The first rough cut from my video poetry collaboration with DJ Cue is up. The music was composed by DJ Cue (Bobby Cuevas) while I provided the visuals and recorded ambient audio. This was made possible thanks to Talenthouse.com and their Creative Invite collaboration platform. This is a rough cut, so it doesn’t include the poetry dialogue that I will eventually add (actually, I’m looking for a woman with a nice classic German accent to do some voice recording), but it’s a nice visual representation of what I’m trying to create. Video imagery includes the abandoned Bärenquell Brauerei in East Berlin, Barbara running through Zurich Bahnhofstrasse (shoot organized with Ethan Oelman), and also a quick look from a underground club night in Berlin, part of an Alternative Berlin night tour I did in the city. Thanks to everyone involved, now that I’ve setup my computers in my new apartment I can get back to shooting and creating on a more normal basis. Enjoy…

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The world is sick, but we are the doctors. The basic plot is that the Nazi government has been hiding on the dark side of the moon for the past 70 years and is now ready to take over the world. It’s been described as Sin City meets Inglorious Basterds plus, I don’t know, some measure of insanity and a healthy dose of sci-fi Philip K. Dick extravagance, and I can’t wait for Iron Sky to be released in the Zurich area.

Viewing the teaser material triggers in my mind the pioneering work of Metropolis, a silent masterpiece that blends well with techno remixes and stands the test of time. I get that awesome visual feeling of a black and white silent masterpiece, but beautifully interpreted for the current century. Personally I’m looking forward to this new emergence, resurgence of the European-Germanic cinema, and hope some of the abandoned factories around Berlin get converted to studios instead of posh apartments (Fuck Media Spree).

Iron Sky isn’t a German film, but it sort of invokes the analogy in my mind, that Germanic cinema has had an interesting history, pioneering film production and then withdrawing into a troubled post-world war purgatory where it wasn’t possible to make movies because of politics, resources, money, or probably everything in between. Getting quality movies made in Europe seems to be generally difficult (near impossible to get funding in Switzerland), and what I love is that the funding model of Iron Sky is showing how movies should be made. This film couldn’t be produced in a Hollywood studio, it just wouldn’t have been given a greenlight. It’s not from one studio or country, it’s a total collaboration with funding also coming from crowdsourcing and individual support.  The film is a collaboration-production including Blind Spot Pictures & Energia Productions from Finland, 27 Films from Germany and New Holland Pictures from Australia, with filming in Germany and Australia.

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I get a sense that the humor here is a sort of part of an evolution, it reminds me of TRaumschiff Surprise, an excellent mockery of Star Wars meets Star Trek meets the German form of the Love Boat (Traumschiff)...and the teaser for Iron Sky reminds me of that type of humor, but mixed with visuals beyond Aliens and violence beyond Inglorious Basterds. No doubt, countless youtube remixes of Der Untergang and Iron Sky will hit the internet when Iron Sky is released on DVD (actually they’ve already started).

Iron Sky is a cult success before the release, the trailer teaser stands on it’s own as the most unique and absurd plot I’ve ever heard of, and come next Halloween I foresee an pleathura of politically compromising Nazi space-trooper costumes heading to Berlin dance parties and filling in the dark shadows of the Cathedral (my favorite Goth club). The visuals of Iron Sky are almost more amazing than the plot. The released images of Nazi space ships, giant space Zeppelins rival the work seen in Aliens and in my mind near surpasses the cinematic visuals of HR Giger. If you’d like to learn more, buy war bonds or invest in the film, check out the main website, http://www.ironsky.net/.

Dancing with Water & Urban Affairs, a show by Zurich photographer Ethan Oelman at *Galerie 16b. I’m planning to visit the Vernissage. I’ve assisted Ethan on one of his water shoots and made a companion video with the material called Birth-Kraft (http://vimeo.com/18276591) and also an interview where Ethan explains the background of his Dancing with Water project (http://vimeo.com/20802817), so I’m looking forward to seeing the images in a gallery setting.

*Galerie 16b
Ausstellungsstrasse 16
8005 Zürich

Click here to view the embedded video.

Click here to view the embedded video.

Be brave, be crazy, be a Pirate! How can a person logically say no to that? Startup Pirates is an organization coming out of Portugal, a movement to change the world. I’m easily impressionable and have been looking for a startup event to be a part of, and I met one of the organizers at Ignite Zurich. So, when they advertised the next plundering campaign in Lisbon in February, I figured I would be crazy not to apply to be a part of it. Here’s the description for the pirate website, http://www.startuppirates.org/...

More than a company, a project or a non-profit, Startup Pirates is a Movement.

We want to spread an entrepreneurship culture around the world and show that it’s possible to build a company right after college or even during a college degree. For us, age, genre, location or professional status aren’t obstacles but opportunities to create companies and change the World. There are many ways to change the world and we at Startup Pirates picked entrepreneurship as the way to do it. ?Our goal is to create one-week startup schools around the world. By making the perfect match between the academic world and the entrepreneurship environment, we want to bring together the latest discoveries done in terms of business models, marketing management, Human resources management and the latest achievements in the technological field. We believe this mix is the secret sauce to make startups successful.

So, join us at Startup Pirates, give us feedback, organize your own startup school, with our help or be an attendee at one of the upcoming events. ?

Why Be a Pirate?

Over the last year I’ve been in a sort of erratic learning and thinking stage. I took a class to understand the professional art world (focused on Zurich), launched a video poetry collaboration with DJCue in Atlanta, and have been doing a lot of background reading/learning on mobile user experience, HTML5, augmented reality, 2D/3D game design, and animation, and some topics in big data. A recent mind vacation in Berlin has brought a lot of things into perspective, and I’m ready from a vision and knowledge standpoint to launch something. What is this thing?

Well, I have a number of ideas on technologies and social topics I would like to translate into a startup. I spend my lunches outlining and diagramming mobile app ideas, everything from an AR graffiti program (Defend Kreuzberg) to app/sensor combinations to aid patient recovery post surgery to helping artists understand the context of their place in the world. I firmly believe that events like Startup Pirates Lisboa are the places to get things off the ground. When I went to 1 Day of Art Copenhagen I little idea of what to expect, but put faith in the future and I ended up creating some cool paintings and realizing my artist identity. Heading to Lisbon for a week to a startup bootcamp and building something with the people I meet there is the way to do things. You go with an open mind, work your ass off, and good things will happen.

Want to be a Pirate?

I gave talk at the 1st Ignite Zurich (Dec. 2nd at The Hub Zurich) centered on art, rarity, and what that means in the context of the internet and web technologies. A big thank you to Inês Santos Silva for organizing, the night was an awesome inspirational event. Here’s a break down of the ideas I put into my talk…

The Value of Art

What is the value of art, why is it traded for money and why is it sometime considered priceless? The value of art is a combination of traditional supply and demand, rarity, and context. you can’t assign value to art without considering the context of it’s creation. the time and place, and how it fits in with the overall context of the art scene at that particular point in time, that will never come again. Yes, it’s possible that your five year old could have painted that, but they didn’t. Art is idea execution. If you were the first person to put your shit in a can and sell it, you would eventually command a price of over 100,000 USD, but if you do it now it’s just considered a strange precousur to insanity and generally socially unacceptable.

What is Art?

Art is a combination of having the new idea and executing it. Art is not an idea, it is the creation of something significant, just as an idea is worthless in a startup company that doesn’t execute it well. Facebook, Google, Apple, Microsoft all executed their ideas at the right points in time, but they weren’t necessarily the first. It doesn’t matter is someone “stole” your startup idea, it matters if a company was created from that idea. That’s the execution and beauty of it. Now, at this point in time you can launch your own social network, search engine, and software company, but it won’t have the same impact, unless it brings something new and is understood to be genius in the current context of the tech scene. It doesn’t matter if you paint a new Mona Lisa, the idea is done (and overdone and redone in reproductions).

The unique thing about art is that the work gets value at any point in time so long as it fits the context of the history of an art movement, or rather is a disruption. Vincent van Gothe died barely selling a painting. If it’s not discovered and put into context it’s worthless. This is why artists get discovered later on but younger artists are promoted more than older ones when they come onto the art scene. You want the work of the young artists before they become “big” but it’s just a gamble that that will actually happen. So, logically you should create some great work and then kill yourself, because this ensures that you won’t be able to produce any more excellent art. The first person to paint grey instead of blue and red and green would be considered amazing, and all the rest that follow will just be part of the movement. Without the movement, no one cares about the first one, it has no value.

Context vs Content

How can an artist create the context for the work to have value? Or should you just create things and hope that they have some value for other people? The Doktor of Science in me says you get to the heart of the beast and just create or engineer your own context to create value. A piece of art work is a container for an idea, it’s a physical execution of an idea that can be viewed and reinterpreted as needed by society. Nobody cares what the first design of Google looked like, we just want to use it. Maybe the first sketch will sell for a million dollars one day, like the first apple computer, but only because of the context of history. This is because on the internet content is king. People was to use the technologies of the internet, not just be influenced by the ideas.

The UX Perspective

One thing I learned from hanging out with people at the Zurch UX Book club is some of the psychology behind buying things. When things are rare, inside of you is triggered that, “buy it now” mentality. When you see there’s only a few things left in stock, you’re pressured to buy it now. This probably goes back to the natural instinct to collect things and then trade them later on for things you might want from other people, the beginnings of capitalism. So I thought, how can I create a “buy it now” context for my art? In a world of immersion and augmented reality, installations will be the containers. Will we really care if things are real or not? Will it matter if it’s the real Mona Lisa or not? The experience will probably become more and more necessary to have an impact, but we’re not there just yet.

Art Death Concept

The Art Death concept is an auction platform idea I started putting together after taking a professional artist seminar at the F&F Kunst Schule with Olga Stefan. To combine the ideas of art with value related to context and the percieved value of art increasing due to psychological tendencies related to rarity, the best thing is to create an auction where the context of value is engineered into the platform, or rather, the performance.

I can accomplish this by putting up my art for auction on a combined internet and real world platform, having a reserve bid for each piece and a time constraint. If the work doesn’t sell for the reserve price, I have to destroy it personally with various dramatic methods. Like taking a rusty chainsaw or a flame thrower and purifiying the world of my mistakes that don’t sell because they have no value to society. It will take some preparation to do this thing right, and I think some fundraising via Kickstarter is in order.