Tag: painting

A Mammoth Undertaking: Interviewing the Future of Art

Mark DavisLeave a comment

The following is my interview of DeepAI and Stable Diffusion running on an AMD Ryzen with NVIDIA GeForce RTX 3090.

Thank you for taking the time to discuss this important and interesting topic. Why are mammoths so important to the art world?

That the mammoths were domesticated before the start of the human era seems implausible from a historical perspective. In fact the majority of mammoths that people find in museums, libraries, and other collections are not domesticated mammoths. This suggests there might have been a greater need for mammoths within culture than before. This would make sense, considering that Neanderthals likely hunted other types of other species before settling in our world more than 400 years ago. Because they were not domesticated, they were only adapted to hunting rodents and other plant and animal species that were less domesticated in their wild form such as rabbits, snakes, etc.

Starting at the earliest part of your collection, the mammoth is an unusual theme for Rembrandt, isn’t it?

It’s hard to believe that after all the success of their latest work, The Lord’s Prayer doesn’t want to let their “biggest hit yet”, the classic The Lord’s Prayer, disappear. The actor’s latest film, The Wrestler (via Warner Bros., which produces on their own, and in the U.K.), has garnered more than 15 million views on Amazon Instant Video (the company’s preferred store for Netflix-wielding subscribers, not the usual suspects Google Video), and has become so popular that when the film premiered at the Venice Film Festival, it was deemed the top film at the fest. The star-studded line-up has included the likes of Peter Lorre, Michael J Freberg, Colin Farrell, and Peter Sellers (both of whom made it to a Hollywood winery).… Read the rest

Originality, History, and Twee Cliché

Mark Davis1 Comment

The American composer John Adams recently complained during a stay-at-home streaming interview from his composing shack on California’s Lost Coast that Baroque composers had it easy. Their compositions had to conform to about four patterns. But for a modern composer every single piece has to be an original invention. It is daunting, intellectually and emotionally. I’ve noticed this in my own search for new voices in writing, whether my own or those of others.

I’ve been an enthusiast in the past, from the crystalline inward revelations of Goethe in translation to the angry unreliable narrators of 90s transgressive fiction. I reveled in Nabokov’s multilingual estrangement and in Pynchon’s anachronistic dialect in Mason & Dixon. In essays there are the hollowed-out abstractions that form an evocative background in writing about art and architecture, the verbose polysyllabic scrums of political writers at the fringes of liberalism and conservatism who are trying to trace out a living intellectual history, and even the conceptual ambiguity of Continental Philosophy that seems to purposefully undermine its own analytical efforts at clarification.

Martin Amis, in his collection of essays, The Rub of Time, has one central message: don’t do cliché. His second message is don’t write memoirs because they are just crude weapons for attacking your historical enemies, from family to critics. Yet there is a feeling, in retrospect, that the reverse-time narration of Time’s Arrow or the end-reveal of London Fields are a bit gimmicky. The writing is more accessible than a Pynchon, but the mechanics are more akin to short stories from 60s sci-fi, just labored at with greater literary travail.

So, yes, I’ve been an enthusiast in the past but am a critic now.… Read the rest