Boredom

“Boredom 1.0 no longer exists… no one is bored (yet) everything is boring.” — Mark Fisher

I don’t think I can summarize the state of the 21st century mind better than Mark Fisher does in the above quote. We’re flooded with wanting, bombarded by data and detail yet we’ve never felt more apathetic towards things. It’s as if we’re simultaneously complaining that there’s no time for anything yet tormentedly woe when there’s nothing to do, so hungry are we to fill up that time as soon as it arrives. We’ve become, as a species, almost incapable of living in the immediate present; we fail to embrace what we feel in the moment without ever trying to control it.

“The present moment is the richest apex of being.” — Terence McKenna

On top of that, one can say that it’s perhaps never been more confusing to be a man or a woman in contemporary society today. Traditions, despite their flaws in outdated rituals or irrational doctrines, at least provided an approximate blueprint as to how to behave, how to live. Today, we are denied this by our institutionalized culture of money and commoditization — everything has become a buy/sell, win/lose utilitarian transaction. This destroys the immediacy and connection with things, be it materials or other sentient creatures. We have forgotten that we’re all connected in ways we’ve yet to fully understand. But understanding takes time, something our fast-forward culture denies.

“Time is money.” — common everyday proverb

We’re still failing to understand that striving for authenticity is not the same thing as the promotion of selfishness. In fact, individuality has never been more publicly condoned yet everything looks and feels more and more the same; there is nothing original. Whether it be products like housing, clothing and entertainment or even our psychological outlook regarding our anxieties about the world, they all carry that same banal commonality to them. There’s so much stuff, so much self-pursuit, yet we’re still so undoubtably unfulfilled and unforgivingly empty. And this phenomenon plays itself out almost wherever we go, regardless of climate or geography; global markets and technology has assured that this new reality is to be shared by all.

“Under the compulsion of performance and production, there’s no possible freedom. [If] I force myself to produce more, to perform more [and] I optimize myself to the point of death… that’s not freedom.” — Byung Chul Han

Perhaps this plight is even more significant than we typically think, even more so than the global concerns such as climate or energy. A man bored is a frightening thing or so we’re told. But perhaps we’re wrong about this? Just as we’re wrong about isolation and aloneness.

Making art is a solitary endeavour. Modernist painter Barnett Newman in his studio.

“A man can be himself only so long as he is alone; and if he does not love solitude, he will not love freedom; for it is only when he is alone that he is really free.” — Arthur Schopenhauer

I believe boredom is a gift — albeit an uncommon one — that comes to us just when we need it. Like a vacation, time spent in boredom is freed time to do nothing or more importantly, with nothing to do. Afterall, to vacate means to escape into space, that space between activity or event. In animation, we call spacing timing because it is the space between poses (or action) that gives the animation pace and variation, that gives it movement. In modern life, we’ve forgotten about the importance of that space, that silence that gives perspective and meaning to the actions around it.

For example, a couple of weeks ago, I had to spend some time in the hospital. Sitting in my gown, on the bed waiting, I had nothing to do or could do. I was hooked up to IV (intravenous solution) and didn’t have my phone with me (which was intentional). With the procedure delayed by many hours, I found myself fighting the urge to read, get hold of my smartphone or talk to someone. But knowing the importance of the moment, I let things play out and I could feel the environment engage with me (like when I’m in deep meditation, usually outdoors). My seeing was sharper, as was my hearing. Then, with remarkable clarity, profound and grateful thoughts began to form in my head, like the fact that I lived in a country with excellent free medical care. Everywhere I looked, I can see the immaculate design of medical apparatus and tools that was required in a place such as this, in all its shiny newness and meticilous cleanliness. I saw all the materials in a different light — such as how much design and comtemplation went into the making of each one of those tools and the people who made them and used them — the often under-appreciated medical and medically-associated personal — whose lives revolved around treating and caring for the sick and dying.

“It seems clear that the more we exercise our sensitivity, the stronger it becomes… When it is not exercised, sensitivity tends to weaken.” — Sophie de Grouchy

It’s incredible how boredom can do this — awaken us, that is. It brings forth our empathy and heightens our sensibilities. I personally do not live very often in fear, at least not anymore. But I do fear for us as a people; will we destroy the opportunity to be bored just as we’ve destroyed the many countless peoples and traditions in our seemingly endless quest for power, productivity, profit and progress? If we lose our ability to be alone and bored or even to make time for boredom to happen, we risk losing our humanity and along with it maybe even our ability to imagine and dream.

“The artist works by locating the world in himself.” — Gertrude Stein

Getting Physical with Art Again

How is it that the 1980’s production of Empire Stikes Back’s Yoda, a hand-made and hand-animated puppet, feel and look so much better than its CGI successor?

“The artist is the hand that plays, touching one key or another, to cause vibrations in the soul.” — Wassily Kandinsky

This past weekend I had to remove a beloved Japanese Maple tree from my garden. It had gotten beaten down by the heatwave last summer and subsequently infected with a nasty fungus. The operation was quite tricky; I wanted to save the one lower branch that was still alive for transplanting but had to remove the main tree from the ground without killing it nor damage the surrounding plants in the area. With limited space, I needed to wield a pick axe to dig it up or more accurately chop it up at the roots. This was much harder than I anticipated. Just using the pick axe was an ordeal; its heavy, unwielding nature along with the limited area for me to swing it, fatigued the heck out of my arms and I even got injured by the splintering branches. It was an all out mental and physical experience. I was reminded of just how much harder it is to do things manually. Should I have paid some tree guy with his modern machine tools to do the job instead?

Of course, we all love technology; it’s so much easier and more convenient to do things and do them quickly. This is especially true in the digital realm where a lot of us modern day artists work.Digital tools are here to stay. But using digital tools predominantly has its limitations and problems. Computer configurations — the screen, keyboard and mouse/tablet — have not offered much in the way of interactive creativity, nor has it, at least to date, changed much from its original form. The physical structure of digital machines is standardized and with that standardization comes with it an effect on the human mind — a sort of mechanical sameness and lack of joy permeates. There’s also a clear lack of vitality in our operation of it; the body in the same position, the eyes always looking at that same rectangular space. In many ways, when we use the computer, it also uses us. We are transformed by it and often times drained by it too.

“The medium is the message.” — Marshal McLuhan

On the other hand, interacting with physical tools, creates a completely different and inspiriting effect on the user. It places different demands on you, like that pick axe did with me. But it also imparts something magical, a process that’s almost soulful. Using and playing with physical things encourages the cells in our body to align and activite in very unique ways. In fact, the entire body and mind need to coordinate much more so than when working with a computer. Even when making a simple sketch within a somewhat stationary set up of a desk and chair, the body is engaged; you squint, grimace, lean, tilt, push and pull against the materials. Each artistic apparatus, whether it be pencil, marker, brush or even the surface/platform you work it on, offers a different body altering experience. This kind of contagious vitality in the process always translates into the work.

It’s why I heavily stress to my students the need to supplement their digital craft with the practice of working with real physical tools. The variation in size, texture and feel of the materials transmutes all things involved; the charcoal becomes more than a stick of compressed dust, the artist more than just an idle vessel with various ideas and feelings. Only by joining things together does art get made. And the way it gets made is so ultra-specific to that mixture of the tool and person involved that it feels very “one-of-a-kind.” In my own studio, I have various “play” stations: one for pens/pencils/markers, another for watercolors, another for oils/acrylics, yet another for digital. Each one offers me different places to play or, as dancing maestro Twyla Tharp preferred to say, to “scratch.”

“Never scratch the same place twice… If you scratch the same way all the time, you end up in the same place of the same old ideas.” — Twyla Tharp.

The other thing about physical tools is that they can force us to think less and focus on doing. Whether chopping a tree or painting on canvas — the situation doesn’t permit us to deal with anything else. It’s just too demanding. One has to really pay attention with real stuff. For example, when I’m working with acrylics, like I often do, I have very little time to apply the paint on the surface since it dries or gets sticky so quickly, usually within minutes. My preparation has to be very disciplined and my execution nearly perfect. Mistakes are almost permanent and very difficult to repair. But this is also why I love to work with acrylic paint; it’s so direct, reminding me to stay present and stay sharp, as if it’s saying “this is it, that mark you make right now matters.” Imagine that level of focus and seriousness working with digital? Just ask any stop motion animator who animates straight-ahead. There is no undo button. Just like life. This is really good practice for developing one’s strength of vision and commitment.

“The hell with art — pay attention … just pay attention.” — Philip Guston

Going analog can also help break the monotony of digital products. I suspect the blandness of much tv/film/animated output is partly due to the increased usage and reliance on digital tools and reference. Take VFX for instance. Now that was a field once deservedly exalted for its creativity and resourcefulness! Think of all those figurines, costumes and masks, insane location set ups and props, not to mention the innovative brilliance of the early science fiction pioneers like Ray Harryhausen, Phil Tippet, and Dennis Muren. Special effects truly were special! Not only were the results groundbreaking, the process was just as or even more interesting. The hand-made touch leaves a beautiful trail behind. Today, most VFX looks exactly the same regardless of project or studio, and none of it nearly as creative or special as its historical predecessors, just more photo-realistic. And there’s always that digital look — I can always recognize CGI regardless of visual stylizations. The computer also leaves behind a trail. Artists working with tangible tools face real limitations and it’s precisely those limitations that draw out their creativity. What we call style is exactly that; work created dangerously without the certainty and safety that machines provide.

“To do a dangerous thing with style is what I call art.” — Charles Bukowski

If you get the chance to work with physical tools don’t pass it up. In fact, make a practice of it. Sure, using real materials can be real challenging but if we are to think outside of the box we might literally need to work without it (the digital box, I mean) at least periodically.