~ * WAIT FOR IT is an essay-performance-installation-musical demonstrating the futility of self-promoting tactics that popularise device consumerism in pop culture* ~
The Kintrallery: Instant curatorial practice in the Integrative Visual Space
After visiting many curated shows in IRL, curious art enthusiasts with an interest in visual poetry may feel inclined to go home and re-decorate their living rooms and hallways, studies, drawing rooms, and gardens, which means to make the effort to curate art into life quite literally.
This inclination has brought upon the creation of many media aggregation websites that often speak in symbology that communicates the Art Gallery site with a common environment we may begin calling the Integrative Visual Space.
I would like to begin with a few things to say about our current State of Art as it may exist within the Integrative Visual Space:
The Integrative Visual Space may be defined as the focus of our attention that combines all of our sensory experiences in unison, in a shared space. (Cata 2015)
This common space is largely visual, with auditory cues and architectural choices that must be agreed upon to assert a true situation we may render as relevant context that exists within the Integrative Visual Space for effective content manifestation.
By agreed upon I mean, at least, that we, together, assume that reality is an embodied fact, and that a body is a time-based tool of attendance but not necessarily of presence. When we become aware of each other somewhere and communicate somehow using various media, it tends to happen in a manner which reflects our understanding of each other for a specific purpose, that may be obvious or inferred.
Let’s consider the issue of needing a quick selfie that needs to be rated and commented on immediately, and not having your phone handy. You wouldn’t ask someone to let you borrow their device unless you both really cared to Instagram when absolutely necessary as a clearly understood fact. What we like makes no effect on how we see ourselves, but it affects others immediately just to fuel the promotion of our selfies. We have then, in practice, realized that to observe and reproduce salient features of attractive sounds and visual cues is very effective in multiplying the reaches of composed material for any specific purpose. That is to say, that, in an example, to treat audiovisual swatches for musical composition in the way that Liechtenstein treated illustration techniques for his painting is effective for designing the aesthetic space, but does not indeed promote any new art in a truly consistent manner as it is dependent on previous work that is successful in some lasting form.
Then, we come to the conclusion that using transmedia to create interactive research practices needs to take into consideration that interactions afforded by technology aren’t fair to the all the realities that exist today. Microcultures then surface that seek to formulate safe spaces for those who are left out of the cutting edge technology and the avant garde, and we learn to see these places as hubs of new art made from recycling of concepts and technology. A niche community that meets in various forums that exist in multiple realities is a clear example of people who experience and formulate a cohesive Integrative Visual Space. (/elephants/, for instance, has public rooms in dump.fm, 8chan, and is, naturally, #elephants on the rest of the internet. And while this niche does not actually only concern itself with elephant welfare worldwide, it does indeed carry a weighty chunk of attention that spawned from the need for a new safe space community effort.) When we think of the cultural codes that lead to a niche community like /elephants/, we are definitely enticed to believe and follow an architecture that is stylistically designed by permissions that require our continuous consent and awareness to exist at any particular time. These ephemeral emotional spaces are shared existences across realities where friendships are defined in time-based manners a lot of the time. Meaning that post timestamps become footprints, and their relationship to an emotional response often becomes clearly illustrated by rate of appearance. To learn all the codes of all populations and sites would be counter-productive, yet we seem to live in very safe and useful bubbles built of warning signs that help us navigate the overwhelming amount of spam created by other artistic efforts that may further distract us into seemingly fulfilling lifestyles. Yet like everyone else, we come from our ancestors, which is the greatest evidence that leads me to express my continuous belief in non-existent authorship, as we tend to create in the awareness of others.
Originality has been ill-defined, as any novelty does indeed always come from the contrast to its origin. What we learn through nurture are habits built upon habits, and our attempt to escape or tune them is entirely self-reflective. Or is it? In any case, we know that when design is universally accepted, copied, and put into use is because it transcends the team that built it first, like the computer mouse.
If the need to communicate with each other is performed through ambient, we obtain a platform that is more distributed than one point of view. This is what I absolutely mean by Integrative Visual Space: we must first agree to meet and hang out before we can play.
Yet when we think of the people who embody the space in which they want to appear, by creating a presence using environment, we extend a philosophy where we are the average of the people that exist in our presence at any particular moment. By convention, we tend to behave like the people we surround ourselves with, which follows up on the concept of Relational Aesthetics due to this constant reliance on cues. Although this does not apply to everyone, we can safely assume that a great amount of people do indeed absorb and respond to environment in real-time by formulating aesthetic associations among all perceived activity.
In any case, when we dismantle the idea of hybridity it is easy to realize that separatism, binaries, eugenics, polarity, all lead us to assume the necessity to integrate as a feature of life that isn’t already there. When we imagine ourselves living in parallel realities, we tend to define clearly how our lives are separate and how we choose to intersect and integrate for the sake of social cohesion. But integrated life is already there, we are inside of it all the time, in unison, and, to realize that we have agreed to live separate lives is also drawing the picture that defines for us this all-encompassing Integrative Visual Space.