SYNOPSIS

On entering the space the audience first encounter the artists musing on the concept of the False Pretender. A line, an actual line, in the form of an extremely long stick, is carried into the performance space and the performance begins. As the 'Line' is positioned, to the point, the performers focus on Wassily Kandinsky's 'Point and Line to Plane',
Dessau January 1928, originally published in 1926 as Punkt und Linie zu Flache, the ninth in a series of 14 Bauhaus books edited by Walter Gropius and L.Moholy Nagy. Translated into English 1979.

This musing is dramatized as a function of investigating the Abstract, and the Spirit of the Abstract in Painting, interceded by staccato violin and video projections of the 'colour theory' of Kandinsky 1934.

 

But what is the role of the False Pretender, what is the False
Pretender? as a concept, as a vehicle to pursue the
theory of 'ideas' and their relationship to painting and to 'thought'?

During the interval, and from Archive footage of John Latham in
interview with Ken Turner in 1998, further investigation, proceeds,
the simulacrum of the Archive in the form of the simulacrum of the false copy?
Latham, is heard positioning an idea of dimensionality in the proceedings, and at a glance. The False Pretender is at work in the form of 'archive', and as the audience re-enters the space and are randomly reseated, homage is paid to the director of the 13th  chair, in retrospect.

A non event now takes place, in the form of a slippery, wet, yet serious lecture, the background environment of this, the False
Pretender, as a concept, founded as it is in a process of reversal, and of Platonism is contemplated. The lecture form however disintigtrates and a compostional framework of video spills its light into the dramatic frame and as the light, and live feed of the studio demonstration is cut, an uplight directed to the original 'line' draws the audience focus to the central question the 'project' of Modernism, and its resurgent
theories, the burgeoing and newly outlined relationship of theory to practice is indicated and laid bare.

The project of Modernism it might be argued is 'over' but is it complete? The performance as it is retrospectively catalogued invites an interrogation of this form of work, in its realization in a live genre, where a video release of images retrospectively is central to the dissemination of the work in its form, ephemerally. As a document and in its expression as an investigation into performed philosophy and Live Thought the 'work' is now beginning.

Please turn the page for the documented clips of the performance and the space of Live Thought.

Jane Whitaker 2008
..............................................................................................................

 

 

 

the synopsis below has video and audio files to the side of the page
the script of 'This is Whatever' is also illustrated by these files

but only as a reference to studio discussions and the preliminary at falmouth page link

                        script

                       'This is Whatever'

                          Friday 24th October 08


Projection B/W Ken talking ‘Whatever’

Audience enters seated either side bench/stool/bench/ configurate/plank

M/J seated L/R in position
The D/D L song K enters with long stick/pole charcoal, staccatto dance to door beyond audience/turn/smooth movements plane of room FP eneters the space arrive parallel M/J position stick on MJ shoulder/ tape song continues, double repeat, staccatto hand/head turning.
Song continue J stands turns moves music stand to position script
Jane in lecture mode: The object of philosophy is to create concepts that are always new (p., 5 What is Philosophy?) 
 
BACKGROUND REF:‘I’ “We” pick up when Deleuze first mentions the ‘concept’ of the false pretender in the early 90s in the ‘logic of sense’. A number of publications (cite reference, a Thousand Plateaus, Anti Oedipus,) in which famously G and D work as one and for that matter separately. ‘What is Philosophy?’ being the last in the line of publications in this ilk as an…….. 
‘Experimental authorship’ Ibid ‘What is Philososphy?’ Gilles Deleuze (philosopher) and Félix Guattari. (non-philosopher) First published by Verso 1994, as Qu’est-ce que la philosophie? 1991 Les Editions de Minuit.  
         5. M/K begin movement lowering stick/legs in air balancing on bench/plank
Voice as authorship “We do not work together, we work between the two…..We don’t work, we negotiate. We were never in the same rhythm, we were always out of step”. Gilles Deleuze and Claire Parnet, Dialogues, p. 17 trans Hugh Tomlinson and Barbara Habberjam (Minneapolis: University of Minnesota Press 1987. 
VOICE “We” give you thus: a palette of ideas
VOICE A process of a “parallel evolution”. A process of conceptual creation. A presentation of our negotiation, not a collaboration! 
6. Jane continues as K move to breast beat position
Speech no. 2‘A line of sense?’  from ‘Twenty-sixth series of Language’ (logic of sense p., 181)  
K. Sound body J Mouth Body mouth.
“There is always someone who begins to speak. What renders language possible is that which separates sounds from bodies and organizes them into propositions, freeing them for the expressive function. 
 
It is always a mouth which speaks; but the sound is no longer the noise of a body which eats––  pure orality––in order to become the manifestation of the subject expressing itself 
Language has only one power, though it may have several dimensions. (p., 183) 
The entire organisation of language presents three figures: the metaphysical or transcendental  surface, the incorporeal abstract line, and the de-centered point. 
7. K moves towards paper/screen /M holding stick line.
J. Speech no 2 continued/ thus here we must begin with the primordial element of painting the point.
8. /9/10. J moves around through audience to end of stickline/ as point moves towards the paper./ Hook up pole stick on ceiling hooks as K is positioned /then turn bench/ and push forward stool with K /K begins to draw charcoal point on paper/ All seated
11. The geometric point is an invisible thing. Therefore, it must be defined as an incorporeal thing. Considered in terms of substance, it equals zero.
Hidden in this zero, however, are various attributes which are “human” in nature. The highest degree of restraint which never the less speaks. Thus we look upon the geometric point as the ultimate and most singular union of silence and speech. See p., 29 Point and Line to Plane , emancipation of the point into the line and the beginning of the plane at the extreme limit/ takes on the shape of a square / jagged smaller larger the basic sound of the point is variable/ a relative innermost coloration of the basic inner nature which yet rings its pure tone.
p.,31
12. /13 M/J K turn pick up charcoal line on outer paper/dynamic /slow movement draw the line in a walk as the FP enters the plane of the paper/ speech plane of the paper/M/J repeat words of the FP poem what is the FP.
13. M/J meet cross at door. The plane enters the audience space for interaction K with audience as the FP creates a built dimensionality with light /color flickering /imaginary space audience response K Speech
K Solo speech ……………………..

14. Color continues to accompany action/audience hold line to plane
15. Latham archive projection / Edited clips John Latham studio interview with Ken Turner also 1997. ‘dimensionality of thought’ 13 Chairs, etc. 
Context the object of photography, document, performance art and artists, pre virtual theory 2008 Here we see through critique and criticism in an avoidance of the disparity. An avoidance of depth? 
      16./17  paper cut/ audience exit INTERVAL
18. Audience re/enters/ Latham archive /loud/ ambient sound
19. Audience seated /chairs random/ audience settle ambient sound-scape continues/
20. Projection/When paint is squeezed from a tube/ pigs bristle/ light projection form behind screen/cue sound.
21. J enter lecture/projection continues/ J pour glass water amplified sound/water/voice/lecture proceeds as projection continue/
Deleuze defines the False Pretender
Critical positions in operation in audience. 
J Deleuze suggests in the Appendices of the logic of sense, where the idea of the False Pretender is found or made concrete in the text, that motive (he uses the word motive) of the ‘theory of Ideas’ must be sought in a will to select and to choose. 
“Thus in the Phaedrus, the myth of circulation explains that before their incarnation souls had been able to see the Ideas. At the same time, it gives us a criterion of selection according to which the well-founded delirium or true love belongs only to souls which have seen many things, and which have within them many slumbering but revivable memories. The souls which are sensual, forgetful, and full of petty purposes, are, on the contrary, denounced as false pretenders.” (p., 255 The Simulacrum and Ancient Philosophy) 
J Here Deleuze suggests that Platonism is the philosophic Odyssey and that the dialectic (the investigation of the truth) of Platonism is a dialectic of rivalry. The pretender in this sense is responsible for screening the claims (pretensions) and in distinguishing the true pretender from the false one. 
A model (as a foundational story) can thus be built or permitted or constructed, according to which, the different pretenders can be judged. 
In a reversal however Platonism, is in a sense, brought out of the shadows into the light of day.  
Plato discovers that in the flash of an instant, that the simulacrum is not simply a false copy (p., 256) 
“There follows from this model a system of participation and un-participation , an entire hierarchy in the election of participation and perfection of the mythic power the levels of irony, “one must distinguish  all sorts of degrees, an entire hierarchy, in this elective participation. Is there not a possessor of the third or fourth rank, and on to an infinity of degradation, culminating in the one who possesses no more than a simulacrum, a mirage. ––the one who is himself a mirage and simulacrum.” (p., 255) 
K Thus myth constructs the immanent model or the foundation test according to which the pretenders should be judged and their pretensions measured. (p., 256) 
Not the specification of the concept, but the authentication of the Idea, not the determination of a species but the selection of lineage. 
J We started (p., 256) with an initial determination of the platonic motivation: to distinguish essence from appearance, intelligible from sensible, Idea from image, original from copy, and model from simulacrum. But we already see that these expressions are not equivalent. The distinction wavers between two sorts of images. Copies are secondary possessors. They are well founded pretenders, guaranteed by resemblance; simulacra are like false pretenders, built upon dissimilarity, implying an essential perversion or a deviation. It is in this sense that Plato divides in two the domain of images-idols; on one hand copies-icons, on the other there are simulacra phantasms. 
We are now in a better position define the totality of the Platonic motivation: it has to do with selecting among the pretenders, distinguishing good and bad copies or, rather, copies (always well-founded) and simulacra (always engulfed in dissimilarity). It is a question of assuring the triumph of the copies over simulacra, of repressing simulacra, keeping them completely submerged, preventing them from climbing to the surface, and “insinuating themselves” everywhere”.  (p., 257) 
J In terms of the actual task of selection however, in terms of the task of the selection or choice, in what is true?, this task in itself is renounced, and in an ironic fashion the decision is carried away by myth. To cut a long story short, Myth, with its always circular structure, is indeed the story of foundation. 
End source. 
We are in a dilemma not a CRISIS.  
Crisis is required for development. Dilemma does not assist this.
“We” pursue this idea of live thought. In different approaches of thinking. Coming back, emphasized, observed in copy representation. Crashing through. 
Introducing The False Pretender, in The Age of the Simulacrum  (voices off).
The False Pretender, in logic of sense. Source: Gilles Deleuze the logic of sense Athlone Contemporary European Thinkers. First published GB 1990. The Athlone Press. Reprinted 2001 ISBN 0-485-300098-2 
Sound link/ low tone drop/intense

22. Water spills/ M clears cleans floor rag/ K interjects/moves to mike to begin choral live and violin/False Fiddle//
sound link continues as tech script/intro projection false fiddle color/light
23. M dance /K sound live/J dance/foot moving inspection lamp/
24. /25 continue false fiddle
26/7 Light to wall underneath the projection/
28/9 K center stage spot ‘THIS IS WHATEVER’ speech……………….
light reaches wall/tech /sound/cut/tech/stand
30. tech/cut/projector off//remote
31. J lift spotlight torch illuminate /stick pole /on hooks
The modern project is not finished? The Battle of Aesthetics, “Whose afraid of Red, Yellow and Blue?” Thierry de Duve ‘Interpreting Contemporary Art’ Edited Steven Bann, William Allen. 
Source ’On the Spritual in Art’ and Painting in Particular, Munich 1912 R. Piper and Co Kandinsky ‘Point and Line to Plane.
The artist as a prophet of his own environment (‘On the Spiritual in Art’ p., 134)
‘won positions’  
spiritual triangle In the ‘how’ lies a hidden germ of healing 
 
K and J/M
Where is the truth? 
Who is the pretender? 
Who is the false pretender`/? 
Klee says the artist is always the false pretender. 
This is the critical function of the performance. The false pretender is either and both of us a persona to anywhere to anyone. It is a live thought!
32/33 exit

Jane Whitaker 2008

Finis

script   ‘This is Whatever’  

 

Friday 24th October 08


Projection B/W Ken talking ‘Whatever’

Audience enters seated either side bench/stool/bench/ configurate/plank

M/J seated L/R in position
The D/D L song K enters with long stick/pole charcoal, staccatto dance to door beyond audience/turn/smooth movements plane of room FP eneters the space arrive parallel M/J position stick on MJ shoulder/ tape song continues, double repeat, staccatto hand/head turning.
Song continue J stands turns moves music stand to position script
Jane in lecture mode: The object of philosophy is to create concepts that are always new (p., 5 What is Philosophy?) 
 
BACKGROUND REF:‘I’ “We” pick up when Deleuze first mentions the ‘concept’ of the false pretender in the early 90s in the ‘logic of sense’. A number of publications (cite reference, a Thousand Plateaus, Anti Oedipus,) in which famously G and D work as one and for that matter separately. ‘What is Philosophy?’ being the last in the line of publications in this ilk as an…….. 
‘Experimental authorship’ Ibid ‘What is Philososphy?’ Gilles Deleuze (philosopher) and Félix Guattari. (non-philosopher) First published by Verso 1994, as Qu’est-ce que la philosophie? 1991 Les Editions de Minuit.  
         5. M/K begin movement lowering stick/legs in air balancing on bench/plank
Voice as authorship “We do not work together, we work between the two…..We don’t work, we negotiate. We were never in the same rhythm, we were always out of step”. Gilles Deleuze and Claire Parnet, Dialogues, p. 17 trans Hugh Tomlinson and Barbara Habberjam (Minneapolis: University of Minnesota Press 1987. 
VOICE “We” give you thus: a palette of ideas
VOICE A process of a “parallel evolution”. A process of conceptual creation. A presentation of our negotiation, not a collaboration! 
6. Jane continues as K move to breast beat position
Speech no. 2‘A line of sense?’  from ‘Twenty-sixth series of Language’ (logic of sense p., 181)  
K. Sound body J Mouth Body mouth.
“There is always someone who begins to speak. What renders language possible is that which separates sounds from bodies and organizes them into propositions, freeing them for the expressive function. 
 
It is always a mouth which speaks; but the sound is no longer the noise of a body which eats––  pure orality––in order to become the manifestation of the subject expressing itself 
Language has only one power, though it may have several dimensions. (p., 183) 
The entire organisation of language presents three figures: the metaphysical or transcendental  surface, the incorporeal abstract line, and the de-centered point. 
7. K moves towards paper/screen /M holding stick line.
J. Speech no 2 continued/ thus here we must begin with the primordial element of painting the point.
8. /9/10. J moves around through audience to end of stickline/ as point moves towards the paper./ Hook up pole stick on ceiling hooks as K is positioned /then turn bench/ and push forward stool with K /K begins to draw charcoal point on paper/ All seated
11. The geometric point is an invisible thing. Therefore, it must be defined as an incorporeal thing. Considered in terms of substance, it equals zero.
Hidden in this zero, however, are various attributes which are “human” in nature. The highest degree of restraint which never the less speaks. Thus we look upon the geometric point as the ultimate and most singular union of silence and speech. See p., 29 Point and Line to Plane , emancipation of the point into the line and the beginning of the plane at the extreme limit/ takes on the shape of a square / jagged smaller larger the basic sound of the point is variable/ a relative innermost coloration of the basic inner nature which yet rings its pure tone.
p.,31
12. /13 M/J K turn pick up charcoal line on outer paper/dynamic /slow movement draw the line in a walk as the FP enters the plane of the paper/ speech plane of the paper/M/J repeat words of the FP poem what is the FP.
13. M/J meet cross at door. The plane enters the audience space for interaction K with audience as the FP creates a built dimensionality with light /color flickering /imaginary space audience response K Speech
K Solo speech ……………………..

14. Color continues to accompany action/audience hold line to plane
15. Latham archive projection / Edited clips John Latham studio interview with Ken Turner also 1997. ‘dimensionality of thought’ 13 Chairs, etc. 
Context the object of photography, document, performance art and artists, pre virtual theory 2008 Here we see through critique and criticism in an avoidance of the disparity. An avoidance of depth? 
      16./17  paper cut/ audience exit INTERVAL
18. Audience re/enters/ Latham archive /loud/ ambient sound
19. Audience seated /chairs random/ audience settle ambient sound-scape continues/
20. Projection/When paint is squeezed from a tube/ pigs bristle/ light projection form behind screen/cue sound.
21. J enter lecture/projection continues/ J pour glass water amplified sound/water/voice/lecture proceeds as projection continue/
Deleuze defines the False Pretender
Critical positions in operation in audience. 
J Deleuze suggests in the Appendices of the logic of sense, where the idea of the False Pretender is found or made concrete in the text, that motive (he uses the word motive) of the ‘theory of Ideas’ must be sought in a will to select and to choose. 
“Thus in the Phaedrus, the myth of circulation explains that before their incarnation souls had been able to see the Ideas. At the same time, it gives us a criterion of selection according to which the well-founded delirium or true love belongs only to souls which have seen many things, and which have within them many slumbering but revivable memories. The souls which are sensual, forgetful, and full of petty purposes, are, on the contrary, denounced as false pretenders.” (p., 255 The Simulacrum and Ancient Philosophy) 
J Here Deleuze suggests that Platonism is the philosophic Odyssey and that the dialectic (the investigation of the truth) of Platonism is a dialectic of rivalry. The pretender in this sense is responsible for screening the claims (pretensions) and in distinguishing the true pretender from the false one. 
A model (as a foundational story) can thus be built or permitted or constructed, according to which, the different pretenders can be judged. 
In a reversal however Platonism, is in a sense, brought out of the shadows into the light of day.  
Plato discovers that in the flash of an instant, that the simulacrum is not simply a false copy (p., 256) 
“There follows from this model a system of participation and un-participation , an entire hierarchy in the election of participation and perfection of the mythic power the levels of irony, “one must distinguish  all sorts of degrees, an entire hierarchy, in this elective participation. Is there not a possessor of the third or fourth rank, and on to an infinity of degradation, culminating in the one who possesses no more than a simulacrum, a mirage. ––the one who is himself a mirage and simulacrum.” (p., 255) 
K Thus myth constructs the immanent model or the foundation test according to which the pretenders should be judged and their pretensions measured. (p., 256) 
Not the specification of the concept, but the authentication of the Idea, not the determination of a species but the selection of lineage. 
J We started (p., 256) with an initial determination of the platonic motivation: to distinguish essence from appearance, intelligible from sensible, Idea from image, original from copy, and model from simulacrum. But we already see that these expressions are not equivalent. The distinction wavers between two sorts of images. Copies are secondary possessors. They are well founded pretenders, guaranteed by resemblance; simulacra are like false pretenders, built upon dissimilarity, implying an essential perversion or a deviation. It is in this sense that Plato divides in two the domain of images-idols; on one hand copies-icons, on the other there are simulacra phantasms. 
We are now in a better position define the totality of the Platonic motivation: it has to do with selecting among the pretenders, distinguishing good and bad copies or, rather, copies (always well-founded) and simulacra (always engulfed in dissimilarity). It is a question of assuring the triumph of the copies over simulacra, of repressing simulacra, keeping them completely submerged, preventing them from climbing to the surface, and “insinuating themselves” everywhere”.  (p., 257) 
J In terms of the actual task of selection however, in terms of the task of the selection or choice, in what is true?, this task in itself is renounced, and in an ironic fashion the decision is carried away by myth. To cut a long story short, Myth, with its always circular structure, is indeed the story of foundation. 
End source. 
We are in a dilemma not a CRISIS.  
Crisis is required for development. Dilemma does not assist this.
“We” pursue this idea of live thought. In different approaches of thinking. Coming back, emphasized, observed in copy representation. Crashing through. 
Introducing The False Pretender, in The Age of the Simulacrum  (voices off).
The False Pretender, in logic of sense. Source: Gilles Deleuze the logic of sense Athlone Contemporary European Thinkers. First published GB 1990. The Athlone Press. Reprinted 2001 ISBN 0-485-300098-2 
Sound link/ low tone drop/intense

22. Water spills/ M clears cleans floor rag/ K interjects/moves to mike to begin choral live and violin/False Fiddle//
sound link continues as tech script/intro projection false fiddle color/light
23. M dance /K sound live/J dance/foot moving inspection lamp/
24. /25 continue false fiddle
26/7 Light to wall underneath the projection/
28/9 K center stage spot ‘THIS IS WHATEVER’ speech……………….
light reaches wall/tech /sound/cut/tech/stand
30. tech/cut/projector off//remote
31. J lift spotlight torch illuminate /stick pole /on hooks
The modern project is not finished? The Battle of Aesthetics, “Whose afraid of Red, Yellow and Blue?” Thierry de Duve ‘Interpreting Contemporary Art’ Edited Steven Bann, William Allen. 
Source ’On the Spritual in Art’ and Painting in Particular, Munich 1912 R. Piper and Co Kandinsky ‘Point and Line to Plane.
The artist as a prophet of his own environment (‘On the Spiritual in Art’ p., 134)
‘won positions’  
spiritual triangle In the ‘how’ lies a hidden germ of healing 
 
K and J/M
Where is the truth? 
Who is the pretender? 
Who is the false pretender`/? 
Klee says the artist is always the false pretender. 
This is the critical function of the performance. The false pretender is either and both of us a persona to anywhere to anyone. It is a live thought!
32/33 exit

Finis

Jane Whitaker 2008

for the performance as catalogued on a video edit by ken turner please go to this is whatever page (takes awhile)