Here's to the meta-, the nega-, the ultra-, the hyper-; here's to the under-, the it, the above-I, the Other, the lateral, the extra-, the robo-. Here's to the para-, the mega-, the mecha-, the cyber-, the techno-, the retro-, the pseudo-, and the mytho.
Distinctions between digital, physical, academic, autodidactic, illustrative and fine art are fast becoming frames of reference solely for curatorial and economic needs. Taking a step back to critique the circuit can be good destructive fun, but the universal confusions between outer and inner [space, worlds, voices, circles, images, journeys], accepted and rejected [organs, artworks, philosophies, social positions], and known and unknown [known knowns and known unknowns, the limits of science and the boundaries of faith, also that old-timey clowns are scary] are more relevant to the struggle for balance, or unbalance, or acceptance, or loneness, or money, or austerity, or wisdom, or authority.
Multimedia allows for art to not only be a process, and a product, and a comment on such, but also a trail of processes, and products, and comments. Photographs can mutate into textures for illustrations which can be crumpled into sculptures, rephotographed and edited digitally, resulting in backgrounds for animations...
In these days of blurring, the temptations of para-academia, raw art, and the blendering of old aesthetics and their technologies are too delicious to pass up. I am leaving the distinctions between high and low art and other such old fashioned nonsense by the roadside, whereupon which hopefully others will drop their heavy stones to form a referent cairn for the next pack of travelers.
<Ethan Gould is a graduate of the University of Rochester with a double degree in English and film theory and a minor in brain & cognitive science. He has lived and studied art and art history in Florence, Italy. He is co-founder of the Hollow Earth Society and a member of The Observatory, Proteus Gowanus, and 3rd Ward in Brooklyn.>