Why Video?

You make some great points, and lend tremendous advice. Video is most certainly a necessity for promotional and/or marketing efforts today. Writing is becoming more and more of a lost art in the Western world, and computers are becoming ever more capable of performing basic copywriting tasks as well as writing standard templates for most forms of written communication, even creating original commentary catered to individuals, and demonstrating themselves capable of more abstract thought, exhibiting genuine emotion in passing the Turing Test. As a result of this trend, we are seeing weakening economies begin to rely more on computers and/or artificial intelligence as a cost-effective alternative to services traditionally provided by human resources. Meanwhile, strengthening economies, historically much more heavily reliant on artificial intelligence, are moving away from their reliance, or rather, beginning to integrate this intelligence into a natural realm. The aforementioned reality represents a drastic shift in artistic cultures and fashion from the Western world to the Eastern world. One may claim that the 'anti-fashion,' and 'anti-art' movements prevailing in the Western world are due to a larger, more advanced trend toward post-modernism, but I'm more inclined to point out the obvious economic signs present in various world economies, and state that this trend toward aesthetics, and increased consumption in the Eastern world, when compared to the same trend toward things less aesthetically pleasing, and deprivation in the Western world is primarily due to the economic shift that has recently taken place, a shift that necessarily entails a growing interest in aesthetics and pleasure within the 'waxing' economies (ie the Eastern world) while equally entailing a lack of appeal in aesthetics and pleasure within the 'waning' economies (ie the Western world,) who are moving ever in favor of cheaper, easier, and more consolidated/homogenous digital art and media platforms, which can easily be mass produced, and seemingly randomized with varying, minute differentiation among platforms and/or output, nullifying any want and/or need for an appreciation of aesthetics, lending itself to favor quite the opposite phenomenon. Needless to say, Sun Tzu and Lao Tzu alike would find themselves completely lost in the Western world, most specifically today's, but such a comparison is dwarfed by the fact that such Western greats as Leonardo da Vinci would most certainly jump sail on the same boat as the Tzus in today's Western 'artistic climate,' ripe for the exploitation of artists, a world in which the Monets and Mozarts of the world are written off as 'bland,' 'eccentric,' and 'crazy,' within the 'artistic community,' passed over for a cheaper, more reified version of the same genius, likely replicated from their own work, stolen in a predatory 'copyright protection system,' and integrated into a computer platform for the benefit of an elite enclave of wealthy thieves posing as 'artists,' and hiding behind a wine glass of false oppression in the various pre-fabricated social, sexual, ethnic, and socioeconomic 'movements' that they pay billions to orchestrate and poorly organize using paid street-gang members as participants, some of the few human resources actually needed today, and likely much more 'artistic' than the organizing 'artists' themselves. Fortunately, as we dispose of increasingly more of the traditional means of expression, in a similar fashion to the reverence displayed toward 'motion pictures' and 'German art' in Nazi Germany, the Western world is beginning to consider video an actual 'art,' providing ripe platforms such as vimeo and youtube for 'artistic expression' at an even more exploitative price than the traditional contractual spiral of obligations, and creative turmoil, lending credence to 'producers,' most often promoting their names as the true artists. Motion picture is the new portrait in the Western world, a far cry from its origin, which is inclined to relegate film, theater, and active production to the sideshow dustbin, and this has always been done for such an 'art' as film, and theater to boot, at least outside of fascist forms of government. I'm still having trouble wrapping my mind around the fact that 'actors,' 'players,' and other traditionally disposable commodities are the true 'artists' of today, and nonetheless, even more disposable than ever before, but have been given this title due to the high dollar producers that are 'standing behind them,' both literally and figuratively. I have trouble considering someone such as David Geffen an 'artist' rather than a criminal, a sexual deviant, antisocial benefactor, and murderer, a gangster who couldn't make it within the hardened enclave of hearts that is his family, but has kept his family's crime cartel above water in finding a niche in a fake world of 'art' due to his sexual deviance and drug problems that would not have been tolerated historically, but today, are glorified, and likely due to his 'makings' such as Kurt Cobain. It's good to know that 'men' such as Geffen are brilliant artists in the Western world, and due to inconvenient truths such as this one, I highly doubt that there will be 'history' books to document the 'artistic genius' of brilliant producers such as Shug Knight, Dr. Dre, and David Geffen unless these 'men' conspire to print some up for themselves, and I highly doubt anyone with even a smidgen of nobility to their aura will bother to read them. In today's 'art world,' these are the 'artists,' the producers, despite the fact that the vast majority of 'artists' exploited by such a studio system are either unheard of and/or led to suicide and other undesirable ends in the fashion of Kurt Cobain, a prime example of a Geffen backed disaster, likely a murder, the anti-aesthetic supposed 'artist' that this sick system of 'art production' has led to. I couldn't be happier about the destruction of nature and art in favor of artificial intelligence and a reified society, and have absolutely fallen in love with the cheap, swank facades that have become the nickelodeons and burlesque theaters of yester-year, ie Hollywood and Broadway respectively. As more and more of society begins to recognize these two locations for the giant brothels they truly are, and their 'artists' as the exploited prostitutes that they truly are, then perhaps more English and Americans, in particularly, will come to recognize why the international community largely deems their most prized 'art' as worthless concoctions of plasticity. Now, a giant brothel, on the other hand, that's truly 'art' in film and theater, what we've been advertising, so time to put up, and there are no longer producers and executives fighting it out for territorial supremacy, at least not in the parking lot, behind the dumpster, where you'll find a plethora of artists today, but those producers, not so much....