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,
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 isa 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 emails 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'
But the emphasis should be placed on the debt and on the owe. What 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?
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?
" 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
-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?
-wasn't it Cézzane said "I owe you the truth in painting, and I will tell it to you." [Holding up the hand in stop motion]
go back to this
-Why always say of painting that it renders, that it restitutes?
----------to discharge a more or less ghostly debt, restitute the shoes,render them to their rightful owner; I have to add here that I'm
talking about this corresepondence still, a correspondence between Meyer Schapiro and Martin Heidegger in 1965.
-well it's a question of knowing what revenue is still produced by their out of service dereliction? -and what surplus value is unleashed bythe annulment of their use of value: -Outside the picture, inside the picture, and third, as a picture, or to put it very equivocally, in their painting in truth;
the truthless truth of truth
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:
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 ofthe 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 ART GALLERY
boots and laces