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There was a birthday party for one of the kids in the building we lived in, which belonged to the union of circus artists. The children at the party, all about five or six years old, were children of clowns, animal trainers, and so forth. We were watching a cartoon on TV and at some point a conversation started about what we wanted to become when we grew up. Following the usual suggestions like a cosmonaut or a fireman, one of the kids said that he wanted to be a fine artist, because they do not work. I was very shy as a kid, so I did not say much, but thought to myself that this boy was really clever and that I too did not want to work and should therefore try to become an artist.
Ironically, this momentary realization ultimately pointed me on a trajectory that led to a perpetual state of work for many years: while my classmates in school tended to just hang out or play sports after class, I went to drawing lessons every evening. When my family moved to America, I enrolled in three schools simultaneously: the School of Visual Arts by day, Art Students League classes by night, and group life drawing lessons on weekends. Somehow the idea of not working went out the window, and all throughout my artistic education the emphasis was on work: the idea being that I had to fill all my available time with learning and practice, and that the sheer effort of this was bound to make me an artist. Perhaps this occupation of time was also practice for my future career: being a professional artist in a society where labor and time are still the ultimate producers of value. So the logic was that if all my time was filled with the labor of learning the skills of an artist, perhaps something of value would be produced, leading to a lifetime occupation by artistic labor. Thinking was of relatively little importance within this scenario.
Conceptual art becomes an important modality of practice in this respect: while conceptual artists managed to shift much of the work involved in art production to the viewer via self-reflexive framing, and explicitly stated that objects of art need not be made at all,1 I feel that the ethos of their approach is something quite different than the condition I am trying to describe. Not surprisingly, much of conceptual art suffered the same fate as Matisse, ending up as prized objects in private and public collections.
Historically there have been different approaches to realizing this, yet all seem to converge on a concern with conditions of production. If art is produced as an outcome of certain conditions (rather then simply an act of genius, which is not interesting or possible to discuss), then creating such conditions would actually produce art. If the ultimate conditions of production are the world and life (rather than a studio or art museum), it would then follow that a certain way of living, of being in the world, would in itself result in the production of art: no work is necessary.
Such interdependence between art and life, and the state of the subject therein, was a central concern for many artists of the early-twentieth-century avant-gardes. It seems that the thinking at the time was that the production of a new way of life would not only result in the production of a groundbreaking, revolutionary art, but also the other way around: that the production of a new type of art would result in a new way of life and, in turn, a new subject. One of the instances of this is Lef magazine, co-published by Rodchenko, Mayakovsky, and others, the explicit goal of which was to produce such a new subject through exposing its readers to new content and form, to new art.
A different yet sympathetic approach to not working can be found in the artistic practice of Rirkrit Tiravanija. Although his work has been fully absorbed and valorized by art institutions and the market, he is rather adamant that much of his activity is not art at all. In fact, once you start questioning him, it turns out that almost nothing he does, with the exception of the occasional painting, sculpture, or drawing, is, in his opinion, art. And this is not mere posing or a provocation: it seems to me that this comes from a deep reverence for a certain capacity of the everyday and a desire to explore this capacity to its fullest, most radical extent.
I feel that the ethos behind much of this has to do with the communist dream of non-alienated work. When Marx writes about the end of division of labor and narrow professionalization, he describes a society where identity and social roles are extremely fluid: one day you can be a street cleaner, the next day an engineer, a cook, an artist, or a mayor.3 In this scenario, alienation disappears and art becomes indistinguishable from everyday life: it dissolves in life. Historically there is a clear trajectory of this desire for the dissolution of art, which is visible in artistic practices from early modernism to the present day. This desire may be actually older than communism and, in a certain way, it outlasts the collapse of communist ideology, which makes me think that this may be something deeper than ideology. It could be that this desire has to do with a need to reclaim a reality that art may have had prior to the industrialization of society.
Lawrence Weiner, Declaration of Intent (1968): 1. The artist may construct the piece. 2. The piece may be fabricated. 3. The piece need not be built. Each being equal and consistent with the intent of the artist the decision as to condition rests with the receiver upon the occasion of receivership.
Karl Marx, The German Ideology (1845) (Amherst, NY: Prometheus Books, 1998), 53: For as soon as the division of labour comes into being, each man has a particular, exclusive sphere of activity, which is forced upon him and from which he cannot escape. He is a hunter, a fisherman, a shepherd, or a critical critic, and must remain so if he does not want to lose his means of livelihood; whereas in communist society, where nobody has one exclusive sphere of activity but each can become accomplished in any branch he wishes, society regulates the general production and thus makes it possible for me to do one thing today and another tomorrow, to hunt in the morning, fish in the afternoon, rear cattle in the evening, criticise after dinner, just as I have a mind, without ever becoming hunter, fisherman, shepherd or critic. This fixation of social activity, this consolidation of what we ourselves produce into material power above us, growing out of our control, thwarting our expectations, bringing to naught our calculations, is one of the chief factors in historical development up till now.
I am trying to import a list of contacts I have vetted into HubSpot but because I don't have their name or email (just phone number, name of company for all contacts in my CSV, and domain name(for some of them) I keep getting an error about the record identifier not being used.
the email is the main identifier for a Contact record in the CRM, this means that 2 records cannot have the same email. In this line, you shouldn't have contacts in the CRM without their email (or without names).
I'm facing the same issue. My contacts are real estate leads. Some contacts have multiple real estate properties and therefore will have multiple contact profiles, one for each real estate property that they own.
It's a been a year now since I "surfed the web" or "checked my email" or "liked" anything with a figurative rather than literal thumbs up. I've managed to stay disconnected, just like I planned. I'm internet free.
But instead it's 8PM and I just woke up. I slept all day, woke with eight voicemails on my phone from friends and coworkers. I went to my coffee shop to consume dinner, the Knicks game, my two newspapers, and a copy of The New Yorker. And now I'm watching Toy Story while I glance occasionally at the blinking cursor in this text document, willing it to write itself, willing it to generate the epiphanies my life has failed to produce.
I thought the internet might be an unnatural state for us humans, or at least for me. Maybe I was too ADD to handle it, or too impulsive to restrain my usage. I'd used the internet constantly since I was twelve, and as my livelihood since I was fourteen. I'd gone from paperboy, to web designer, to technology writer in under a decade. I didn't know myself apart from a sense of ubiquitous connection and endless information. I wondered what else there was to life. "Real life," perhaps, was waiting for me on the other side of the web browser.
My plan was to quit my job, move home with my parents, read books, write books, and wallow in my spare time. In one glorious gesture I'd outdo all quarter-life crises to come before me. I'd find the real Paul, far away from all the noise, and become a better me.
But for some reason, The Verge wanted to pay me to leave the internet. I could stay in New York and share my findings with the world, beam missives about my internet-free life to the citizens of the internet I'd left behind, sprinkle wisdom on them from my high tower.
My goal, as a technology writer, would be to discover what the internet had done to me over the years. To understand the internet by studying it "at a distance." I wouldn't just become a better human, I would help us all to become better humans. Once we understood the ways in which the internet was corrupting us, we could finally fight back.
A couple weeks later, I found myself among 60,000 ultra-Orthodox Jews, pouring into New York's Citi Field to learn from the world's most respected rabbis about the dangers of the internet. Naturally. Outside the stadium, I was spotted by a man brandishing one of my own articles about leaving the internet. He was ecstatic to meet me. I had chosen to avoid the internet for many of the same reasons his religion expressed caution about the modern world.
And everything started out great, let me tell you. I did stop and smell the flowers. My life was full of serendipitous events: real life meetings, frisbee, bike rides, and Greek literature. With no clear idea how I did it, I wrote half my novel, and turned in an essay nearly every week to The Verge. In one of the early months my boss expressed slight frustration at how much I was writing, which has never happened before and never happened since.
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