The above is taken from Deleuze and Guatarri, but not verbatim.
Order implies the questioning of a function .
The word 'performative' is like an order that has no reference outside
itself, we have to know what the function of the performance is, why, what,
who for.

In terms of performance art there has to be a "pairing" - Proposition and
Function. "I will marry you" I see as a proposition, being also
performative: yet needing to know how and in what way. The performative has
to be followed through with a number, doesn't matter how many, of
propositions and functions: how and why all the time, and all this is
conditioned by our culture, our sense of order that is instilled from birth:
that which we have to get away from, as in art. Order in relation to art is
a real kettle of fish. cooking the books, reeling and conniving, falsifying
and underhand, compellingly subtle. One has to get away from and question
the sense of order and ordering imaginatively. And, of course there is the
order of the inner being, the 'being of Being' is in itself the absolute
'pairing' and a mystery as well.

What are these eqmails what wrote themselves into a picture,
stripped bare
in Gallery
on soft board wall
Photocopy, on, fitfully
to the I - that run, sloped, creased the earlier floor,
washing lit up slugs, barred from their hideouts.
Cut up the consciousness
when edited, presence, demanded
that stiff backed and demading payment
in recompense, somehow,
for this lack of colour,
we should take,
the paTTERNS
BLINK, Sitting, as the sound
stifling came, even as the pixils shut up, shop
We counted fifty pounds or more
of these linen notes,
listened to the coin
drop
mesmerised
into a thought that now,
gone
remains, only, only because of its memory
stilled and
unspent.

Who was it/ I don't remember now, who said, 'there are no ghosts in Van
Goghs pictures, no visions no hallucinations. It is the torrid truth...?"
Interlocutor -but an army of ghosts are demanding their shoes. ghosts up in
arms, an immense tide of deportees searching for their names. If you want to
go to this theatre, here's the road of affect; the bottomless memory of a
dispossession, an expropriation, a despoilment. And there are tons of shoes
piled up there, pairs mixed up an lost.The order is chaos or disorder, the meaning of the word order should be looked into, kinds of order, anarchy, systems, normal, condition, method, ceremony, procedure, practice, hierarchy, fraternity, holy orders, conduct, order of the day, tall order to order.

To function imaginatively.

It is like a title of a book (yet to be written) with the first chapter as
Boots and Laces..... a great deal more to come..that's why we need the
website under our control, immediate and direct, no messing.
And about function: being human is a propositional function ie " x is human"
but this function is incomplete. The completed function is taken up by
" ordered pairs" so that being human is not in itself the function, but the
value of for a variable x. It implies something that relates to 'the order
of the day'

..
Interlocutor But the emphasis should be placed on the debt and on the oweWhat do they both owe, and what must they discharge through the restitution
of the shoes, the one striving to return them to the peasant woman, the
other to the painter?

VOICE-

Will it be necessary, in painting or in reality, to fight over the shoes?
Necessary to ask oneself only: who(se) are they? Despite the apparent
poverty of this quarrel over restitution or of this trafficking in shoes, a
certain deal done might well make everything pass through it.
       -a detached part, a severed ear, but detached or severed from whom?
-it is indeed a question of "simply describing" not a picture but "a
product" "without philosophical theory." " We choose as an example a common
sort of product; a pair of peasants' shoes'
       -this is Heideggers defence?
Yes.
" For this purpose we choose a famous picture by van Gogh who painted such
shoes more than once./"
       -But do we really believe that this picture by Van Gogh copies (male
ab,depicts) a given (present, vorhandedness) a pair of peasants shoes, and
that it is a work because it has succeeded in doing so? Do we wish to say
that the picture has taken a copy of the real into a product [Produkt] of
artistic production? Nowise."
       -Others would say: the shoes produce a discourse on painting, on the frame on
the traits. These shoes are an allegory on painting, a figure of pictorial
detachment. They say we are painting in a painting. Or again one could
entitle this picture, "the origin of painting" It makes a picture of the
picture and invites you not to forget the very thing it makes you forget::
you have a painting. And not shoes under your nose
[just try putting them on, on your own feet or someone elses!], painting is
originaly this detachment which looses its footing. But detachment must also
be understood.

Did anyone answer my first question?

Can anyone remember what it was?

The introduction of the layers of documentation that can now be viewed is a part of
the process of developing the dialogue that has ensued, not only in terms of
our own approach to the next stage of the project and the new location, but
as a method of taking with us in essence our audience response as vital part
of our investigations.

Importantly the idea emerged that we should continue our travels to include
The VanGogh museum itself and make story with the original painting.
Old Boots with Laces, this is the title given to the large catalog of the
Tuileries exhibition (1971-72) (collection of the Vincent Van Gogh National
museum in Amsterdam)

So, shall we recap:
Recap;?
YES, recap about this shoes business, about this TRUTH business, About this
truth in painting, I think we owe it to our audience.

As the three days progressed it became evident that we were indeed in some
intangible way making real the processes of our 'thinking that had brought
us into the gallery in the first place and that the idea of examing our own
responses and indeed that of any audience that became motivated to engage in
the 'performance' was central to the work.
The following extract from the PLAYSCRIPT constructed during the duration of
the three days is an indication of what is to follow, what is emergent in
terms of an immediate response to being; holed up in a Gallery. -

           NEWLYN GALLERY

                  boots and laces

 

                                                                                                                   Entering the vacant space of the four                                                                              walls of  the gallery   allowed for                                                                              a trial and effect in terms                                                                              of working collaboratively towards the                                                                              production of an event,
                                                                             given that there were a number of                                                                              'unknowns',  particularly in terms of what                                                                              a given 'audience' in this location
                                                                             might find and take away with them in                                                                              terms of their own thinking, and the
                                                                             way this had been affected  by the
                                                                             reality of the Performance, we were in                                                                              effect,  waiting to see what the response                                                                              might be.