating with it. After they take care of energy, they'll invent a way to make us immortal, so we can't even get out by suicide. We will become eternal torture victims of the megamachine, just like in Harlan Ellison's classic sci-fi story "I Have No Mouth And I Must Scream."
Jerry Saltz reviews Ludwig Schwarz's New York debut, sort of, in this week's Village Voice. Readers of this blog may have some passing familiarity with Schwarz from posts about him over the last couple of years (here, here and here), and from the "art is for the people" link that used to be on the left hand column (the site is gone and much missed; all that remains is the "brief history of texas blues"). Saltz misspells Schwarz's name and makes a dig that the work is "a little familiar in its funkiness" without explaining who else is similarly funky, but a review is a review. In fact, there's not much substance to the piece--the reader doesn't know what "jobbed-out paintings and tricked-out videos" means unless you google and end up, say, here (hard with the artist's name misspelled) and even then you won't learn what Saltz means by "tricked out." Did Schwarz cover TVs with sequins and feathers? (Obviously I missed the show's one day run.)
I'm burning up the mp3 charts at 397. Let's see, Bon Jovi, Coldplay, Scorpions, Kanye West, Christina Aguilera, House Classics for Solo Organ... D'oh, think maybe I better start putting my name on my .mp3 files, now that I'm getting traffic from download sites I didn't know about.
"Something Clicked (Reaktor)" [mp3 removed]. This is an older tune reworked with Reaktor synths. An almost gentle calypsoid techno becomes very...obdurate. Originally written in a notation software program, which is where the screen shot below came from. A couple of people said they thought my music had evolved. I think it only got louder (see comments to previous post).
"Clip City" [mp3 removed] (reposted). Been massaging this tune, which was a crackly mess when it first appeared. I love the analog drum machine sound, but discovered the kicks and toms are so full-bodied digital audio won't capture them unless the gain is turned way down for the recording input. Sometimes you can raise it again in the mix but that's not working here. Nothing's lost in the final version, it just means the .mp3 is quieter and you'd have to bump the volume on your player to hear it at its best. I think some versions of iTunes adjust volume so all loaded tracks sound the same.
All the sequencing in this song I did, in other words, no found or cut-and-pasted MIDI. I know the lead line is ridiculous but sometimes I just rebel at doing a lot of musician-like variations in the melody. Octave jumps, that's all you get. The filtering is also all analog. It's kind of a prototype. I have this idea of doing a suite of 10 songs for the drum machine and Sidstation, which could be performed pretty easily live. I'm kind of bummed I can't get louder recording, though. Also, after I finished the tune I realized it sounds like Antonelli Electr. Oh well, if you're going to imitate people it might as well be your gods.