Monday, May 7, 2012

Scrappy Notes...

18th April 2012

I'm aware that I still have the letter from the ritual in my back pocket...

Camino notebook: abstract? Pre O'Ceibrio?

30th April 2012

"Let the Lands Come..."

This is what I know so far...

This is what I have ...

I ate...

I slept...

I met...

She wants you to know...

He wants you to know...

I'm aware that I still have the letter from the ritual in my back pocket...(daily ritual?)


He's the inspiration, it all started with him.

Blog videos - sort out when I get the Bursary
Occupying Space
How people are spending their time 

Paper with lists of research of other projects form Dee Heddon & Cathy Turner (wrights & sights) 'Walking Women: Interviews with Artists on the Move' :

Ana Lara Lopez de la Torre

 Tamara Ashley & Simone Kenyan

Sorrel Muggidge & Laura Nanni 
 'Further Afeild'
'Living Landscapes'
'The Climb'

Doreen Massey

Lone Twin

Misha Myers
'Yodel Rodeo'
'Way from Home'

Janet Cardiff

'The Situationsits'

Elspeth Owen
'Grandmother's Footsteps'
'In the Dark'
'In the Dark'

Rachel Gomme

Emma Bush
'Village Walk'

'Walk Walk Walk' 
'Night walks'
" archeology of the familiar and the forgotten"

April 2012

"what you see is governed by what you expect to see"
- Prof. Jenny Clack

 "...all our discoveries, fossils will remain..."
-Prof Jenny Clack

"We should remember that we [human beings] are only here temporarily, we do need to bear in mind that someday something will evolve to take our place at some point betting is on rodents actually."
-Prof Jenny Clack

 Potter - last interview

'Unsettled - From Tinker to Traveller' RTE documentary


'A Brief History of Time'

need to be able to talk shit...

...Open Your Doors....



Spatial awareness - walking in my space...

Occupying Space - things to do, spending time

I'm confused about...

Maybe you could help me with...

'The Work of Art in the Age of Mechanical Reproduction: 
-Walter Benjamin
"Marx (...) what capitalism might be thought capable of in years to come.  What emerged was that it might not only be thought capable of increasingly severe explotation of proletarians; ultimately, it may even bring about conditions in which it can itself be done away with."

"The following concepts, here introduced into art theory for the first time, differ from more familiar ones in that they are quite useless for the purposes of Fascism.  They can, on the other hand, be used to formulate revolutionary demands in the politics of art."

"Even with the most perfect reproduction, one thing stands out: the here and now of the work of art - its unique existence in the place where it is at this moment.  But it is on that unique existence and on nothing else that the history has been played out to which during the course of its being it has been subject."

"We can encapsulate what stands out here by using the term 'aura'.  We can say: what shrinks in an age where the work of art can be reproduced by technological means is its aura."

"So far as the present is concerned, conditions are more favourable to such an insight.  And if changes in the medium of perception occuring in our own day may be understood as a fading of aura, the social conditions of that fading can be demonstrated."

"Stripping the object of its sheath, shattering the aura, bear witness to a kind of perception where 'a sense of similarity in the world' is so highly developed that, through reproduction, it even mines similarity from what only happens once."

"The oldest works of art, as we know, came into being in the service of some ritual - magical at first, then religious.  Now it is crucially important that this auric mode of being of the work of art never becomes completely seperated from its ritual function."

"What happened was: when, witht he advent of the first truly revolutionary means of reproduction, namely photography (simultaneously with the dawn of Socialism), art felt a crisis approaching that after a further century became unmistakable, it reacted with the theory of 'l'art pour I'art' ['art for art's sake'], which constitutes a theology of art.  From it there proceeded, in the further course of events, almost a negative theology in the form of the idea of a 'pure' art that rejected not only any kind of social function but also any prompting by an actual subject."

"However, the instant the criterion of genuineness in art production failed, the entire social function of art underwent an upheaval.  Rather than being underpinned by ritual, it came to be underpinned by a different practice: Politics."

"It is no accident, not at all, that the portrait forms the centrepiece of early photography.  In the cult of recalling absent or dead loved ones, the cultic value of the image finds its last refuge."

"Guided by its operator, the camera comments on the performance continuously."

"Film is very much less interested in having the actor portray another person to the audience than in having the actor portray himself to the camera."

"All persons today can stake a claim to being filmed."

"That distinction is becoming a functional one, assuming a different form from one case to the next.  The reader is constantly ready to become a writer.  As an expert, which for good or ill he must inevitably become in a highly specialized labour process (be it merely an expert in some minor matter), he gains access to authorship.  (...) Literary authority is no longer grounded in specialist education but in polytechnic education; it has become common property."

"And if we have a rough idea of how we pick up a cigarette lighter or a spoon, we know little of what actually happens between hand and metal when we do so, not to mention how this will vary according to our current mood."

"Immersion, which is the degenration of the bourgeoisie became a school of asocial behaviour, stands over against diversion as a variety of social behaviour.  Dadist demonstrations did indeed constitute a very violent diversion in that they placed the work of art at the centre of a scandal.  That work had above all to meet one requirement: it must provoke public irritation."

"But man's need for shelter is perennial.  The art of building has never lain fallow.  It's history os longer than that of any other art, and imaginatively recalling its effect is important as regards any attempt to form a conclusion about how the masses relate to art.  BUildings are received twofold: through how they are used and how they are perceived.  Or to put it a better way: in a tactile fashion and in an optical fashion."

"Fascism sees its salvation in allowing the masses to find their voice (not of course, to recieve their due).  The masses have a right to see the ownership structure changed: Fascism seeks to give them a voice in retaining that structure unaltered. Fascism leads logically to an aestheticization of political life." 

"This is how things are, given the kind of aestheticization of politics that Fascism persues.  Communism's reply is to politicize art."

4th May 2012


-woke up with "And so she woke up, woke up from where she was lying, lying still..." in my head.

7th May 2012
Money in Phase 3 discussion...donation based or daily allowance?

Art as Activism - the t-shirt in the film???

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