Why is the act of organizing such a visceral thing, and why is it so hard to cull it out of another?

Looking within, I see disorganization. It is a constant push to grow into an organized individual. Is it natural to be organized? I wonder if we set things and not set things in physical space in a way that would not normally be able to be replicated. When we look outward for guidance, around us, observing the localized world metaphysics, does it vibe? When we get what we want, does it even work for the better? Is it better to get used to the wildness of object abundance? Like if it's a landscape I traverse, and the topology of it is textured with the outlines of childhood toys, clothes, adornments, chochkes, books, bikes and skateboards, random aquatic gear. Is the foreign clutter more liveable or is neither of great importance. Sometimes I can't think straight when there's way too much clutter. when the clutter is gone, it feels foreign, boreign so to speak. 

The gaze of the Other really pushes me to feel like order is necessary. The "Don't look at me differently because of where I live/eat/sleep."

It physically makes me ill. So how can it not? Is there a way out of the gaze, the style/order? 

Objects of Transience: the Broom and feet

 

I was looking at my collection of work that exists in my sketchbook. Many of these works have never been produced; they only have existed in the book as sketches and writing. 

One such object is a foot/shoe sweeper. This item protects you from marriage/commitment. It's a riff of of the common Cuban myth: Sweeping one's own feet can lead to a life of solitude.

 I believe it reinforces a sticky notion that you are not good a chores like sweeping the house and therefore you will be an unfit partner. Maybe it is something else having to do with bad luck. It is met with almost the same energy as seeing someone walk under a ladder.

The tension that gets built up as you witness someone acquiring bad luck is like seeing someone about to get knocked over by a football player or a huge snowball. Oddly enough, if someone sweeps your feet, there is equal panic. This effect can be a mutation of the original myth but regardless it carries the same weight.

The motion of this object should not follow a direct axis, but can use a gearing that can cause it to turn and move along an angle or a perpendicular axis. Ultimately, it should resemble a human movement. 

The student labor vampire: Proferatu

For some time now I have come to realize that even the most seemingly professional artists are extremely vampiric in their search for newness. What's on the menu? The tech savvy undergraduate.

There is a hunt. This may take place at an exhibition or an institutional event where there is free food. The most snarky vampires will hunt where there are hungry students. Once chosen, a confrontation ensues. Upon a student's vampiric confrontation, the vampire, clinging to their past life as a relevant artist, attempts to dazzle the student. Small talk quickly establishes the cast for a mandatory performance in which the protagonist; an emerging artist trading services for exposure and mentor-ship is befriended by an elder of the tribe; the established artist. At some point in the performance there is a montage. This montage is embedded within vampiric bedazzlement in colorful detail. Talk of pay is left out or not clear. The student, unable to take on a strong position, falls into the trance. The result is very bloody.

I had assumed that this behaviour would stay behind in Miami but alas, the desperation to remain fresh is intense. Combine it with central Florida's disconnect and you have a lot of analogue vampires utilizing dated and/or irrelevant medium, teeming with F.O.M.O.

It is OK to fall out of fashion. It is also OK to begin incorporating the digital into your work. Just do not become a vampire while doing so.

Follow these steps:

1. Pay the student a rate ABOVE MINIMUM wage for their services.

2. Any work created by the student must be accompanied with proper credit of creation.

3. Do not use pedagogy as pay. This is a service included in the student's tuition.

4. Non-specialized labor should be clearly defined and separate from specialized labor.

5. Love and assist (be generous). You have a salary. Use it to empower the student. Never accept free labor.

At the same token, if you are a student you must not let yourself be dazzled and taken advantage of. Understand that the classes you have paid for are preparing you to become a better artist, not just fuel someone else's fire. Remember, if you have taken a class with me and I catch you giving away the skills that I have taught you I will be very upset! Learning how to say no as well as learning your worth can be quite rewarding and may one day just save your life.

Let me help with some steps:

1. We live in a capitalist nation. Your potential client is paid a salary, has benefits, owns their own home. The quickest way for you to get into a better position is to be paid in U.S currency, not in gas, food, favors and guidance.

2. Learn when to say NO. Your time should be fully invested in your own experimentation, not in the work of others.

3. High demand = higher pay. Be clear to yourself on the amount of pay that will keep you afloat. Remember, most cutting edge technology is inaccessible yet absolutely necessary for an established artist's survival.

4. Join forces with others. You are not alone. Work with other students in order to establish fair pay.

5. Avoid extremely hungry vampires. They are vicious and do not care for your well-being.    

Depth Drive on my mind

link :  Depth Drive thesis paper

Has been on my mind lately. NASCAR is calling, or perhaps it is the hum of the first magnitude? I think the valisneria looks an awful lot like Donald Trumps hair. The water coming out of my hose in the city of Gainesville comes ready laced with algae blooming nitrates at levels that taint the chicken water. Reminds me of the brackish water in Biscayne Bay and Christo/Jean Claude's pink islands.

valisneria/hair

One Daytona Playbour

ONE DAYTONA is a premier mixed-use retail, dining and entertainment destination across from Daytona International Speedway serving East Central Florida. Phase one of ONE DAYTONA is scheduled to open with Bass Pro Shops®, Cobb Theatres’ ‘Daytona Theatre’, an exclusive 145- room full-service boutique hotel, distinct shopping, office space and residential units. Truly a destination unto itself, ONE DAYTONA will quickly become synonymous with visitors, race fans and residents as the place to live, work, stay and play.

Depth Drive installation

installation shot

the moustache reason

Entering the cultural milieu, the affect of the interpellation, I allow it to function upon me

enter