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Today I returned to revisit some earlier ideas.
Art remains about cultural promotion, whether it’s
- the drawing or cartoon (storyboard) as preliminary prospectus for the patronage of monumental works, or
- the need to mediate its anticipated experience using other means of messaging as a matter of marketing some potentially existential moment.
- as personal or subjective perception, art is culturally situated, practical reason, and planned cognitively.
Public Relations (PR) as an institution only considers art as its servant, a subset of media command and control. (In the age of Trump, art is always about status and remains secondary to power because it’s always about property possesion)
And it’s worse when you are your own cinematographer, however vernacular with the availability of social media.
It is disturbing to see now how many adult entertainment films have been shot in a self-driving car. Because decadence and social media won’t stop exhibitionism.
Owning a Tesla may be less about design and more about using the self-driving option to close one’e eyes while driving like Ada the Futurist in Bertolucci’s film, 1900. Because the modern is ultimately still about non-working leisure time and some anticipated sense of luxuriating, also because others are working harder for wages.
By the seventeenth century, the art world became interested in the scientific examination and still-life painting flourished as an independent genre, particularly in the Netherlands, Italy, and Spain. As one of the most popular subjects, the food was depicted with exquisite realism and detail. In the forefront were the Dutch and Flemish masters who depicted abundant and lavish food displays such as game, fowl, lobster, shellfish, exotic citruses or precious grapes. These expensive delicacies were associated with a privileged lifestyle that the owner of the painting wanted to be identified with. Yet, this imagery sometimes also served as a reminder of transient nature of luxury or the perils of gluttony.
On the other hand, Vermeer took a different route than his Dutch contemporaries. In his famous painting The Milkmaid, he used expensive pigments, rich colors, and exceptional lighting to paint the most common of foods – milk and bread. The symbolic potency of this kind of imagery lived on into the eighteenth century, even as the popularity of genre painting waned in the Netherlands.[2]
www.widewalls.ch/…
In 1932, Marinetti published The Futurist Cookbook. It was not merely a set of recipes; it was a kind of manifesto. He cast food preparation and consumption as part of a new worldview, in which entertaining became avant-garde performance. The book prescribed the necessary elements for a perfect meal. Such dining had to feature originality, harmony, sculptural form, scent, music between courses, a combination of dishes, and variously flavored small canapés. The cook was to employ high-tech equipment to prepare the meal. Politics could not be discussed, and food had to be prepared in such a way that eating it did not require silverware.
www.smithsonianmag.com/…
Marinetti's 'futurist manifesto' treats destruction and the causing of suffering as an art-form in its own right, in a way that borders on sadistic. It's not just converging with fascism and the idea that the ends, however brutal, justify the means, it's actively embracing and promoting it.
With a runtime of 317 minutes in its original version, 1900 is known for being one of the longest commercially released films ever made.
en.wikipedia.org/...
We so fetishize the modern or at least the meme of modernity, aided by some basic technologies.
I rediscovered a Food Art resource that reminded me of an earlier article on sushi being tailored to your saliva and urine and this piece below on food emergency devices. But it included such things as crocheted food, lamps made of bread, and mixing cocktails with a drone. All while some remain hungry.
Then there’s the possibility that your Facebook profile can be used as a personality algorithm to mix a drink for you:
The Social Shot ironizes the mass customization of nearly every imaginable product with a drink that gets mixed right in front of the user’s eyes in a matter of seconds. The data for the perfect and personalized mix is acquired using the much-discussed social media platform Facebook. As in many cases, the exact algorithm stays a secret but the consumer can feel its impact when drinking the shot.
social-shot.com
If anything the Social Shot delimits the notion of purchasing a status item, especially if the taste of 12-year-old Scotch can be synthesized.
Helsinki based designer, lucas zanotto, has created the world’s smallest cup of coffee for Finnish coffee suppliers, paulig. using a single bean of coffee and a miniature filter, zanotto produced a small serving of rich paulig coffee.
www.designboom.com/…
a single coffee bean was manually ground into grains
all images courtesy of lucas zanotto
Honduras, the world's fifth-largest coffee producer, manufactured the world's largest 18,000-liter cup of coffee to break the Guinness record that belonged to England.
www.coffeemuseum.com/...
So the Starbucks drive-up could be part of an unfortunate selfie in a Tesla, since geolocated pizza delivery (Domino's Hotspots) and credit carding has taken away one adult media narrative: the barter economy of the consumer who cannot pay when encountering the delivery person.
OTOH there are these futurists who just need “to go in”.