“Stop thinking about art works as objects, and start thinking about them as triggers for experiences. (Roy Ascott’s phrase.) That solves a lot of problems: we don’t have to argue whether photographs are art, or whether performances are art, or whether Carl Andre’s bricks or Andrew Serranos’s piss or Little Richard’s ‘Long Tall Sally’ are art, because we say, ‘Art is something that happens, a process, not a quality, and all sorts of things can make it happen.’ … [W]hat makes a work of art ‘good’ for you is not something that is already ‘inside’ it, but something that happens inside you — so the value of the work lies in the degree to which it can help you have the kind of experience that you call art.”
But the 8-hour workday is too profitable for big business, not because of the amount of work people get done in eight hours (the average office worker gets less than three hours of actual work done in 8 hours) but because it makes for such a purchase-happy public. Keeping free time scarce means people pay a lot more for convenience, gratification, and any other relief they can buy. It keeps them watching television, and its commercials. It keeps them unambitious outside of work.
We’ve been led into a culture that has been engineered to leave us tired, hungry for indulgence, willing to pay a lot for convenience and entertainment, and most importantly, vaguely dissatisfied with our lives so that we continue wanting things we don’t have. We buy so much because it always seems like something is still missing.
Western economies, particularly that of the United States, have been built in a very calculated manner on gratification, addiction, and unnecessary spending. We spend to cheer ourselves up, to reward ourselves, to celebrate, to fix problems, to elevate our status, and to alleviate boredom.
Bohyun Yoon’s installation work “Unity” (2009), “Structure of Shadow” (2007), and “Shadow” (2004) casts light on miniature wax body parts which physically dangle aimlessly; however, when illuminated by a light source, these fragmentations create shadows or illusions which illustrate figurative wholeness.
Thich Nhat Hanh: “I have died already many times and you die every moment and you are reborn in every moment so that is the way we train ourselves. It is like the tea. When you pour the hot water in the tea, you drink it for the first time, and then you pour again some hot water and you drink, and after that the tea leaves are there in the pot but the flavor has gone into the tea and if you say they die it is not correct because they continue to live on in the tea, so this body is just a residue…”
“Imagination, of course, can open any door—turn the key and let terror walk right in.”
So you’re in high school, and you have a band, and you want to play your first gig. You invite a couple hundred of your friends over to your dad’s house. What’s the worst that could happen?
You could end up with a hole kicked through your dad’s wall. You could also end up launching a world tour.
Both were the case for Taylor Rice and Ryan Hahn, the guitarist/vocalists for Los Angeles indie rock band Local Natives, who are rolling with laughter recalling that story before they head onstage during a recent stop in Brooklyn. (They perform a trio of shows at SXSW this week.) It was like “out of a movie,” they explain: kids packed inside the house and wrapped around the staircase; the crowd moshed, the cops came. Oh, and somebody kicked a hole through dad’s living room wall.