“consecution of works amongst themselves, and a conformity of the work to the author”
if we accept that there is no unconscious we must accept that there is something present to our actions that is unavailable to us. a cycle/circle that doesn’t really have an end.
masculine- semiotics/meaning; there is a dominant side, ‘when there are more women than men laying bricks, i will accept they will be equal’. One side is generally privileged over the other.
Both matter radically and fundamentally to each other.
heritage media- plays a defensive game, make the walls higher to make sure it can stay inside
it can be described as: white Australia policy transferred into media making.
sight is an implicitly masculine mode of dealing with the world- all the other sense blur that distinction (between inside and outside) notion of patriarchy. female is thought to make this notion problematic. don’t say whether or one is better or good or bad, but recognize the difference.
e.g. earth/water – point between, swamp, mud- a sight of danger as the clear distinction is gone- ambiguity
taste- what is it appropriate/inappropriate to like?
text becomes like a musical store you can’t just consume it, you must also play it.
fluxus – organize everything on a table in a cafe in alphabetical order, photograph it- the artwork- recipes of action. A set of things to do, just like playing a game.
who executes the work is an important change. a korsakow film has to be performed, no chronological order, it’s all middle. the user must literally play it. like a musical score. text that action has a non-trivial effect on the work. the action changes the text itself. argotic text. that person has agency in relation to the text.
a notion of pleasure that comes from feminist theory and philosophy. the pleasure is always a pleasure of consumption. can re-read them, but can’t re-write them. there is a gap of consumption of what is being looked at, and the thing itself- consigned to an act of consumption. joustrissance .pleasure without separation.
plenitude- no absence or gap. meaning is founded on things of difference. infinite plenitude. baby- hungry- breast fed, all needs are catered for. no separation of inside/outside. pleasurable not in consumption but erases borders in text, lose identity. a dramatic sense of losing oneself. engagement between you and the text, things are at risk. need to respond to the text. boundary between self and the actual thing dissolves. identity at risk.
The theory of the text can coincide only with a practice of writing.
a way of doing, making.
- method is given or fixed
- interpretation (true, hidden, real meaning)
- the park
- serious authoritative (trust relies on, wants, believe in its authority)
- fixed order logical rational
- about what is known (reportage)
- closed and closure
vs. the other side
- a meta method
- co0creation, exploration, initiation, always a plurality of meanings
- mobile, multiple, poetic, disruptive
- knowing, eventfulness of knowing
object relation psychology- the child has no motor skills, an experience of itself – imaginary plenitude. needs an agent that is giving care. notion that the care needs to be given. when doesnt receive what it wants- develops an understanding of itself as separate from the world- clarity of the distinction between self and other.
art happens in the space where we separate ourselves from the world. the boundary starts to become problematical.
tying up the ends vs. the open
work deliberately opens itself out and generate new questions/ideas/prompts you to think
been taught to think: reason rules the roost.
- “A Bad Day At Fort Bragg” Matthew Reilly.
(North Carolina 27 December) 100% work. about consumption. Utterly secure in what it is trying to say, slightly self-reflexive. Points to the value of the work. Work in terms of genre, audience- you do not have to think to read this, it is just an act of consumption. A ‘sausage’ writer says Adrian.
- James Joyce Finnegans Hoist (1939)
history, biblical references, invent words, puts words together, in-pronounceable, bleeds in every direction at once, insane to think there is an interpretation here. This will never be exhausted in terms of what we want to think about it.
- Jackson Pollock: Blue Poles (1952)
material thing, not about representing other things, a thing in itself- what are its properties? its liquid. used auto-paint (for cars) gestural abstract expression. an essay about material form.
- Rob Reiner: When Harry Met Sally (1989)
- Jean-Luc Godard: Alphaville (1965)
romantic music, language, dialogue, not naturalistic acting, recognise that they are actors performing a role at all times, the lighting changes, they are talking about silence and lighting so it physically changes. play with it. no single interpretation, no over-arching understanding. no pretending that it is not a film with all its characteristics. no effect of continuity (jump cut)