by disrupted dispositif
an imaginative rehearsal of what isn’t but could be
an imaginative rehearsal of what isn’t but could be
We begin to see the circle but only have a blind sense of whats encircled.
Rapture comes with the something deeper that cannot be seen or understood. I think it tends to cause a rupture.
Absolutely. Beauty grows as the edge of the circle shimmers defining something deeper than a surface.
A beauty is not suddenly in a circle. It comes with rapture. A great deal of beauty is rapture. A circle is a necessity. Otherwise you would see no one. We each have our circle.
go go go go
something’s catching up
ooops wasnt expecting that
It brings up the whole subject object question. Is there a point that a voice becomes an object independent of its speaker?
There is something regarding ‘displacement’ at play within the works that leaves one disconcerted.
Let me (or you) listen to me (or you) and not to them (the audience).
An audience is always warming but it must never be necessary to your work.
We’re in the same terrain. Though i’m thinking about voices coming together to create an indecipherable noise that obscures meaning and a subjective source. Voices coming together outside and beyond the subject somehow. Early stages. I guess its a kind of harmony too.
Harmony. Individual voices coming together that last only a breath.
Absolutely. Perhaps idealistic, maybe even utopian, but im with you. So we direct our attention to the audience and kind of speak through them. As in, rather than bouncing a ball between you and me, we bounce the ball via the audience so that they direct the conversation as much as we do. Its quite different to the description you wrote but that just helps in disrupting expectations.
Expectations. What people are accustom to and come to be comfortable with. The interviewer reveals as much by the questions they ask as the interviewee declares through their response. Spaulding Gray would get people from the audience and basically interview/talk with them. This could be a means to disrupt the situation of the “artist talk” and the parameters around what has come to frame it. I suppose I have a tendency to establish a scenario where its very nature demarks it’s objective and its devised so that it can be interjected and have its trajectory malleable by these gestures. But don’t think this is any way a means of sidestepping definition but a communal space where we can all speak and create meaning together.
Its a good objective to have. Totally with you. Also what i want as a viewer or participant. Links with openness but also translation. What happens to an affect in its movement from affecter to affected; from desired affect to received affect. Then there is also another thing when it is an inbetween object/subject that is the host to affects coming from multiple sides. Perhaps thats what we want with the conversation…
I am affected. It’s in equal parts. That is the objective.
Are you saying youre not affected? But want to be?
Living is to affect and be affected. A continuous exchange.
What else can a thought be but caught between things? It seems inherent within language itself.
Thoughts as the product of material interconnections rather than some unique subject.
Resist all meaning? I get you but dont quite believe you. Experience is where meaningful meanings that are unexplainable come from. The best meanings. And now that it exists independent of you, meanings are out of your control? If one considers that meaning is located in the subject, the audience will create meaning out from what you have given.
But is a moment that cannot be explained; it can only be experienced.
If what they say is true may not be ambiguous and filled with multiple meanings, as much as it actively tries to resist all meaning.
‘What is your name?’
‘Legion, for I am many.’
A multitude of voices speaks through one.
The demon is in the bag.
Thats where the gaps come in. The not explaining. Using words as texture that weaves around the subject.
But we cannot quite explain it through the magic of words.
An opened ended mystery that is meant to be sensed rather than read.
Perspective, but also anything that is brought into reality weather spoken or made or whatever becomes a truth by the fact that it is.
No. On. I have just composed the first sentence of my forthcoming book — the only one yet written : “Philosophy is a queer thing — at once the most sublime and the most contemptible of human occupations.” There is nothing like having made your start!
A subjective construct through which a convergence of the unrelated becomes a relation. But there are many forms of imposition. The stream of consciousness seems to restrain from fixing relationships. A gathering of multiple lines drawn out from their previous weavings to make another line. Ropes unwound and weaving into other ropes. Am i off?
Narrative, in its simplest form, is the act of imposing linear meaning and causality on events that might not otherwise be linked in such a manner, if at all.
What, exactly, is “Tashlinesque”? The subject will be explored at UCLA in a lecture and panel discussion, but there is a simple explanation. Tashlin cut his teeth on cartoons, and when he moved into live action, he re-created the “Looney Tunes” universe by dressing his flesh-and-blood actors like cartoon characters, surrounding them with blaring colors and embroiling them in elaborate gags that sent the laws of physics out the window.
You set it up, and there’s a series of jokes, one after another [as the cat] keeps failing and failing. I’m amazed when I look at these Road Runner things. The guys are still hitting walls and leaving imprints, they still fall down—I can’t believe that stuff is still going on. Those jokes are all forty years old. There’s no originality.
Barrier: Is that when you actually left the Disney studio to go to Columbia?
Tashlin: Right. I got into a fight with Walt: I always pick the wrong people to fight with.
The story of a possium who people thought was sad and in trying to make him smile, they made him sad.
Perhaps it could travel from mind to mind causing a general disturbance of the social mind.
…to do what James Baldwin called “beginning a disturbance, in someone else’s mind.”