Totally agree. That’s essential for any production from my head, whether it’s sculptures of…Yeah, totally.
Is there anything that you want me to send in terms of physical content? Do you want me to send some books of the magazines for this project? I could just wrap it up and send it your way. Is that of interest?
Yeah, right. [laughs]
I’m getting really into this idea of using, how you say…I have to go look into it, how would these websites work or how you’re text recording of any interview that you do. It’s amazing. I don’t know how to say it. [laughs] I like the good idea. It’s something ...
Sometimes there have been physical objects on the stage. Sometimes there are no projects. Most has been in the physical space. People sit in front of a screen project. Now it’s going to be online. It’s almost going to be like this?
I have a question. How does the presentation of you look like? I’ve been going through 13, 14, 15, and different. It’s different. Sometimes you have a suit on, and you’re a presenter.
I like the thinking.
…think about the speeds of publishing.
It’s the same thing with [inaudible 23:47] . The medium is so [inaudible 23:52] see this [inaudible 23:56]. [laughs] Something like that.
Everything’s really real-time now. It’s even like seeing the conversation online now, like what I do, it’s not always so. [laughs] Work on something for a year, not publish, nothing, but slow it down.
I was reading about this. This project, we’re using blockchain to monitor the environment, if there’s pollution, air pollution, water pollution. In the same way, I was reading about making maps of where you can get available masks.
That’s open function, and a lot of people are using that?
I was also looking into stuff like I was reading about using blockchain technology to monitor the environment in Taiwan or pollution. Was I right, or did I get that wrong, the air boxes, where people use a blockchain report?
Yeah, it’s great. I was reading some of them yesterday. I liked the setup of it. It’s really like, yeah.
It’s insane how much, huh? Do you type it all yourself?
I could be interested in being able to figure out how to make an online version, of course. I think that would be interesting.
I often thought about, would it work online? As a printed, 100 pages manuscript, where you could dive into it, it’s accessible, but it’s not like…I never figured out. We deliberately didn’t go online with it and thought about a slow distribution and doing topics that are lasting.
It’s not printed, because it’s a slow process. It’s something where it’s like, I don’t know how many people read them, either, but it’s there. If it will be online, that kind of format, I think it wouldn’t work in the same often.
Yeah, being online, reading, taking in, I really liked the poems. I think it’s a really cool format to work in politics with. The thing with ETOPS, we decided, it’s a collaboration also with Matthew Evans, who I did some of them with.
They’re all 12 interviews a piece. Then there’s the last one – we cut the format, so it’s a little bit more like “Pulp Fiction” – which is called ETOPS Headache, and it’s about neuroscience. It’s 2020, so it’s…These are the magazines, basically.
LA, then there’s one where we went to Brazil and to Peru. It’s about rainforest, but it’s also about tasting menu, a la Chef’s Table, where reinventing national cuisine through food. Biodiversity of monoculture somehow is the…but they’re all, it’s all text savvy, full-on interviews.
Then there was one on the LA porn industry, but also on the plastic surgery industry, unrelated. It’s like somehow a magazine about being young, trading your body for money, or being old, trading your money to become younger kind of trajectory.
It means extended operations, and that was just the idea. How far can you go with the topic before it falls apart as a metaphor? That’s the pilot issue, which is more pictures. It has the Q&R with the pilot in the back, which I thought was really cool.
They take time. The first one was the aviation one. It’s called ETOPS, and it’s a certification for a twin jet, a two-motor airline plane, and how long it’s allowed to fly. It was a certification that started when…
If you then anonymized it, it wouldn’t be like this, read who is famous, don’t read who is not famous. You get more like a…
Again, the last one was about brand. If you would speak with a very famous neuroscientist in Germany, he would already have done 50 interviews, so you just get the same interview that we had done for the last magazine. If you would maybe speak with a younger researcher who’s ...
Different topics that interested me. They were printed publications, question-answer, anonymized, not to protect people, but more the thing that you could have a high and low.
That became the pilot issue, and it went into a series of publications relating to adult industry, entertainment industry, plastic surgery, and then I went into the rainforest, and food production.
It’s often industry-related, but I’m interested in. It started off with an interview, where I was just interested in aviation at the time. I was wondering how it was to be a pilot. We got the pilot. There was an anonymous interview with the pilot, and so he could say ...
There was a split in my production, where I decided that I want to act purely on form, or it appears to be a conversation piece, and be able to kick start many conversations, and not just the illustration, and that one dimensional reading off a topic. I started publishing ...
It used to be, I would say, that when I came out of school more…I tried to be more conceptually or I tried to get more information into my sculpture, I guess sometimes more than I thought was possible for the viewer to read.
Me? Yeah. Good morning, you. Good morning. I’m an artist. I primarily work with sculpture, and it’s different materials. It could be very classical, and then glass, metalwork, to using ready-made for medical industry, airplane industry. It’s different from time to time.