Work Lines IV

"In Woman is incarnated in positive form the lack that the existant carries in his heart, and it is in seeking to be made whole through her that man hopes to attain self-realisation."
Simone de Beauvoir, The Second Sex, p173

The White Ribbon

It takes a positive act to enable a gesture. In depression, contraction, the plane of extension, gesture, unfurling, action becomes inhibited.
All writing about depression is a paradox, or at least can only happen after the mood has passed, for no positive gesture is possible in the spirit of withdrawal.
What does one do with doubt? The paralysis engendered by lack of faith must eventually be overcome, for the world does indeed keep up its turning.

To find a way forward when confronted by the doubt of no-faith, we either create new faith or remove ourselves from the dilemma. Taking a step back, ironically isolating doubt as a phenomenon in its own right, bracketed off as a thing to be observed. To this end, doubt is masked from its own cause and takes the form of a generative state. We forget the reality that gives us doubt.

Dance.

Dogtooth

Rudolph Arnheim, The Creative Eye
Rudolph Arnheim, Visual Thinking

It is the story of struggle rather than achievement, as allegory of process rather than synthesis. Translated into local codes of application.
~ Francis Alÿs, A Story of Deception, 2010

ego as structural edifice, dissolve
something given and the tense
structure gives way - no ego
Parochiality
Only seeing a narrow parameter

Tremendous relief in letting go.

Mary Martin - Abstraction vs. construction.

A Return to the Thames

The first of these videos is a part of the view from a pub window, right on the Thames. It's the changing colours that made me want to record it.



As often happens, once you do something with the original impulse, some other interest wakes up. It's as if after videoing water, the next step is to think about the framing of that video of water. I find myself making another video with the conscious addition of structures.



I haven't commented on the sounds. They're important, as two sensations overlapping to create the moment, and perhaps in an incongruous manner. The fad for 'assemblage' has been stimulating my thoughts recently. For the 2nd video I went outside and we lost the hubbub of people and beer.

Work Lines III (continuous update)

Edward Abbey

Mugabe and the White African, Channel 4

The fold of one 'half' over the other - a geological fold, physical land based in my imagination.
The camera, we/I moves from the partition (head on) between the halves and takes the dominant's side.
Woman is folded over,
unseen unheard from beneath Man's enfoldment.
Man seeks/achieves transcendence by overcoming Woman (animal) - Woman seeks transcendence by overcoming her animality. Again, Man's viewpoint - Woman nothing more than animal. To what extent is our language of this talk contributing to this understanding?
Language - rational, of man's domain?
Where is Woman subsumed? Within language?
Investigate animality.

The difference between knowing something through language and learning something through experience.
Investing the material with the spiritual - sacred earth vs. sacred thought, sacred feeling, sacred energy.
The feeling of fabric against skin - erotic, not because it fits idea of the erotic.
The moment of realisation - crystallisation, condensement, reification of new reality where the elements/conditions rearranged.

Division between sensible and conceptual/Idea - how this translates into 'eco', Natural, concepts of.

"The proper test is not that of finality, but of progress."
A.N. Whitehead, Process and Reality, Free Press corrected edition, p14

Quite nice having only limited powers of perception or sensitivity to things. Less responsibility to the chains of effect that lead out of every event, moment, thing.

Sensitivity: to take on - suffer - great imprints from things; to be impressed upon in great depth and length by the imprint of things.
- Not only prone to being hurt.

How do you make a structure? How do you make a visual representation of a structure?
Doomed to fail.
Francis Alÿs a structuralist - the pictures, the walking. Re-inscribing structure(s).

A painting reduces all elements, conditions, to an equality of substance and makes possible the re-rendering of both visible and invisible components on this new plane, for the ready communication of this portrayal and recreation within this new plane's substance.
The absurdity of trying to represent, make real/sensible structures, that are inherently non-representable. Or even just obscured too much for us to recognise this structual form. If it exists, visibly/sensibly or not, can we re-present it in sensible form?
By attempting, Man exercises his capacity for freedom and action and the right to transcend it, change it, have control of his destination.

Work Lines II (continuous update)

Agacinski

The sensitive object
TO TRY
Empiricism vs. Conceptualism

╚►

out of this an -No Theory
experiential mode
of DOING art emerges.


Representing the non-representable through the transformation of painting, through the mystery of the process of painting making real the mystery of the object (Idea or otherwise) itself. And visa versa...
Art being the act, the simple narrative of how it works.

Bernstein

Rationalism being a cognition of dead objects.
Living is deligitimised.
What would be the affinities between existences?
Wielding the critical axe - scything through the problem to pit the various conditions of the concept, question, problem against itself. Re-forming or reconfiguring the problem to produce a new object.


I am like a weather vane.

Where J. stands in for the cynic
<—> making both ways. All experiences, events, people, things like tokens, signs, symbols, for the meaning we have associated with them/it. For our own universe/service. Works both ways —> what happens as this tokenography works the other way?
Empty ourselves out from centre of universe - we are locus for other peoples!

David B. Smith
Charlotte Street

www.speculativeheresy.wordpress.com
www.planomenology.wordpress.com
http://www.k-punk.abstractdynamics.org/

laura douglas

Georges Braque
Bottle and Fishes, 1910-2

At losing ones job:
raw despair
at the primordial fear at prospect
of not being able
to support oneself,
elated at the
promise of new beginnings,
new chances, new
opportunities. Maybe
things'll get better!
Sick of this place
anyway.
Brutal anger at the
injustice of it all.
How has this been
allowed to happen?

www.opelori.com

MONOSKOP
PDFs.

Duty
manager
scoffing
the biscuits

The Overlap Series: Jogger
(with comic event)
2000-1


The Emancipatory.
Emancipation
as
revelation
Sacrifice
-McCarthy

Carly Simon
What's the rule?
Adorno?
(internalising the law/s)
Baldessari

Colouring my mind
Romanticism w/ its
cheap promise of c o m p l e t i o n


plays itself out at my mercy


Imagine, being given edifaces and abysses with our
birth and box of characteristics. The abyss we carry and on the other side of the cut
lies All That We Cannot See. All That We Cannot See - our blindnesses, our abjects, our beasts.
We cannot see them. They look like merky areas
of unseeing.
They unleash themselves on all that we encounter, colouring our perceptions, unknown to us.
Our neighbours,
the other beings we come into contact with can see,
they see our blindnesses, they make form
from what we don't delimit. Their eyes and their
powers make things out of our unseeing and give them back to us as real life encounters, the incidences, the bus stop chats with strangers, the friend round for tea, the kiss, the supermarket queue.

Other people see out blindnessess.

Bird song anchor points
To elevate
Come back to
yourself
Feel your periphery again
Feel your edge.

John Buckens