TRIP THEORY

The role of the arts in the world today has been diminutized to the arts role in entertainment, that is, outside of its own “art world” circuit. In the real world, art has one purpose, to aestheticize entertainment. This, in a sense, is no different than the role art has played throughout history though, as the propaganda of a cultures belief systems. Now, we have just widdled down the belief system to a core of perpetual entertainment, a spectacle. Within these confines we are given a small niche for “real art” to exist in the “art world”, gallery scene where art is freer to just be art and reference itself as art. But in its seclusion it is not allowed to influence society in the way its former role and the current role as entertainment art does. Art shouldn’t be devoid or separate from our daily lives- it should infiltrate and be disseminated. Entertainment is the belief of our culture, and there is something primordial and instinctive to humans about this or else it wouldn’t be so prevalent today. Because of this, entertainment should not be overlooked. Maybe entertainment is not the ultimate goal of its own purpose though. What we gain from entertainment, what we desire from it may be the aesthetic perceptual experience. What it is used for is advertising. If it carries any re-enforced cultural themes, or purpose, it is just eyewash or a surface effect for our affectual experience, we literally live and experience through it for the sake of experiencing. What we find entertaining is the limits, boundaries, and depth of various affects. This is how we come to understand our humanity, our existence, ourselves. Entertainment art is making the largest strides in this area because of its shear nature, it is designed to pursue human emotion and desire in every facet for the sake of its own survival, that is its job and why we deem it so important. Increasingly in the digital entertainment Medias, we are also experiencing an eyewash of the object and space, or object-space. Mediums become fluid as the material is lost on our screen and the image transcends its medium. More so than the materials themselves becoming fluid, it is how we perceive and relate to them that is altered. This blurs a boundary. One that we can define space, separation , and ultimately ownership with.

And now for the almagamide tide. We manufacture our own catastrophes for our entertainment; it is the news of the day that we are participating in, a beautiful rush, the euphoria of when things go wrong, a stage for our collective loss of control. In an attempt to reclaim entertainment for art and to undermine the social and physical norms of separation and ownership for the beauty of skirting the line between de-differentiation (oneness) and separation (the other), this projection of the aesthetically manufactured catastrophe will be parading through our public areas this summer, projected onto building facades or any suitable space from the inside of a discreetly parked kidnappers van. It will be the eyewash of the buildings, a momentary surface effect for our entertainment where our object-space is re-presented. The projection is of various blends between the American side of Niagara Falls, Tsunami waves, cloud systems, and tornadoes consisting of thousands of digitally animated people. Questioning the part to whole relationship, particularly of group mentality, we are intertwined with our surroundings and share the mutual necessity of loss of control to maintain a balance. Our conglomerate groupings can be seen as being part of many larger organisms or systems that we willfully and uncontrollably ride on, experiencing in varying macros and micros along the way.

Thanks to all my friends and family who helped in the production of this, sorry if you didn’t make it into the flying crowds.