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jujuismental · 4 years ago

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“If a tree falls in the woods and nobody is there to hear it, does it make a sound?” What about the saying “if you didn’t instagram it, did it really happen.”

You ever find yourself sacrificing the moment to capture it? You go to a concert to watch it though the tiny camera screen on your phone. Then after the concert is over you wish you had just enjoyed it instead of recording it all. I mean yes, the videos are great for memories, but why can’t we just be okay with the ‘memory’ formed in our brain? Or you see something amazing happening.. your first instinct is to pull out your phone instead of looking at it, for what it is, right in front of you.

I mean ultimately we take our phone out to share an experience with others. Why is it that we feel experiencing the moment without sharing it incomplete? Why is it not enough for us to experience the moment by ourselves. I recognize that sharing has always been a human thing. It’s beautiful to share your life with others, I aint sayin it’s wrong. But when did it become so consuming and disrupting?

In the past (idk how many years ago) you would pick up the phone and call someone and tell a story of what just happened to you. Then your friend would be like “OMG i can’t believe that, that’s incredible, I am so jealous.” And that’s that. But in today’s world you are able to show everyone of your friends all at once, and live, in the moment itself exactly what just happened. As a result, both you and the person watching it on their instagram, are living the moment through a screen. How sad. Every individualistic human experience becomes a collective virtual human experience for all.

I am not innocent to what I am writing about, nor I am judging you more than I am judging myself. I am just as guilty as you might be. I do love capturing memories, I am awfully sentimental. Pictures are sometimes all you have left of a memory or person. And I love sharing too. I love sharing bits of myself with other people, things I like to do. Things that I like to eat. Music I like! But it’s just so hard to draw the line in today’s world. It’s just so easy to not be present in your most important moments because of your wish to capture them on your phone.

It’s just like when you pick a flower from a garden, or buy something you like at a souvineer shop. Humans like to collect things. It’s the same way, we capture photos to keep something with us, long after it’s gone. And our phones make it way too easy nowadays that we think we ‘need’ to capture everything. You see a bunny in front of your backyard - oh let me take a photo of it. Was that neccessary, haha probably not!

Then there’s the topic of being addicted to our phones. People wonder why the year goes by so fast, well it’s because we spend half of everyday on our phones. Thats why the year feels shorter. The days feel shorter, the week feels shorter. We are barely living. Heck I can’t even go to another room in the house without my phone. Can’t even watch a single episode without replying to messages. Can’t even be with my family or friends without texting other people. And they’re doing it too. And because they’re on their phone I guess I should be too. Now we’re all gathered just to sit on our phones and entertain the lives of others, how sweet. It’s wrong! Are we more interested in other people’s lives than our own? Are we used to having everything all at once, that one single thing is simply not good enough anymore? We appear to be in one place physically, but we’re everywhere. We are in our life but also virtually in 100 other people’s lives. And they are doing the same. We are all living life on our phones.

Then you also need to maintain your social identity. I caught myself many times planning my day around social media. “Oh when we go here, I will post this it will be so funny”. “Oh me beside this colorful looking wall will be a really fine addition to my instagram I must say.” Or worst. Plan something entirely just so I can post about it. Eventually I realized this behaviour was messed up and whenever it spins up, I quickly identify it I tell it to shut the effin hell up! I am going to do whatever I do so I can live a cool experience... jesus christ Jumanah. It should be 1. cool experience happens. 2. realization to post it (AT NIGHT or after the day is done). Not the other way around, :-)

Something funny that really sticked with me on the Netflix show You in season 2, Joe was telling this younger girl Ellie that he doesn’t post for anyone. The girl responded: “You like someone. Thats the only reason anyone posts anything. I always found that interesting because when I am with the person I love I barely post anything. Maybe I do post just for them?

Sometimes though, and I find this - that there are times when capturing the moment enhances the moment. Such is the case when you are going for a photography trip or photoshoot at the museum, or inlove with someone and taking puctures of them. Then your sole focus is on the camera lens, and it becomes an art.

Just tell yourself, I need to enjoy this moment, the moment is mine. I need to enjoy it, not someone else. Back to the first thing I said: “If a tree falls in the woods and nobody is there to hear it, does it make a sound?” What about the saying “if you didn’t instagram it, did it really happen.” Yes, you heard it. You saw it happen. It happened alright. Believe in your own two eyes, and brain to retell the story. You don’t need everyone in your life to see it with you. They’ll be okay trust me.

If you are recording something, or taking pictures, please let it be for you. Otherwise, live in the moment! Life is just a series of moments. And every moment feels like it only lasts for a few seconds in retrospect. You can share the story later, I know that sharing is important. So the next time you are pulling out your phone to capture something crazy that’s happening in front of you, take a second to re-think. Put the phone back in your pocket and enjoy the moment. You’re missing it!

#social media #instagram #phones #texting #snapchat

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recentanimenews · 4 years ago

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The Future of Anime Production in a COVID-19 World

As we previously looked into how the Coronavirus (COVID-19) has affected the voice acting process and anime fans lives in Japan, we’re going to explore how the virus, the State of Emergency, and new policies took its toll on anime production as Japan slowly moves to re-open its economy in the last part of this series.

We spoke to various animators, studio heads, and producers to get the inside word on the current state of the anime industry inside Japan and to see how voice acting procedures have changed, what the future might hold as professionals across the board play catch up, and the biggest issue currently facing anime in the aftermath of lifted lockdowns.

Animation and the Coronavirus

A quiet Akihabara in mid-June (Photo: Daryl Harding)

The State of Emergency in Japan halted the fundamentals of the animation industry, with studios shut down, meetings moved online, and workers adjusting to work from home policies. Many animators, as well as people in production, confirmed with Crunchyroll News that a majority of anime studios were working remotely, even through June. For some though, such as 3DCG anime studios and those doing a post-production process, the transition was a lot harder.

Studios such as Kyoto Animation posted publicly about temporarily shutting down — though they re-opened when the State of Emergency lifted — as did Polygon Pictures, confirming their telework status. Employees and contractors at MAPPA, the studio behind the recently announced Attack on Titan: The Final Season and the upcoming The God of High School, are also working remotely and are, for the time being, on schedule for all their works.

Akira Shimizu, the President of CloverWorks (The Promised Neverland, Rascal Does Not Dream of Bunny Girl Senpai, The Millionaire Detective – Balance: UNLIMITED) spoke with Crunchyroll News about how CloverWorks dealt with and their personal approach to “working from home.” Each anime studio has its own method of production, and while there is a lot of overlap in how things work, Shimizu is discussing CloverWorks’ methods.

CloverWorks Company Logo

“The way we approached the painting, photography, and art departments was that we sent a PC to some of our employees to use at home. Some people used their PCs that they already have in their house,” Shimizu explained. He added that laptops and smartphones were also given to production managers so they can work from home.

This isn’t an option for some animators working at CloverWorks who draw on paper, making it “difficult to shift to a work at home system completely,” Shimizu said. “Even in the current environment, some things can only be done in the office, such as copying, printing, arranging deliveries, collecting data, and utilizing our company server.”

According to Shimizu, the original plan during the State of Emergency was to only have 30 percent of employees go in to work at the office. Shimizu added they were “mostly successful in achieving that number” and, as of June, were able to “operate permanently with 50-60 percent of employees coming to work in the office.”

Shimizu also explained that CloverWorks tries to do things like meetings online as much as possible, utilize personalized shift systems as social distancing measures in some departments, and ask employees to check the attendance rate to avoid overcrowding if they must go into the office.

Ainz from Overlord

Henry Thurlow, who is affiliated with D’ART Shtajio and has worked on One Piece, Overlord, and many others, spoke to us over email about the conditions he encountered. Thurlow said while he was still going into the studio most days, “most of [D’ART Shtajio] workers are working from home.”

For projects worked on in-house, Thurlow said that most meetings between staff are done online and there are a few more steps involved with making sure everyone has the right files to work on projects, slowing down some of the production time.

For some series such as One Piece, Thurlow explained that as a subcontractor “production schedules we had been working with were suddenly meaningless.”

Ema Yasuhara from Shirobako

One might think the delays would give more time to work on an anime series that may have been delayed to give it that extra polish. Sadly, with the nature of how anime is produced, the budgets allocated to a studio are usually fixed and more cash can only be injected into the studio for a project if there’s enough money from the production committee to do so. This means that an anime studio will need to find the funds themselves to pay staff if they want to spend more time working on a project.

An investigation from Mantan Web in early June found on average it took twice as long to produce anime than before the State of Emergency.

Shimizu had his own take on how long anime is taking to be produced. “Due to the rapidly changing situation due to the Coronavirus, we were limited in the way [CloverWorks] could respond to the epidemic. Therefore, we had to compensate for the reduction in efficiency with time. Considering the safety of our employees, this was the only thing we could implement as a company in this short span.”

The Current State of Voice Acting in Anime

How anime is usually recorded...

In late April, we looked at how voice acting was suspended due to the State of Emergency and the difficulties of ramping up audio recording due to the set up of Japanese recording booths ⁠— where usually multiple people are in one booth and recording is done at the same time, episode by episode.

There are reports of voice recording resuming since the State of Emergency declaration was lifted, though not without some changes. Crunchyroll News had the privilege of sitting in on a virtual recording session for an upcoming TV anime series, and what we saw was a very empty recording booth with only one actor recording their lines.

The virtual recording season was done over Skype (but can be done over other programs, depending on the set up) with the production committee, staff, and director calling in and giving directions to the actor, with only the audio engineer in the physical studio with the actor. A video feed of the booth and the storyboards/animation was provided to viewers calling into the session.

How anime is currently recorded ...

Microphones were set up in the booth as they usually would be, but now included plastic panels, separating the microphones. The committee would give feedback over Skype, which was then funneled to the studio through the staff in the booth.

Unlike the episode by episode recording sessions, multiple episodes were recorded at once, with the actor recording as many lines as they could for their time slot. Once that slot was over, the studio was cleaned and the next person would come in to record their lines.

Sally Amaki (Sakura Fujima in 22/7) made a video detailing her own experience as a voice actor in this current time, giving a tour of a studio in Tokyo that looked very similar to the one that we got to see.

youtube

The Production and Planning Process

The other big hurdle the anime industry is facing is the number of currently produced anime with nowhere to go.

One producer told Crunchyroll News the current fight for TV anime is over broadcasting slots. With 80-100 titles currently duking it over the limited amount of broadcast space, it’s getting harder to air on Japanese TV, which is still one of the primary ways anime is shown in Japan.

According to the producer, there are around 50 slots for a 30-minute episode of anime per anime season for TV broadcasting, and that priority is currently given to shows that are nearly finished production or have already finished.

Endorsi from Tower of God

A producer at Crunchyroll's Tokyo office confirmed with Crunchyroll News that Tower of God was completed long before the broadcast date due in part to the clearance process of Chinese rating boards to be allowed to stream in China and that many other shows were rushing to beat the China lockdown so they could be shown in the country. Then came the rush to beat the State of Emergency in Japan, where many series, like Hatena☆Illusion, were not able to be finished in time. Luckily, only minor work needed to be done to complete it.

In saying that, the domino effect of series being postponed will continue for a while. Some TV anime that were set to premiere in April could be pushed back to October (or even later) with more delays to be expected, including anime series with already confirmed dates. We’ve already seen some anime, such as Tsukiuta. THE ANIMATION 2, delayed from April to July, and then postponed again to October.

This has caused some production committees, especially for series which are officially announced but do not yet have a date, to be hesitant to even give a premiere date due to how fluid the situation is.

The Future of Anime Production Post-COVID

Aoi Miyamori from Shirobako

There are still some parts of anime production that are largely unchanged, with some aspects still as analog as they were in the '90s, but the Coronavirus has quickly and swiftly made a lot of the industry move forward with the times. Shimizu said he hopes in the future CloverWorks can “eliminate working with paper as much as we can when creating anime,” which allows “the intermediate work carried out by the production managers to also be done digitally.”

Since a lot of anime is created by freelancers, with varying home lives and situations, Shimizu said the studio is looking at their work from home options. “[CloverWorks] would like to support the creation of an environment where not only employees but also [freelance] animators can work actively using a PC,” Shimizu said. He added the studio hopes “to create an environment where work can be done efficiently from anywhere.” But for now, Shimizu said the studio is looking to continue making essential reforms, including the development of infrastructure within the company to make this possible, incorporating elements CloverWorks has found to work well during the State of Emergency.

For Thurlow and D’ART Shtajio, breaking past the Coronavirus will be difficult due to canceled or postponed projects. Thurlow worried for a while if even rent for the studio could be paid.

“Things have been getting back on track,” Thurlow said, but openly asked, “are there any clients/companies willing to pay upfront to help mitigate some of the damage for all the lost work?”

Wonder Festival 2020 Autumn has been canceled, the next showing is scheduled for Winter 2021 (photo: Daryl Harding)

While many real-life events are canceled due to the new measures implemented on venues in Japan and around the world must follow, producers and production committees say they’re looking at ways to still bring the anime experience to people.

“Even though the tools we use and the environment we work in might change, one thing will stay constant,” Shimizu said discussing the philosophy at CloverWorks. “And that is our aspiration for creating high-quality animation just as we did until now.”

We would love to thank everyone who spoke to us about the turbulent times the anime industry has gone through, providing valuable information, quotes, and background information for the above piece.

While things have been slowly getting better in Japan, with fewer cases of the coronavirus per day than in early March, Tokyo is still seeing larger numbers than the rest of the country, with 107 new confirmed cases on July 2, the largest amount since early May.

Daryl Harding is a Japan Correspondent for Crunchyroll News. He also runs the YouTube channel about Japan stuff called TheDoctorDazza, tweets at @DoctorDazza, and posts photos of his travels on Instagram.

By: [email protected]

#Anime #News #Latest in Anime News by Crunchyroll!

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mymoviesnob · 6 years ago

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A Movie Snob Predicts the Oscars – 2019 Edition

Hello fellow movie lovers! It’s been another busy award season. There were 121 nominations and I got to see all but 9 of the films this year. Not too shabby, all things considered.

This season, like the ones before it, was full of pleasant surprises, a few hours I can’t get back and films shining a bright light on topics which were painful to watch.

Now, for the four of you who still read this each year, let’s get to the movies! J

Best Picture:

· Black Panther – The first Marvel movie to be nominated for Best Picture. I don’t see this as the winner.

· BlacKkKlansman – Based on a true story, about a black cop, impersonating a white cop, to infiltrate the KKK.

· Bohemian Rhapsody – I loved this movie. I love Queen. I wish Freddie Mercury had been able to grace us with his presence for more than we were lucky enough to receive. I would love to see this beat Roma but unfortunately, the Director’s alleged shenanigans will get in the way.

· The Favourite – Dark and witty, full of strong performances. This however, was not my favorite. (Yes, pun intended…I know, I’m hilarious)

· Green Book – Another based on a true story, about a black performer in need of a driver/ body guard as he tours the deep South and how their friendship was formed. I really enjoyed this film. Mahershala and Viggo were both fantastic. I kept wondering how I had never heard of these men before watching this.

· Roma – While I can’t call this my personal favorite film in the bunch, I do think it will take the top prize this year. It’s been so lovingly received by critics while others on this list have been subject to controversy moving Roma to the top of the pile.I did enjoy it, just not as much as others here.

· A Star Is Born – I loved this too and when I saw it, I thought it would be a lock for Best Picture… until I saw the competition. I was equally surprised by Lady Gaga’s acting and by Cooper’s singing. I’ve seen the previous versions of this film and while I typically dislike remakes, this was well done. Cooper should have received a Director nod here.

· Vice – Based on the life and career of the notoriously private Dick Cheney. Something tells me he will never endorse this one, or confirm any of its story line. If you like Cheney, you will hate this movie. And if you hate him, it will make you question just how awfully distasteful you can find another human being to be.

Lead Actor:

· Christian Bale – Vice –When I first read that Bale was going to play Dick Cheney in a movie, I thought Central Casting was delusional. Then I saw it. If anyone is going to give Malek competition, it’s Bale. You literally forget it’s him buried behind the makeup.

· Bradley Cooper – A Star Is Born – Cooper will get his Oscar one day and I thought he was fantastic in this movie, but this is not his time.

· Willem Dafoe – At Eternity’s Gate – He’s always great, this time as Vincent van Gogh

· Rami Malek – Bohemian Rhapsody – Malek became Freddie Mercury. Every detail of his iconic performances, recreated to the letter. He must have studied Mercury’s every move. The commitment to getting that right is stunning and I think this win will be well deserved.

· Viggo Mortensen – Green Book – Another great performance by an actor who seems to be able to play anyone.

Lead Actress:

· Yalitza Aparicio – Roma

· Glenn Close – The Wife – I didn’t want to like this one. I don’t care for her, ever since she boiled a bunny back in the day, but she was amazing.

· Olivia Colman – The Favourite – I have a sneaking suspicion that we’ll be seeing much more of her.

· Lady Gaga – A Star Is Born – She was surprisingly great in this movie, but it wasn’t really much of a stretch… playing a singer and all. Don’t get me wrong. She’s an incredible talent and deserving of this nomination, but I’m curious to see how her film career progresses playing roles outside of the scope of her ‘day job”.

· Melissa McCarthy – Can You Ever Forgive Me? – Another true story and another surprise. McCarthy in a serious role as the caustic (not to mention desperate) author, Lee Israel, as she resorts to forging letters for profit. If you haven’t seen this one, watch it. And someone please sign her up for more roles outside of the comedic space!

Supporting Actor:

· Mahershala Ali – Green Book – Everything I’ve seen him in has been excellent. This was no exception.

· Adam Driver – BlacKkKlansman – I love, love, love Driver.

· Sam Elliott – A Star Is Born – About time you nominated him, Academy!

· Richard E. Grant – Can You Ever Forgive Me? – I’m not sure I’ve seen him before but watching him here made me want to find everything else he’s ever done. I don’t think he will beat Ali, but if he did, I wouldn’t be disappointed.

· Sam Rockwell – Vice – Another consistently consistent character actor, this time as a weirdly convincing G.W. Bush. I love it when the Indy guys get the attention they deserve!

Supporting Actress:

· Amy Adams – Vice – We get it… the Academy adores Amy Adams. She did not blow me away in this movie.

· Marina de Tavira – Roma

· Regina King – If Beale Street Could Talk – I must confess that this was one of the films I was not able to see. It left the theater too soon, and as you may know, I won’t use bootlegs on this journey each year. I’ve chosen her for a few reasons… one, she’s won virtually every other award known to man for this performance. And two, this has been a long time coming. She’s always great!

· Emma Stone – The Favourite – Stone and Weisz here a glorious team.

· Rachel Weisz – The Favourite - She’s married to Daniel Craig so she’s basically already won at life.

Director:

· Spike Lee – BlacKkKlansman - Spike Lee is finally nominated here! I do believe he will take home a statue one day but I don’t think it will be this year.

· Pawel Pawlikowski – Cold War

· Yorgos Lanthimos – The Favourite

· Alfonso Cuaron – Roma

· Adam McKay – Vice

Animated Feature:

· Incredibles 2 - this gets my kid’s vote, just for the record.

· Isle of Dogs – Another year where I have the opportunity to declare my love for Wes Anderson. Another year where he will go home empty handed.

· Mirai

· Ralph Breaks the Internet

· Spider-Man: Into the Spider-Verse – I can’t believe I’m choosing a non-Disney / Pixar for the win, but I am. It’s visually stunning.

Animated Short:

· Animal Behaviour

· Bao – Pixar for the (predictable) win. Every one of the films in this category is a gem! Watch them all!!

· Late Afternoon

· One Small Step

· Weekends

Adapted Screenplay:

· The Ballad of Buster Scruggs – I thoroughly enjoyed this movie and would recommend it.

· BlacKkKlansman – This category is tough. I think this may be where Lee picks up a win, but…

· Can You Ever Forgive Me? – … I really loved how this was written… and I think it can bump Lee out of the top spot.

· If Beale Street Could Talk

· A Star Is Born

Original Screenplay:

· The Favourite – The quick witted dialogue may push this one over the top to win.

· First Reformed – I want my two hours back

· Green Book – The Favourite is the favorite in this category, but I think the story line in our current climate will give this screenplay well warranted votes

· Roma

· Vice – Another film where the writing definitely shined!

Cinematography:

· Cold War

· The Favourite

· Never Look Away

· Roma - There is just something about the way this movie was shot which immediately grabbed me at the opening scene. The very things I loved about it are things that others found to be a turn off, but the crisp black and white, tight, artsy shots were mesmerizing. Maybe it’s my love of photography, particularly B&W, but this film made it easy to see the beauty in the mundane.

· A Star Is Born

Best Documentary Feature:

· Free Solo – Will probably win, but…

· Hale County This Morning, This Evening – A film about regular people doing regular things. I hope the point is not lost on those who see it.

· Minding the Gap - This is an interesting narrative on the leap into adulthood and just how hard that is to navigate.

· Of Fathers and Sons – Watching this literally made me feel physically ill. If you question whether or not hatred can be taught, this confirms it.

· RBG - … I’m rooting for RBG, tonight and every single day for every single reason! Someone please put this woman in a bubble and preserve her for all of eternity... or at least until the next administration.

Best Documentary Short:

· Black Sheep - The Shorts this year were difficult to watch. This is about a young black man and his experiences growing up in a suburban white British town.

· End Game –This film is about the painful process of helping a loved one through the last days of their life and the humanity of the doctors and nurses who are walking alongside them. This is my vote.

· Lifeboat –About refugees fleeing their war torn home in the hope of a better life.

· A Night at the Garden – Actual footage of a 1939 Nazi rally at “The World’s Most Famous Arena”. The fact that this actually happened in this country, and so long ago, hurts my heart.

· Period. End of Sentence – About young women in India just trying to survive being a girl in a culture that demonizes something which is utterly (and biologically) out of their control.

Best Live Action Short Film:

· Detainment – A reenactment of the interrogation of two ten year old boys in Ireland, accused of murdering a toddler. Terrifying. And true.

· Fauve - this won at Sundance, but…

· Marguerite – my pick to win

· Mother – As a parent of a 6 year old boy, this one kept me up at night.

· Skin

Best Foreign Language Film:

· Capernaum

· Cold War

· Never Look Away

· Roma – If this doesn’t win I’ll be shocked, but since it’s a likely winner in other categories, voters may spread the love and throw Cold War a bone.

· Shoplifters – I really liked this one, about an unlikely group of outcasts in Japan, trying to survive on stolen items while flying under the radar.

Film Editing:

· BlacKkKlansman

· Bohemian Rhapsody

· Green Book

· The Favourite

· Vice

Sound Editing:

· Black Panther

· Bohemian Rhapsody

· First Man

· A Quiet Place – I’m selecting this because of how profoundly important sound was to the entire concept of the film. I know I’m probably wrong... it will probably be Black Panther

· Roma

Sound Mixing:

· Black Panther

· Bohemian Rhapsody – Because of the music

· First Man

· Roma

· A Star Is Born

Production Design:

· Black Panther

· First Man

· The Favourite – Period piece + Castle = Win

· Mary Poppins Returns

· Roma

Original Score:

· BlacKkKlansman

· Black Panther

· If Beale Street Could Talk

· Isle of Dogs

· Mary Poppins Returns

Original Song:

· All The Stars

· I’ll Fight

· The Place Where Lost Things Go

· Shallow – if there is one certainty about tonight, this is it.

· When A Cowboy Trades His Spurs For Wings

Makeup and Hair:

· Border

· Mary Queen of Scots

· Vice – Because I forgot Christian Bale was in there….

Costume Design:

· The Ballad of Buster Scruggs

· Black Panther – This is hard because any one of these could take it, but this is my gut feeling

· The Favourite

· Mary Poppins Returns

· Mary Queen of Scots

Visual Effects:

· Avengers: Infinity War

· Christopher Robin

· First Man

· Ready Player One

· Solo: A Star Wars Story

I’m sad to see this season come to an end as the summer blockbusters approach. Here’s hoping there are some hidden gems among the moneymakers this summer to keep me company!

Thanks for sticking with me to the end, all four of you. :)

#moviesnob

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roalbalove-blog · 6 years ago

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dougmeet · 6 years ago

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jfischerr · 8 years ago

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Mark Lecky

Ahead of his exhibition at Gavin Brown’s Enterprise in New York, and forthcoming retrospective at Wiels, in Brussels, Mark Leckey talks to J.J. Charlesworth about what it means 'be' in the midst of a world where images have become things

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JJ Charlesworth

The Universal Addressability of Dumb Things, Hayward Touring Exhibition, Installation view (2013). © the artist. Courtesy the artist and Gavin Brown Enterprise, New YorkGreenScreenRefrigeratorAction, 2010. © the artist. Courtesy the artist and Gavin Brown Enterprise, New YorkA Month of Making, 2014 (installation view). Photo: Thomas Müller. © the artist. Courtesy the artist and Gavin Brown’s Enterprise, New YorkMark Leckey photographed at Gavin Brown’s Enterprise, New York, May 2014. Photo: Jeremy LiebmanCirca '87, 2013. © the artist. Courtesy the artist and Gavin Brown Enterprise, New YorkFiorucci Made Me Hardcore, 1999 (film still). Courtesy Galerie Buchholz, Berlin/CologneStills & Trailers, 2012 (installation view, Galerie Buchholz, Cologne). Courtesy Galerie Buchholz, Berlin & Cologne

Mark Leckey is busy printing objects, or perhaps they’re copies of objects. It’s April, and between phone calls from my car and Skype calls from his kitchen, Leckey explains what he’s putting together for A Month of Making, a May–June exhibition at Gavin Brown’s Enterprise in New York, which itself anticipates a solo exhibition at Wiels, Brussels, this coming September, and which is a continuation, of sorts, of Leckey’s remarkable curatorial project, The Universal Addressability of Dumb Things, which was commissioned by the Hayward Gallery and toured the UK throughout 2013. For the Gavin Brown show, Leckey is getting together some state-of-the-art 3D printers, which he’ll set to work to print out solid versions of already existing objects, objects scanned to become digital information, which in turn will produce new objects: copies, or ‘dupes’, as he’s calling them.

There’s always been a restless, impatient enthusiasm to Leckey’s exploration of our culture’s mixed-up, obsessive relationship with both things and images, and the experience of our own fascination with and enthrallment to them. It’s an exploration that has become increasingly ambitious as it has encompassed video, object, installation, ‘performance lectures’ and eventually, with The Universal Addressability…, the business of curating too.

‘I DON’T WANT TO LOOK AT THINGS, I WANT TO BE IN THEM’

The 2008 Turner Prize-winner first came to attention for his breakthrough video Fiorucci Made Me Hardcore (1999) – a nostalgic elegy for the energy of subculture in Britain during the 1970s and 80s, a kind of biographical recollection composed of other people’s footage. Sequences of people losing themselves in the moment were edited in a manner somewhere between documentary and decelerated pop promo. But these were images, also, of people adopting self-images – style, dance moves – becoming images, as it were. And closer in, that video seemed to set up the question Leckey has been elaborating answers to ever since: what it means to be alive in a culture of images, and in some way, to live with and through them, while at the same time flirting with the possibility of becoming other to oneself, to become an object, or a thing. As Leckey declared during a discussion at the ICA a few years ago: ‘I don’t want to look at things, I want to be in them.’ It’s a desire that seems to resonate with our current moment, in a culture that, though everywhere mediated by images and networks, puts huge store in the transparency of connectedness, of our access to and implication in everything virtual. ‘Always on’, in the thick of what is seen and said onscreen, we have begun no longer to distinguish between the ‘here’ of the material and the ‘there’ of the virtual, the image.

Things, objects, artefacts, artworks: plugged into and playing off the groundswell of recent cultural thinking around the question of the division between man and machine, alternative states of consciousness and the terms of human subjectivity in the age of the network, The Universal Addressability... was a wunderkammerlike accumulation of incongruous objects, mixing artworks with manufactured goods, ancient artefacts and ultramodern technology, the real and the virtual: a high-tech prosthetic hand next to a medieval hand-shaped reliquary; a Doctor Who ‘Cyberman’ helmet alongside a stone gargoyle; video sequences from the virtual world of Second Life next to a video essay by the autism campaigner Amanda Baggs. Crisscrossing ancient and modern, The Universal Addressability… riffed on the irrationalistic, ‘technopagan’ return of an ‘animistic’ worldview, in which things are no longer merely the inert, passive objects of human intent, but become, in the explosion of the age of the network, quasi-alive, enchanted…

So where does the current interest in 3D scanning and printing come from? “When I was asked to curate a show,” he says of The Universal Addressability…, “I didn’t feel that comfortable with being an ‘artist-curator’, so what I tried to do as much as possible was to make the curated show into my own work. And one way to do that was to continue the exhibition somehow, to make something out of it. So when The Universal Addressability was at Nottingham Contemporary, I had as many of the objects 3D-scanned as I could. Later, I had some trouble with getting the objects printed in Brussels ahead of the [upcoming] Wiels show, so Gavin [Brown] suggested we bring some printers into his gallery [in New York] and do the production there, as an event – what, in the geek world, they’d call a ‘maker space’. So we’re going to produce those, and the rest of the works I couldn’t scan will be printed up as cutouts or something similar – I’m calling them ‘generations’ or, even better, ‘dupes’.”

He came up with a nice line for the press release, he muses: “‘They might be lossy, they might be “de-generations”, but they might be better suited to the world as it is today, because they are more “bits” [data bits] than they are atoms.’ But that’s getting a bit clever,” he says self-mockingly. “I’m doing it more because I can. I just want to see what it might throw up, and be a bit irresponsible.”

IRRESPONSIBILITY IS DEFINITELY ONE OF LECKEY’S STRENGTHS: NOT JUST AS A SUCK-IT-AND-SEE APPROACH TO INTUITING WHAT MIGHT WORK, BUT RATHER IN TERMS OF NOT TAKING RESPONSIBILITY FOR THE CONSEQUENCES – POLITICAL OR ETHICAL – OF WHERE YOUR INTUITION TAKES YOU

Irresponsibility is definitely one of Leckey’s strengths: not just as a suck-it-and see approach to intuiting what might work, but rather in terms of not taking responsibility for the consequences – political or ethical – of where your intuition takes you. It’s to be found in Leckey’s particular quest for a kind of affirmation of oneself in the experience of an artwork, even if it reveals the ambiguities and problems of such affirmation and risks the possibility of losing oneself to it. ‘Critical distance’ is something Leckey has a problem with: chatting for a moment about what he thinks he’s going to say on a discussion panel that evening at Tate Modern as part of its Richard Hamilton retrospective, he elaborates: “The big difference between British art and American art is about distance – Hamilton always had to maintain a kind of critical distance, he was never willing to just ‘succumb’ in the way I think American artists like Andy Warhol and Jeff Koons do. Their relationship is about trying to be as ‘integrated’ as possible, they’re trying to be that thing.” Whether there’s a critical residue in the kind of complicity that Warhol or Koons adopts – with commodity capitalism, with consumerism – has been hotly debated. But one gets the sense that Leckey wants to go beyond this, to provoke and incite further thought about the purpose of taking a step back and the value of throwing oneself in.

Immersion and distance, thing and image, the febrile oscillation between the sight and sound of pop culture and how to step out of it, to allow some reflection, some thinking to take place – all of this is perhaps given its most concise expression in Leckey’s ‘Koons bunny’ film, Made in ’Eaven (2004), a CGI mirage in which Koons’s iconic 1986 stainless-steel sculpture Rabbit is recreated in a simulation of Leckey’s London flat. As the virtual point of view wheels around the sculpture, we notice there’s no one reflected back in the mirror of its featureless, polished head. It is intoxicating to watch, an unreal doubling-up of impossibilities. Made in ’Eaven is something to do with desire – having what you can’t have, by just plain nicking it – but also a kind of crisis of materiality – of the sculptural object, and of the human body too. It’s a work that in many ways anticipates the scorching of the discourses of older media – sculpture, painting, photography, even video – in the critical fallout of the emerging networked culture of the noughties, though Leckey is cautious not to get too caught up in the voguish rush to see everything as entirely converted by the advent of digital culture.

“I’m apprehensive about what we’re doing in New York,” he says. “One of the reasons is that there’s a bit of a rush [among artists] to be the first to get your hands on this stuff [3D-printing technology]. And it’s not a question of being involved in a post-Internet-art type of discussion – I’m not interested in that… Actually, it’s about the fact that I have a problem with experiencing objects in the world, so I have to turn that object into an image before I can experience it as an object.” Rather than being tinged with digital-age anxiety, Made in ’Eaven is a celebration – not of an object, but of the desire for it, a form of wishrealisation in which the experiencing subject is removed from its own materiality, and that of the object, for both to exist in a moment of suspension, or resolution, or even oblivion. A sort of ecstasy.

Leckey mentions, half-joking, that he has sometimes thought of himself as ‘a bit autistic’. But it’s perhaps more the case that autism has become a kind of metaphor for a broader difficulty many of us face as society tilts from one where our relationships are with other people, to one where our relationships are increasingly with things. No doubt that could sound like an echo of Marx’s much misused discussion of ‘commodity fetishism’ – ‘a definite social relation between men, that assumes, in their eyes, the fantastic form of a relation between things’ – and it’s too easy to jump from there into the truism that, hey, we’re talking to our machines and they’re talking to us. Nevertheless, we soon find ourselves having to think through the consequences of a culture in which the division between man and technology, subject and object, has become a good deal more fuzzy than before, and we may be in uncharted waters… As Erik Davis, the Californian cultural critic whom Leckey cites as a big influence, anticipated in his article ‘Technopagans’ back in 1995, ‘we surround ourselves with an animated webwork of complex, powerful, and unseen forces that even the “experts” can’t totally comprehend. Our technological environment may soon appear to be as strangely sentient as the caves, lakes, and forests in which the first magicians glimpsed the gods’.

It’s a development Leckey has forayed into previously, with his GreenScreenRefrigeratorAction (2010), a performance-into-video in which Leckey voices, through digital modulation, the inner monologue of a black Samsung fridge-freezer, as it tries to explain itself to itself and the world around it, in a doleful stream-of-consciousness that takes the matt-sheened appliance from its own dimensions and internal technology, to ruminate on the world of vegetables and subterranea, eventually finding itself drifting in space, between sun and moon – which recur in the fridge’s monologue as the quasi-mythic representation of the hot-and-cold of its heat exchanger circuit.

Leckey’s interests might have shifted throughout the last decade – from an obsession with pop culture, subculture and the figure of the dandy in earlier films such as Parade (2003), and in his band collaboration DonAteller, with fellow artists Ed Laliq, Enrico David and Bonnie Camplin; to the high/low culture face-off of his BigBoxStatueAction performances (2003–11), in which Leckey’s giant speaker stack confronts icons of modernist British sculpture, such as Jacob Epstein’s Jacob and the Angel (1940–1); to his later multimedia performance lectures, the Internet-driven epiphany of dematerialisation In the Long Tail (2009) and its antithesis Cinema-in-the-Round (2006–8), with its more reflective inquiry into the physicality of images via, among others, Philip Guston, Felix the Cat, Gilbert & George, Homer Simpson and Titanic (1997). And yet between them one can trace the peregrination of Leckey’s restless attempt to grasp some form of truth about the predicament of experiencing and being in the current moment, as things, images and selves become interchangeable.

“I’M A POP ARTIST – I BELIEVE IN THE IDEA THAT YOU’RE ESSENTIALLY A RECEIVER, THAT YOU OPEN YOURSELF UP TO, AND YOU ALLOW WHATEVER IS CURRENT TO COME THROUGH YOU AND ABSORB IT INTO YOUR BODY”

From a critic’s point of view, Leckey’s tracking and anticipating of the crosscurrents of contemporary culture, his promiscuous remixing of sources from popular culture and ‘cultural theory’, present an artist increasingly attentive to the relationship between an event and how we reflect on it, the immediacy of experience and its mediation – the loop between art and criticism. And Leckey’s work is looped in another sense, working almost always in and out of the work of others: the anonymous footage of Northern Soul and Rave clubs in Fiorucci; Koons’s Rabbit, invoked and wished into being in Made in ’Eaven; sculptures by Epstein or Henry Moore in the BigBoxStatueActions; Leckey’s own figure seen only in reflection in the curves of a stainless steel Pearl snare drum, in the video Pearl Vision (2012); the elaborate cultural composites of the lectures; or the scanned, recut objects sourced out of The Universal Addressability… Authorship and signature style are nowhere to be seen here in their old guises, and this relates, perhaps, to Leckey’s attitude towards how to embrace the experience of the currents that make up a moment in history. “I see myself in a tradition of Pop culture,” he says. “I’m a Pop artist – I believe in the idea that you’re essentially a receiver, that you open yourself up to, and you allow whatever is current to come through you and absorb it into your body and somehow process that, and that’s how the work gets made.”

Leckey’s current efforts are focused on a new video, a sort of ‘memoir’, the first glimpses of which were seen in his recent exhibition On Pleasure Bent (2013), at the Hammer Museum at UCLA. In the ‘trailer’ video of the same name, we find a dense collage of brief sequences that might recall a British adolescence through fragments of music and film, invoking an woozy eroticism that drifts between the lattice of fishnet tights and of electricity pylons, the branding of Benson & Hedges cigarettes, cathode-ray-tube RGB dots, Kate Bush and Kenneth Williams. Seductive and seduced bodies of the past, absurdly rendered in the photocollage Circa ’87 (2013), in which Leckey has cut-and-pasted himself, stripped down to his shorts and sat at a snare drum, as an oddly scaled-down figure surrounded by an admiring throng of big-haired 1980s ladies. For all the attention to the impersonal future and past of technology and society in his recent work, it’s an awkwardly comical reminder that Leckey’s work remains rooted in the problem of remarking on one’s own being – on its capacity for memory and for action, for desiring and being absorbed, for being embodied while potentially ‘out of its head’ – being both subject and object. Of what it means to be in the midst of things.

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