30 March 2025

"The Creative Act: A Way of Being" by Rick Rubin (2024)

Craftsmanship is the mastery of gradient descent, which does well at zeroing in on local optima. Creativity is the ability to reliably find global optima. One interpretation is that artistic life consists in daring to seek the global optimum of the only function one knows: one's felicity function. The artist excels at controlling the tuning parameter: first, searching for the optimum globally, broadly, and then becoming a craftsman and searching locally, finely. This description of the artistic life misses the social aspect of creativity, however.

Suppose instead that an artist is but a node in a neural net, an ever-evolving activation function, an ever-shifting perspective. He filters other artists' outputs, art, through his perspective and passes it on, for other artists to soak up. One is not an artist if one refuses to output, to share art. But then, is everyone an artist? And what is the objective that is being optimised, that is, what is the task that the neural net is learning to perform? And where does the training algorithm come from? Who is in charge of it? 

"We are like the dreamer, who dreams and then lives inside a dream. But who is the dreamer?" Perhaps, it is the Ultimate Artist himself.

"The Lives of Lee Miller" by Antony Penrose (2021)

The story is a sad one, for it ends in death, the death of its protagonist. It did not have to be that way. Perhaps the author did not see the need for letting Lee Miller's story continue, for he himself is the story's legitimate continuation. 

20 March 2025

Much Ado About Nothing

(Theatre Royal Drury Lane, 20 March 2025)

What makes a production authentic is not a meticulous attachment to irrelevant paraphernalia but striving for whatever is required in order to replicate the audience’s reaction at the premiere. This striving may accommodate much of the original plot and text while nevertheless calling for cuts and alterations. The present production of Much Ado About Nothing manages to remain authentic in spite of retaining the plot and the text in their entirety. The original songs and dances, if any, had to go. Good riddance.

Shakespeare’s populist genius lies in addressing multiple audiences at once by writing in layers.

17 March 2025

The Years

(Harold Pinter Theatre, 17 March 2025)

Europe is a different country. The 1970s French theatre is a different country.

It is difficult to begin a play. The audience is not accustomed to thespian delivery. The audience has no past to relive or to latch on to, and no future to anticipate. The Years struggles.

The Years continues to struggle.

A cheerful disposition is the engine of an advanced civilisation.

16 March 2025

Edvard Munch Portraits

(The National Portrait Gallery, 15 March 2025)

Pre-1908 Munch saw himself in the men and the women he painted. Post-1908 Munch saw the men and the women he painted in the men and the women he painted.

15 March 2025

The Face Magazine: Culture Shift

 (The National Portrait Gallery, 15 March 2025)

Little is known about what happened in the 1980s, except that it was necessary in order to enable the 1990s. The 1990s were when modern fashion photography was born, in The Face magazine. With the ascent of Anna Wintour at Vogue and the retention of Peter Lindbergh, the establishment's takeover of the revolutionary had been complete. The raison d'être for The Face vanished.

8 February 2025

Zona Maco 2025

 (Centro Citibanamex, 8 February 2025)

It is truly inspirational how much atrocious art there is---this year especially. Whatever one does, one is bound to be in the top ten per cent---at least as long as one brands oneself an artist rather than an artisan.

A commodity is something that each of a hundred people are willing to pay ten dollars for. A piece of art is something that one in a hundred is willing to pay a thousand dollars for. To succeed, an artist must invest in searching for that one dream customer. This investment subtracts time and resources from the artistic endeavour and breeds charlatan mediators.

The winner of this fine-art fair is AI. Guided by Antonio Uvalle, AI seems to remember better than humans do what it is that humans crave: humanity. Well, maybe next year.

Then Chuchito Valdés walked in, sat at the piano, and showed that humans still do humans better than AI does.