The degree of stress we have in our life is determined by the creations we resist, or identify ourselves with.
Some work-throughs: Learn to recognize a need for attention,
a want for attention.
Also, the ignorant may be charged a stupidity tax, especially when there is a surfeit of apathy.
Today, be present and real.
I am continuously reminded that I always have a choice.
I can become consumed by greed, attempting to make any thing as big as I can,
I can create it deliberately on a scale, such that I can also still fully appreciate it. When I remember to create in relation to scale, and appreciation, then the work assumes a manageable degree of authority, by recognizing its audience, without over-extending its welcome.
The goal in packaging electronic, minimalistic and ambient music seems less connected to the traditional aspects of advertising and marketing; up-selling a potential client on a new look or a model that is desirable or simply unattainable; but rather, to resonate a sympathetic chord with the listener; to hit them on a more abstract level, where the purchasing decision lies behind instinct.
This is purely an abstraction.
OK. So “Operation Iraqi Freedom” starts up full force on our TVs on Tuesday, March 25. Only it’s got other names, on different net-works. CBS calls their spin on the war while NBC uses the president’s lingo, “Operation Iraqi Freedom.” Looks like someone’s sucking up a little.
The nightly news on ABC actually features an editorial from a media-studies guy, who dissects the 3 different brands, and assures the viewers that they are being lied to in three different containers. So choose wisely.
It was actually the most engaging part of watching the whole spectacle. Could you imagine the creative meetings that took place to get these identities? Can you picture the kind of behaviors that accompanied the agency/designers’ motivation…to keep the war “sexy”…?
Designer: “I want to make the coooolest logo… for the war? Because think of the opportunities? If we came up with the official brand for the war, we could charge a lot for that.”…Operation Iraqi Freedom…“Hey, we got to create the style sheet!” Hey, that opens doors. You might get to pick the font for the apocalypse.
That’s the integration of the spectacle, in case you didn’t notice.
There are moments when I want to choke on my own sick.
To stay underground, you have to live what you believe in, at the potential expense of passing on any new temptations or riches. The lure of the underground is that if you could avoid jumping upon a capitalist bandwagon during your entire professional life, and stick to your guns forever (or for as long as you can creatively defend doing so), you might develop a methodology for sustainable happiness, while living an example of singularity for the benefit of your peers and colleagues.
I’m occasionally reminded of Tracey Emin becoming the subject of the 1999 Turner Prize nomination, and “My Bed” being notoriously at the center of attention at the Tate Britain, but I’ve always really dug her warmth, and when I got there and wandered through the rooms, taking in her video, her writings, quilts and drawings.
Whatever it is that would make this artist choose to create everything she does as a partial display of the self; this is good.
One might question whether I suffer from schizophrenia to trade under so many different names… Day For Night, Rhythm Factory, Found, Kunstfabriken, King FM, Bluebottles, NIGHTfonts, Salvador Dalek… Eric Scott?
Yes, perhaps in the creative sense I have trouble resisting identities…or too much spare time to think. Perhaps (also) my reasoning originates with a desire to differentiate projects by a discrete manifesto – a subset of artistry defined by an independent projects label, and an image represented in a series of curriculum vitae.
Eric Scott projects are mostly linked to my pursuits as an author or composer of instrumental, ambient, (minimalistic) compositions for other ensembles (ie. Sexus)…plus a few songs written while dabbling with popular music since the mid-eighties onwards…
Found, as another example… compiled entirely from sources I’ve collected over the years and not relying too heavily upon melodies so much as the settings and scenarios created; some poignant, funny or even sad…
Or Sexus, the funny little six-keyboard ensemble founded for the purpose of performing minimalist ensemble pieces of which I am but one member as well as chief composer…
King FM is an ambient/dubstep/remix outfit…and what better source material to start with than the music of Rhythm Factory, essentially a techno outfit – me again, with an arsenal of keyboards – in which I play the three main roles, composer, program-mer, and producer (assigned three discrete aliases: Jupiter, Pete and Gez – The Sonic Investigators?) …But recent attempts to sculpt the upcoming releases “Push” (Day 022) and “Suck” (Day 024), not as electronica, but with guitars is part of the genre-busting we hear so much about…
The Von Trapps is me recording with singer/ lyricist Doug Green. Attempts made in the early 1990’s haven’t always aged the same as others (the presaging of breakbeat loops and no more electronic drums for another 10 years!) – still, the Von Trapps have been hibernating for quite some time now…there are but three recordings to this identity; a one-off perhaps, but as with most projects these things do wake up as they receive interest…
The eponymous Bluebottles album (slated for 2004), is a departure from the world of breakbeat and into a territory of jazz-halls and comedy. It really wouldn’t have that problem of sounding like it was done en-tirely inside a computer. (Even if it was!)
A temporary shopfront for NIGHTfonts, the foundry of digital and experimental typefaces, developed under the patronage of Day For Night. Font families are organized in groups by a particular thematic title (Manifesto, Control, Disorder, Mission, Style, Transit)…
So where exactly does Day For Night fit as a creative entity? What is there possibly left to say? It might be witnessed simply as a designer label, but Day For Night assumes predominantly a curatorial role in the big picture of internet theatre and the indepen-dent projects label: the proverbial camera operator presiding behind the creative lens, gently nudging the frame to the right or to the left.
The NIGHTlinkRail stations represent something internal to the Day For Night process; a creative embodiment on this specific type of willful misdirection. Which may account for why I tell people that NIGHTlinkRail is a work of fiction.
No identities are fixed. All identities are the product of change. They flow, and are not meant to be rigid entities.
So in the end, I can weave a good story, but I can also be a bit of a control freak, and what happens there is that the art, the music, the counter-narrative themes, or whatever, they become so me that nobody else knows how to get involved properly. Which can be sad really, as it’s meant to inspire, while at the same time, overwhelming the end user is one way I like to create that particular distinction in art.
Basically, what this suggests, is that “the thicker the book, the more credible the author and their information.” Sound familiar? I wrestled with the idea of the length of this book. And of the breadth of content on my CD-rom.
As an independent artist and designer, I have deliberately avoided some of the limitations, both of specialized areas of work and the obligations of commitment required in a design studio environment.
I prefer to work alone, allowing myself more room to experiment and change, and to choose commissions of a wider diversity (from web creation to record covers, corporate work to unique commissions).
Presently, I am pursuing only the commissions I believe in and can support morally, socially and politically. This approach leads me into essentially close relationships with clients.
With two of my experimental projects thus far – NIGHTlinkRail and H O SPITAL – I have indulged the passion for image making which most interest me… Siteworks offering a unique marriage of progressive musics with flexible visuals. Both are joined in a network unified by a starting point and an end point. In the middle lies a finite universe of 100 virtual underground stations, each one representing a completed Day For Night project.
This might be tied in to a long-time fascination with underground travel, allowing me to develop a more effective context to integrate my music and images, making for a journey that is both unique for each visitor, and yet, like a subway system, governed by a rigorous internal logic.
What I do is not a ‘job’ but a vocation, something that is fundamental to my life. My approach to doing projects is continually informed by a passion for language and for architecture – a balance of form, space and order.
I admit to a tendency to being something of a trainspotter – creating an ordered universe, where the beauty and serendipity of random order can ultimately be introduced to play a catalytic role in the creative process,
Future hopes include continually challenging the accepted notions of applied arts – experimenting with unknown materials and new technologies – to extend work into a wider diversity of projects and to work more with environmentally-aware clients.
January 1, 2000