becoming is what it is
thought is where you are now
wihout play there is no art, without art there is no education, without art there is no real sense of a cultural environment
becoming is what it is
thought is where you are now
In reversal of Plato's understanding of simulacra, Deleuze importantly found that, the simulacrum, as contrasted with the 'copy', produces resemblance as a surface effect of unknown forces: it operates by implying huge depths and dimensions that the OBSERVER CANNOT MASTER, AND INCUDES A DIFFERENTIAL POINT OF VIEW WITHIN ITSELF
THOUGHTS AND REFLECTION AFTER PORTLAND
It has become increasingly evident to us that points of contact with others demand a topology of the parallel: a mediating ground for ideas to live constructively. Convergence or divergence, cool in essense is then assessed, giving space for thought and renewal.
Our response in the milieu of people and time, attitudes, opinions, philosophies, skills, conversations, irritants, territories, even jealousies and misappropriation is to retreat and ride on the parallel route. Giving something through art is never direct even if it takes the form of a poster-like affect: an annunciation. My belief is that anything direct is inherently faulty. Certainty in its striving for efficiency is dangerous.
So riding the parallel universe of art breaks open the dimension of change; the rules are other or become the lack. The ricochet enters the nether world and we arrive at real education. It's not even communication or interpretation: simply feeling and sensation.
We believe that what we gave Portland was a glimpse of chaos and its emerging order: a risky ground of renewal, not 'govermental regeneration' but toward the notion of restitution of values within a revaluing process. And we believe there was a valuable exchange of ideas and we would be happy to continue this process of exploration within the parameters of performance art as a questioning force.
What hits you directly on the Isle of Portland with its quarries, is the stone and the feeling of stone. One wants to cry out against it. It is like too much plum pudding in the stomach and too many (old) fossils lying heavily on the mind.
The time of the mind is in the beginning of time, and should be as an action of steel cutting with play of the section and slice through a multiplicity of sensations and experience. We have to find the face of humanity in the earth's landscape: it can occur in sulpture or the environment of stone carving with its scaffolding structure and regimented stone benches, a platform for the immanence of desire in performance. Or the gigantic stone cutting machine employed in Bowers Mine which brings to the fore the power of the mind through technology.
WHILST BEING FOR THE STONE, WE MUST ALSO BE AGAINST IT.
A MEMBER OF THE AUDIENCE AT THE DRILL HALL PERFORMANCE OF 'BOOTS AND LACES', IN RESPONSE TO MY SAYING WE HAVE INVENTED THIS AUDIENCE SAID, "YES, AND WE HAVE INVENTED YOU!"
Yes indeed, a two way convergence! The topology unfolds.
personal thoughts
Desire, in the modern sense of becoming, is a dividing force that divides the individual. Could it be self from the other of self? Another dimension of self perhaps? A di-viduation of in-dividual. The use of the term dividuation is a way of looking at the idea of mass (people) as a multiplicity of peoples.
There is reference here to Gilles Delueze in this important argument. I am thinking my way into the idea of singularity of the individual in the mass, not as one of the many but one in the many singularities. So that on this stage we have a multiplicity of singularities: as moments in time, they have the possibility of converging or running in parallel. The crowd is more than a crowd when ideas in the form of desire run as quick as light, as forceful as passion.
It has become increasingly evident to me that points of contact with others demand a topology of parallelism: a mediating ground for ideas to live constructively. Convergence or divergence, thus coolly assessed, giving space for thought and renewal.
Something of this nature arose, even though not a ‘mass’ but individuals in contact, when ‘The Order of the Imaginative Eye’ presented ‘Boots and Laces’ at the Portland Quarries and Sculpture Trust’s Drill Hall during the three days of December, 5/ 6/ 7/ 2003.
But it is not just three days is it? histories, patterns, systems, cultural clichés stretch forward and backward in time – simply as life to be viewed in the first or second instance.
My response in this milieu of time, attitudes, opinions, philosophies, skills, conversations, irritants, territories, even jealousies and misappropriation is to retreat and ride on the parallel route as described above. Giving something through art is never direct even if it takes the form pf a poster-like affect: an annunciation. My belief is that anything direct is inherently faulty. Certainty in its efficiency is dangerous.
Lastly, I would like to discuss the idea of the simulacrum being the way forward in describing our process of documentation. In order to carry our argument through (faulteringly) of the philosophies, poetry and art we are engaged in we need to reflect through the progress of work. Once performed, a piece has a past and a future, and many layers of experience tumbling over each other in a process of evaluation. At times surprises come up one never thought about and need to be explored further. Like the educational aspect of the work that previously had never been thought about; the coming through of such ideas is the very stuff of art. It is also important that the venues realise our intentions if they are to mutually benefit from an exchange in information.
