文字起こし 🔗
WEBVTT
00:00:00.400 --> 00:00:03.919
I'm Alejandra Rusi, and this is the Rusi Hive.
00:00:04.080 --> 00:00:08.480
Conversations with people who treat their work and life as a creative practice.
00:00:08.720 --> 00:00:15.599
As we drift through the late summer haze, I'm wrapping season one with a trilogy of shorter solo episodes about the podcast itself.
00:00:15.759 --> 00:00:19.440
The spark, the launch, and the living creature finding its next shape.
00:00:19.600 --> 00:00:33.200
Next up, The Restless Born, a dispatch on unfixing the format, asking what happens when a filmed podcast uses video as more than documentation, and the point of view that lets range stay wild without becoming random.
00:00:33.759 --> 00:00:37.439
This podcast is presented by Rico Moresca.
00:00:38.240 --> 00:00:40.399
Welcome to Creative Dispatch No.
00:00:40.560 --> 00:00:43.119
3, the last in my late summer trilogy.
00:00:43.359 --> 00:00:49.439
Behind me are three works by Hideon, one of my very early guests on the podcast.
00:00:49.600 --> 00:00:55.759
And their whole world-building energy feels especially right for what I want to talk about today.
00:00:55.920 --> 00:00:58.799
Last week, I left one question hanging.
00:00:59.039 --> 00:01:04.959
What do you intentionally shake up before the structure starts deciding what the project is?
00:01:05.120 --> 00:01:10.159
Obviously, the answer looks very different depending on what you're making.
00:01:10.400 --> 00:01:18.000
You disrupt a novel differently than you disrupt a restaurant, a painting practice, or a career in ballet.
00:01:18.159 --> 00:01:28.239
But one more general way to think of it could be what conditions around the work can you play around with and stop treating as gibbons?
00:01:28.560 --> 00:01:37.120
You could change the material you're pulling from, the stuff you read, listen to, look at, the well of inspiration, in other words.
00:01:37.280 --> 00:01:46.560
You could bend the perceived constraints, change the context, reconsider the method, change the pace, or even your own role inside it.
00:01:46.719 --> 00:01:52.799
I think changing one condition around the work at a time can be an effective method of disruption.
00:01:52.959 --> 00:01:56.799
You don't have to go poking at the thing from every direction.
00:01:56.959 --> 00:02:00.079
Just shift one variable and see what happens.
00:02:00.319 --> 00:02:09.520
For example, I recently embarked on a morning music listening curriculum of sorts as part of my writing practice.
00:02:09.840 --> 00:02:16.960
And the insight and clarity I've gotten from it have been almost mind-blowing.
00:02:17.120 --> 00:02:34.560
Then obviously, when you try to explain how Thelonius Monk, Philip Glass, Johann Sebastian Bach, Dmitry Shostakovich, and next week Bjork are helping you define the narrative intelligence of your non existent novel, don't.
00:02:35.039 --> 00:02:36.800
Just keep it to yourself, Ali.
00:02:37.599 --> 00:02:40.319
So what can a filmed podcast
Load full transcript
do?
00:02:40.479 --> 00:02:48.639
I've been thinking a lot about this, and the most basic answer is much more than simply showing us the people who are talking.
00:02:48.879 --> 00:02:52.159
You know, the medium does often seem underused.
00:02:52.560 --> 00:02:59.599
A filmed podcast can play with space, staging, objects, sequence, performance.
00:02:59.840 --> 00:03:03.840
It can change who or what is sitting across from you.
00:03:04.000 --> 00:03:08.560
It can change the balance of power between interviewer and interviewee.
00:03:08.719 --> 00:03:16.960
It can even mess with something as basic as the assumption that the question has to come before the answer.
00:03:17.199 --> 00:03:27.840
Season two, for example, opens with an interview in which voice, body, authorship, and presence refuse to line up in the usual way.
00:03:28.240 --> 00:03:36.719
It's the first in a new genre I've invented, and for now remain the world's leading authority on the Hive Construct.
00:03:36.960 --> 00:03:43.039
Two weeks later, you'll find me conducting a very prim and proper artist interview.
00:03:43.360 --> 00:03:48.319
I don't want experimentation itself to become the new formula.
00:03:48.560 --> 00:03:55.919
I want you to genuinely not know what kind of encounter you're going to witness every two weeks.
00:03:56.080 --> 00:03:59.680
What I'm after is range and a little unpredictability.
00:03:59.919 --> 00:04:03.840
And I think that's true of me, well beyond this podcast.
00:04:04.000 --> 00:04:09.280
What I want in life, in work, and the things I'm interested in is range.
00:04:09.439 --> 00:04:21.920
I've never been the person who only likes one genre of anything, or one way of dressing, or one flavor of ice cream sitting politely by itself in a boring scoop.
00:04:22.079 --> 00:04:25.360
I want two or three flavors, and they can touch.
00:04:25.600 --> 00:04:33.839
I want toppings, I want crunch, I want the whipped cream in that perfect spiral, and don't even get me started about the cherry on top.
00:04:34.000 --> 00:04:46.639
I once had a dream that I lived in a house that transformed gradually over the course of the day from a Renaissance palace into a high-rise, ultra modern apartment.
00:04:46.879 --> 00:04:53.519
So I would wake up, say, in the 16th century and go to sleep in the year 2085.
00:04:53.920 --> 00:05:00.160
And I remember waking up and thinking, yes, exactly, that's how I would like it.
00:05:00.319 --> 00:05:03.199
I love ritual and even routine.
00:05:03.439 --> 00:05:07.439
I clearly enjoy a system, but I hate a box.
00:05:07.759 --> 00:05:17.040
So if your interests range across all these different worlds, what keeps that spectrum from becoming completely random?
00:05:17.279 --> 00:05:23.920
And this is where the resonance knob in me would like to stand up and announce that I have taste.
00:05:24.160 --> 00:05:25.120
But hold on.
00:05:25.360 --> 00:05:34.000
If you remove the ego from that equation, all I really mean is that I have a specific sensibility with its own internal logic.
00:05:34.240 --> 00:05:39.360
I'm not here to declare anything about good taste or bad taste.
00:05:39.600 --> 00:05:42.560
I think that's a landmine, so let me get away from that.
00:05:42.879 --> 00:05:48.160
Range only becomes coherent when there's a point of view strong enough to hold it together.
00:05:48.319 --> 00:05:49.839
So that's where I'll leave that.
00:05:50.079 --> 00:05:56.079
Season two of the Rusi Hive is where I start considering and hopefully testing all of these things.
00:05:56.160 --> 00:06:00.480
And Rico Maresca continues to function as much more than a backdrop.
00:06:00.639 --> 00:06:03.920
It's my creative collaborator, a hive before the hive.
00:06:04.079 --> 00:06:08.480
The gallery has this unusual gravitational pull.
00:06:08.720 --> 00:06:15.199
People from very different worlds enter it, collide with one another, disappear, reappear.
00:06:15.439 --> 00:06:18.399
That constellation gives me a lot to work with.
00:06:18.480 --> 00:06:21.519
And more importantly, a lot to keep discovering.
00:06:21.759 --> 00:06:24.639
So I think I've said enough for now.
00:06:25.120 --> 00:06:26.800
See you in two weeks.
00:06:39.680 --> 00:06:45.360
If someone came to mind for the hive, send guest suggestions to guests at ruseyhive.com.
00:06:45.519 --> 00:06:50.000
And if you just want to say hi, it's hello at rusihive.com.
00:06:50.319 --> 00:06:54.560
Original music and sonic identity for the Rusi Hive by Ant Food.
00:06:54.800 --> 00:06:58.879
Until next time, let your life be a creative act.