[a website for the Editor and Narrator of the Circo del Herrero series]
In case you missed them, here are our best tweets.
That’s really all you need to know. (…Is this is why you don’t follow us on twitter?!)
[“BLA and GB Gabbler” (really just a pen name – singular) are the Editor and Narrator behind THE AUTOMATION, vol. 1 of the Circo del Herrero series. They are on facebook, twitter, tumblr, goodreads, and Vulcan’s shit list.]
“But one of the most conspicuous things about today’s young creators is their tendency to construct a multiplicity of artistic identities. You’re a musician and a photographer and a poet; a storyteller and a dancer and a designer—a multiplatform artist, in the term one sometimes sees. Which means that you haven’t got time for your 10,000 hours in any of your chosen media. But technique or expertise is not the point. The point is versatility. Like any good business, you try to diversify…
Among the most notable things about those Web sites that creators now all feel compelled to have is that they tend to present not only the work, not only the creator (which is interesting enough as a cultural fact), but also the creator’s life or lifestyle or process. The customer is being sold, or at least sold on or sold through, a vicarious experience of production.
Creator: I’m not sure that artist even makes sense as a term anymore, and I wouldn’t be surprised to see it giving way before the former, with its more generic meaning and its connection to that contemporary holy word, creative…
When works of art become commodities and nothing else, when every endeavor becomes “creative” and everybody “a creative,” then art sinks back to craft and artists back to artisans—a word that, in its adjectival form, at least, is newly popular again. Artisanal pickles, artisanal poems: what’s the difference, after all? So “art” itself may disappear: art as Art, that old high thing. Which—unless, like me, you think we need a vessel for our inner life—is nothing much to mourn.”
Read the rest.
Interesting thoughts, though we think that art and Art have always been separate realms, coexisting. And in these realms they feed off one another, though art has always taken up more space than Art, where Art has never been “popular” in the same sense, because it takes more time, etc. Art just seems to be in it for the long run.
Read also: Why Literature is no longer Art.
[“BLA and GB Gabbler” (really just a pen name – singular) are the Editor and Narrator behind THE AUTOMATION, vol. 1 of the Circo del Herrero series. They are on facebook, twitter, tumblr, goodreads, and Vulcan’s shit list.]
If you are yet to experience “Too Many Cooks,” here it is:
‘It’s hard not to see this as a parody of how shows sometimes radically reinvent themselves, as well as of our current culture of reboots and reinterpretations. Sometimes, people claim that a concept’s “adaptability” illustrates its strength. “Too Many Cooks” demonstrates how weak this argument is, at least on its own. Because there’s nothing to adapt, except the theme music and the idea of too many cooks spoiling the broth.
It’s easy to see some of these title sequences as belonging to shows other than the sitcom Too Many Cooks — shows that reinterpret the original “concept.” But in fact, they are different aspects of the same show. All of these characters interact. The first generic departure, into detective drama, illustrates this concept: what we’re seeing is more akin to a spin-off, depicting the workplace adventures of the member of the Cook family who’s a police officer. Except, of course, this isn’t a spin-off. The title sequence is still continuing, so we’re simply reflecting the fact that Too Many Cooks is such an ensemble show that it has a whole second cast, focused around the police department. In fact, “Too Many Cooks” establishes this idea even earlier, when we meet a set of characters in an office. Even the sci-fi sequence, which feels the most like a reinterpretation or a separate show, is actually just another setting explored on the same show. After all, it’s also part of the same title sequence.’
[“BLA and GB Gabbler” (really just a pen name – singular) are the Editor and Narrator behind THE AUTOMATION, vol. 1 of the Circo del Herrero series. They are on facebook, twitter, tumblr, goodreads, and Vulcan’s shit list.]
“‘When she performs, she chooses not to face the camera, but believe me, this is her singing live,’ announced Ellen in her introduction of Sia’s performance, accompanied by the faceless cover of the Aussie artist’s forthcoming album, 1000 Forms of Fear.
According to Sia, whose hits include Clap Your Hands and Breathe Me, the decision to shy away from the audience is in an effort to protect her mental health. The artist has never been secretive about her battle with painkiller addiction and alcoholism, disclosing all in an interview with Billboard last year (she covered the same issue with a paper bag over her head).
But is her attempt at fleeing the limelight thrusting her straight into it? Will it start a Bruce Wayne style obsession with unmasking the real Sia? Or is this a bold statement by an artist wanting to be judged by merits alone?
Daft Punk have successfully paved a masked empire…”
There is something to be said about how, when the Entertainer distances themselves from the Audience, the Audience can better focus on the Art, and therefore the Entertainer remembers what it is like being an Artist. For there is no Art without the Artist. There is no Art or Artist without an Audience.
Is it the Artist/Entertainer who decides what is and is not art?
Where are the Art and Artist inseparable?
Thoughts?
[“BLA and GB Gabbler” (really just a pen name – singular) are the Editor and Narrator behind THE AUTOMATION, vol. 1 of the Circo del Herrero series. They are on facebook, twitter, tumblr, goodreads, and Vulcan’s shit list.]
