there's a lot to answer here, so i'll try to sort it out as best i can. also, my writing style may be more blunt than i would normally like it to be- this is in the interest of time, since i don't have as much as i would like to respond:
i completely agree-
i would absolutely love to have a complete understanding of the other fine arts. and parallel to this, i feel most of the conversations i have about juggling is lacking some sort of specialized knowledge in a certain field. as in, we are re-inventing the wheel again and again and if we only knew a bit more about anthropology, or social sciences, or whatever, our job as jugglers would be infinitely easier. it feels like banging our heads against a wall for most of our progress. i'd love one day to be able to organize a symposium where i invite experts in all fields of the humanities, sciences, arts, etc. where we have a round table discussion about the problems jugglers face today. i'm sure this event would accelerate our growth at a pace not seen before.
perhaps this was lost in translation on the video feed, but this example was fine in the room in the moment. its something everyone can relate to who uses instagram, which was probably about 99.99% of my audience. its something they (we) do everyday on our phones- pinching and zooming, etc. its trivial and mundane, commonplace. i tried to find an example that they could all readily relate to in the moment. i'm sure i could have picked a different one, though perhaps that one would have been read into too much as well?
haha, i don't fail to understand at all- if i could easily mix the colors of plastic in my living room or "painting studio" i would. i think about this daily my friend. think about the materials we are using... they are not wood, canvas, pigment, and oil. that was my whole point: the creation of new colors is beyond my personal means. to be very clear, it is also beyond my personal interest and resources as well. i don't want to be a chemist, i don't want to be an industrial designer. i am a juggler. i want to spend my time doing what i do best. the world doesn't need another industrial engineer who works with plastics... look at the world around you, its filled with colored plastic objects. its actually quite obscene once you notice it. i want to spend my time here pushing the boundaries of the art form of juggling as far as i can. to that end, the most effective use of my time is in manipulating things. that's the space my skills occupy. if there was an accessible way of creating new colors, i'd be all over it. but at this point (unfortunately) the most direct path has been to try and work with the existing manufacturers.
you're making a ton of assumptions here and that is fine for me, though it does leave you a bit out in the dark. i totally understand if you are not aware of my past work, and i would certainly not expect you to be, especially as i have not particularly endeavored to make it easily accessible. the issues are not as black and white as you so dramatically make them- let me give you one small example that perhaps brings up some issues you had not considered before. of the many many juggling props that i want to exist in this world, one of them is a one piece style holy club of a certain dimension. i won't go into the process of how i got this far, but i managed to get a quote from a plastics company in china which would make a minimum run of 1000 pieces for $1.50 each, which included shipping. now, I'm not a rich dude but i could theoretically afford to buy a minimum run at that price (if, you know, i go back to being "lazy and incompetent" and actually do a show or something once in a while to make enough money to afford that). so why in the world wouldn't i do that? well, because then i'd have 1000 clubs. and i only want maybe 10 of them at most. so one choice is to throw away 990 clubs, which i just can't bring myself to do. but wait! i hear you saying, hey man, just sell the rest!! right?? um... just as i am not in the prop manufacturing business, i am also not in the prop distribution business- its not that i'm unwilling, its that these are not trivial things. surely you can see that? where will i store these 990 clubs? how and when will i ship them out? how will i deal with customer service? i don't have the infrastructure (and again, nor the interest, time, resources) to support these types of businesses. and at some point, pretty quickly i may add, i can't actually afford to pay $150 per club for my 10 holy clubs, if that same price structure is applied to all the other props that i see a need for in my life. however, lucky you, you can go to play juggling's website and buy the D-club right now!!! i see the existence of the D-club and the lack of a holy club to be a prime example of a disconnect between manufacturer and the people who use the props.
yeah man, that's what i did. i started a company called renegadesignlab. i managed to get blue shaded rings made, etc. etc. and part of me making them is ranting in my lectures about how i want other people to make them. dude, it took me since 2009 to get the blue rings made. you have no idea how the process goes! its insane! if you want to make the blue rings yourself, it will cost you a minimum of $35,000 for the molds. so that's not feasible.
the part where your argument falls apart is an artist, to what level do i have to make my props? do i have to drill into the ground to get the petroleum to make the plastic? do i have to forge the metal to make the drill that goes into the ground? at what point is it valid or not? don't kid yourself- jeff koons, olafur eliasson- they don't make their work! they walk into their office and say "giant balloon dog made of mirrors" or "tetrahedron of lights" and come back the next week to see the 20 samples their team has prepared.
so the painters mixed pigments with oils and stretched their canvases. did they also create metal and shape it into the tools which they used to build their studios? is that infrastructure not as much a part of their work and process as the smaller details?