Draft Script 8th Aug 2009 "Shooting Words"

Spoken Space (Performance for 12th Aug) 09

“art makes nothing happen” Plato p.,9 ‘The Disenfranchisement of Art’ Essay Arthur C. Danto 1984 from the ‘the Philosophical disenfranchisement of Art’.

One point perspective/

teacups

try out /in space, half a minute or a minute before anything happens.

meta- p., 53 ‘Emmanuel Levinas The Genealogy of Ethics’ John Llewelyn. - p., 91 the food on my plate. - p., 64 thauma/trauma. - p., 71 Doctrine of the Face. - p., 81 Before and beyond the face. - Negative alterity function/ of the motor of the genealogy of ethics/interstice/dialectical contradiction. - p.,94 ‘Being and Essence’ Levinas

K enters into the performance space, to gauge the audience receptivity/condition

SESSION 2

Open up the space/as a drawn space and position audience through a ‘sound drawing’, Line, refer to Kandinsky, ‘The Whatever’ sound of the charcoal stick on paper.

Digression from the Action, anecdotal, vital and accurate, “thank God says Wittgenstein on being run over by a car, at last something real is happening to me”

the perceptive, historical approaches, of the ‘artist’ painter to ‘form’

SESSION 3

Contrariety, in The Doctrine of the Face p., 94 ‘Otherwise than Being’

Make a paper collar to separate the face.

A False Frame, posing a question, assessing the audience, moving between the tables, speak to the audience, carrying the canvas with the paper wrapped and with the charcoal stick.

J shoots the words

“art makes nothing happen” “we are not going to succeed” “art is not good for you” “dangerous if you take it too seriously, see it as a cultural commodity”.

K “an asset?”

J eliminate/push against the frame,

K Shoots /so what then J “generalizations”

J “specifics/slow up change the pace/a motor for ethics

J Shoots. / “a defection of phenomenology to the face”. p., 66 (JL) in its destitution as a head “that is, a falling away from, and the unmaking of identity, which is nevertheless not identity’s death”.

A departure from itself and return “Phenomenology defects into the face, even if, in the course of this ever ambiguous defecting of appearing, the obsession shows itself in the said”. p.,90 (EL) Husserlian phenomenology as modified by Heideggerian ontology that Levinas adapts as soon as the 1930s and 40s in a resolution of the tragedy of being p., 25 (JL)

SESSION 4 1. J is picking up the a perceptive qualities, rolling the paper K bringing the space time line for the audience into being through the sight lines of one point perspective point/line and plane of the tables/the weight of the object /in view. The space is “discovered” Shooting the words, refined in the presentation. The space is ‘discovered’ and K moves through, the audience, discover the space. No words. The geometry of the space, a flat table, the weight of the body, stillness the space between the object/cups,

2. Economic in its exactness.

SESSION 5

The action of seeing. The phenomenon.

K enters with cup

K this cup/shoots, this stick/

Cease to become cups This cup Is a stick

This thing in itself

Its presence

The experience of this cup

Our experience

The phenomenon

apriori

How “we” perceive this cup/s as we move around the “object”, is a cognite “experience’. “signitive intentions” p.,96(EL)

“a lack” , an aspiration which aims emptily, like a hunger, but in a determinate way, at the presence which is to satisfy it.

“ The position of the subject in the philosophy issued fro Husserl – existence, axiological emotion, practical intentionality, thought of Being and even man as a sign, or man as guardian of being – preserves, across all the avatars of the interpretation, the theoretical sense of signification in so far as openness, manifestation, phenomenality, appearing remain the proper event, the Ereignis, the “appropriating,” of esse.” p.,96 (EL)

SESSION 6

Marking first movement K assesses the ‘condition of the audience’ and performs the ‘subjectivity’ of the object, using the cup – in relation with the other cups – to its proximity with one cup – to its withdrawal in a dynamic tension, opening up the double space and the “change” that occurs when the double space is observed, experienced in this way .

The phenomenon of seeing

And

The Experience

In other words

Cue/video/entrance/paper/tear/ Poem

A trace SESSION 7 Projection/action A filmic image captured on a painter’s canvas.

Clip detail of the other

Clip from the doctrine Space of the face, and Its Trace

The face travels Space between the projected \caught image drawing vital relationship

in drawing

SESSION 8.

Vital Dynamic Exists And presence, is established.

through our experience phenomenologically, in the space-time of this room, a redefinition of the metaphysics (Ontic accomplishment)

[in differentiation of the ontic from the ontological p., 24 (JL). Husserl’s, broad conception of “seeing”, Heideggerian ontology as phenomenological, a repairing of Kant’s failure to make or deduce the categories, or even the attempt, in Levinas’s task of repair p.,24 (JL) cont.

K Shoots/Experience is intensified through the connection between the objects in this “space” now.

K The dynamic of the structure establishes itself as another space

In the larger Space Apriori A given And that double space is the growth and perception of an Image

A vibrating form

K A quivering surface within the larger space in which it exists [emphasis] Therefore A Double space A tension A double space In tension J A vital construction.

SESSION 9

Essay: ‘The end of Art” (AC.D)1984 ‘the Philosophical disenfranchisement of Art’. (2005)

3 parts contextually, performatively, trans – performatively in the original text.

1. “A return to the roots foundations of “perception”, historically, “in the present”, this is necessary in 2009 and in terms of AC.Danto’s referential, concept of the post-historical, [text] need of philosophy in art and vice-versa “Picture making seems exclusively a human prerogative. And its having to be learned is part of the reason that art – or at least representational art – has a history. Our perceptual system may have evolved, but that’s not the same as having a history .” p., 90 (AC.D)

Matisse, p., 100 (AC.D The End of Art) A Green Line, ref portrait, the communication of a feeling, the object and its proximity, not the perceptual equivalence, no longer makes a distance in the painting/ painting is painting in reference to itself not the history of perceptual equivalences.

J/shoots the words/1906 “she wasn’t suffering from nasal gangrene”. Calling for a complex act of interpretation on the part of the viewer p., 101 (AC.D)

The Death of painting! Art end with the advent of its own philosophy AC.D (p., 107)

3. definition of “contemporary” further framed in AC.D post-historical we decide to return to the rootedness/the foundations of perception in its linear narrative, historically before philosophy got a look in order to re-establish how we “see” it is important.

There is simply not the possibility of the development of a sequence p., 103

K Shoots There is a mind bleed in the effort involved, the privilege of having lived in history J Academic framing misses this insistence

SESSION 10 The green line shifts perception in terms of the representational form To the double space of modernism Enlarging Art Into Philosophy Sets up The complexity of perception And the end Of the Grand or master narrative Onto the art-stage appears the cut/ as non representational Precise/concise/change/. RUNNING ORDER of EVENT

1.K enters space 2.

Cup stick move forward to audience cup/stick

3. Draw sound line to perf area

4. J enters with canvas/tape simultaneously/drawing the phenomenological line of philosophy as tape unfurls

5. K moves to position break/anecdote/Wittgenstein

6. K a line/

7. J stretches tape

8. K a Green Line

9. face to face, the line is drawn down the body and under the torso

10. The “death of painting”

11. J/K shoot End of the master narratives

12. Collect blank canvas each up from floor face down

13. Movemnt simultaneous with each canvas/J marks time/differentially

14. position to projection

15. lift to capture once

16. projection end capture invert Facebook

17. The Doctrine of the Facebook return to cup stick/

18. The food on my plate

SESSION 11

New movements canvas to video projection

1. under torso

2. turn to back of head

3. canvas up and over turn to face audience

4. invert and down the effort involved JW

 

Shooting words working documents

The script below represents ten days of research and rehearsal in its ten sessions. The Waterstone's performance reflected some of this material as it was put into its final form and presentation.

The Doctrine of the Face’

We are already absent from ourselves in our proximity, already, my identity is not something representable and identifiable, by me.

This proximity is no suppression of distance, it is the anarchy of a past that cannot be caught up,

A trace, of a trace of itself, expelled in itself, gone.

Author of what was put to me, my presence, in tangible absence which is not identities death.

Here I am!

The very collapse of phenomenality!

In this proximity is heard a command, come as though from an immemorial past, which was never present. Began in no freedom, aspiration, aiming emptily like a hunger, at the presence to satisfy it.

This way, of the neighbour, is a face.

A trace of a face, the doctrine of the face, formed in ethical language.

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Two photos that are representive of our feelings of the event.

As we reflect more we will post others and relevant comments

link to further images of shooting words here