The first few entries of Dynaxiom Fifth:
Approximate release date: January 28, 2018
1405. There are two basic ways to add cohesion to creativity: 1) create the work then serialize; 2) create similar pieces in an existing series. This also works in music where you can compose first, then add to a collection (album) or define the framework for the album and fill it in accordingly.
1404. Our bodies are only suffused in the world to the edges of the skin and the limitations of the body and of the sensory organs. That's where technology begins. But technology can only take us so far: Our bodies are also only suffused in the world to the edges of our technologies. That's where spirituality begins.
1403. It is inconceivable that anyone could witness a total eclipse for the first time and say, "That was just okay." (8/2017)
1402. Eclipses are a time for surrender to serendipity. But eclipses are empirical, and completely predictable. It is what happens in the context of them that is serendipitous. (8/2017)
1401. What’s more important than a signature style is a way of working in which one’s methodologies are interrelated, which then become the Signature.
Exploring the limits of something is an interesting way to see what might be usable in a more controlled context. (Audio distortion is a good example). It’s usually the happy accidents that inspire innovative thinking. Once you see something occurring in a new medium, it presents a whole new way of seeing.
If you are not used to structured creativity, you can easily get lost in options, which can lead to a diminished of motivation. What you want to avoid as much as possible is getting lost in a thicket of technology. As much as it is a tool, don't get bogged down in it. Anything that has a hierarchical menu structure will have the capacity to stall your flow. Ideally you'll want to have the producer and engineer in the role of filter.
To be a successful artist you need just a few popular pieces that are completely misunderstood, or understood for reasons other than your own.
The most interesting area for any medium, whether old or new is how users synthesize them, and in some sense "misuse" them for artistic effect. Architects build VR walk-throughs expecting that people will walk around in the rooms and look out of the windows, but some people apparently like to jump out of them as a way to blithely explore the extremes of the technology.
Photographs of banal subjects are interesting because they exist in the gap between pictoriality and nothingness.
Very often your best ideas will happen within 15 minutes after you begin creative work. Luck comes early, or is always present; You just have to access that "wavelength", or get in the "red zone", like the Stoplight Loosejaw. Or as David Lynch says, "Catching the Big Fish", where "you've got to go deeper".
You can't make art without a sense of spirituality at some point, either at the time it is being created by the artist(s), or perhaps centuries later. Even digital art made completely with algorithms can have spiritual qualities. Consider early prototypes of robots (or even their voices), that we can become endeared to. It is the appreciation or love of the art and/or technology that gives it special meaning, that may or may not have been there at the time of its creation. The goal shouldn't necessarily be the perfect union of human and machine but rather the useful emotions that emerge as a result. (10/2016)
Creative blocks are typically the result of perfectionism and fear of making mistakes. Creative jams, or bottlenecks arise from being overwhelmed by possibilities. This is why imposing limitations and constraints is an effective strategy. If you make a mistake you can blame the limitations.
Taking a picture and making something pictorial are two different things. The latter can have many levels, especially when framed and placed with other images.