Re: [-empyre-] experience Vs commerce

> i think its about having a choice... i have areas of expertise and
> but i dont want to have to learn how to port a pluggin, i'd much prefer to
> work with someone else who is good at that particular thing - for me it
> feels more integral to the work itself be writing and researching theory
> around the concepts and connections of the work rather than messing with
> low level techy stuff. .. like if i worked in a flat media i wouldnt want
> learn how to make paint and brushes, tho i'd be happy to stretch and prime
> canvases before i started a painting, as well as talk about it's relation
> other areas of culture.

Well, that's a big argument now, isn't it?  For example, my undergrad degree
is in Engineering (I graduated as a Studio Art major though - go figure).
So I feel fine about some minor code and free & easy about hardware
implementation, but the limitations of actually implementing the work while
being a little disappointed with the actual results is the reason why I
wrote the Alpha Revisionist Manifesto (LEONARDO, Nov. 2001)

I've been going through 'contractions' of having to focus increasingly over
the past decade.  In 1989, it was actually concievable that you would
actually be fluent with every art program for the IBM; now, it's hard to
master, and I mean master, more than 5-6 programs in any area.  In addition
to making everything work, you really have to be a little bit of a hacker.
Code, hardware, whatever it takes.

My argument is that the trendiness of the programmer artist is merely
fashion, and although helpful, it isn't neccessary.  No matter how much
technical prowess you put behind something, without a contextual frame, it
all lies flat - is stillborn.

i 'm not sure if i want to be constantly refering back
> to myself and earlier artwork for the rest of my life - i do like the idea
> of moving on and leaving migration to the experts.

So, then you have no history>  You have to constantly be showing what is
'new' to maintain your profile?  I don't know about you, but I see the day
in which I want to rely on my portfolio a little for derivative work, since
I've made somewhere in the neighbirhood of about 3-500 works.  (those
numbers are _not_ exaggerated, I have CD-ROMs full of stuff that never made
it to prime time).  The idea of not using my historical work is not
something I woudl like to consider.  At least 5 years legacy, please.

> maybe ascii artists had it right, and maybe thats why we are all singing
> praises of chunky 2d graphics earlier- becuse it actually doesnt need to
> complex to be good.

I agree.

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