tag:blogger.com,1999:blog-22565593826664113892024-03-18T22:08:21.877-07:00Gillian Dyson - Notes and ResearchGillian Dysonhttp://www.blogger.com/profile/06320106116463213001noreply@blogger.comBlogger18125tag:blogger.com,1999:blog-2256559382666411389.post-23050161862449804702018-01-26T06:54:00.001-08:002018-01-26T06:54:12.270-08:00offline...<span style="font-family: Arial, Helvetica, sans-serif;">Unable to get onto my Blog for months! - IT melt down, log in password nightmare - but I have managed to cut through the thorn bushes to find the clearing ....</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;">Catching up on reading, and writing in response to most recent performance work. Keeping going...</span><br />
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Gillian Dysonhttp://www.blogger.com/profile/06320106116463213001noreply@blogger.com0tag:blogger.com,1999:blog-2256559382666411389.post-66204946514514262172017-04-24T11:43:00.002-07:002017-04-24T11:45:01.448-07:00re thinking seven tables<a href="https://www.youtube.com/watch?v=BWhixN58Esg"><span style="font-family: "arial" , "helvetica" , sans-serif;">https://www.youtube.com/watch?v=BWhixN58Esg</span></a><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">website failure so linking practice-based research recording here.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Re-visiting in studio for GIFT and Glasgow Uni PG symposium.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">thinking about social abjection, repetition of 'worthless' non reproductive activity...</span><br />
<br />Gillian Dysonhttp://www.blogger.com/profile/06320106116463213001noreply@blogger.com0tag:blogger.com,1999:blog-2256559382666411389.post-14211066134574628592017-03-28T07:25:00.002-07:002017-03-28T07:25:21.429-07:00Coming Home<span style="font-family: Arial,Helvetica,sans-serif;">Coming Home - the work with plates is taken to a live audience in Hull. </span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">March 25th 2017. Studio 11 Gallery - Humber Street, </span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">ReROOTed, Hull 2017 UK City of Culture. </span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">Hull is my 'home town'. I accumulated the plates from charity shops and stuff my mother got her friends and neighbours to donate. Somehow, the ritual draws me back. </span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif;">Found / donated crockery (50 plates in a box under the table)</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">My father's wall paper trestle table (probably home made in dark wood - with traces of wallpaper and paint on it)</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">Two found chairs </span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">a white cloth</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">A found cardboard box </span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">Candle and matches</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">I invite an audience member to sit with me for as long as they want. They can stay or give up their chair to someone else. A mature woman sits down. Later several other women take the seat, including a young girl of perhaps 12 years. (No men sit with me).</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">The table and chairs are set, with a box of crockery under the table.</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">I cover the table with a cloth.</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">I sit. The other woman sits.</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">I take a plate from the box, put it on the table. <br />I take a candle and box of matches from the floor near to me.</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">I light a match - light the candle - let the spent match drop to the floor.</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">Using the candle I 'smoke' the plate:I hold the flame close to the plate surface so that the soot of the candle gathers on the ceramic surface.</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">I hold the plate in my right hand, turning it between finger and thumb to try to expose the whole surface to the candle flame.</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">The plate becomes hot in places.</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">Candle wax drips onto my hand and forearm, and onto the white cloth.</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">Once covered in soot, I casually place the plate back onto the table.</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">I extinguish the candle. </span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">I repeat the action with new plates from the box until the candle is spent.</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">Arounnd twentyfive plates are casually piled on the table.</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">I extinguish the candle for the last time, placing the stub of wax on the table.</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">I leave the space.</span><br />
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<br />Gillian Dysonhttp://www.blogger.com/profile/06320106116463213001noreply@blogger.com0tag:blogger.com,1999:blog-2256559382666411389.post-11264137608449442382017-01-24T13:10:00.000-08:002017-01-24T13:10:01.515-08:00smoke on plates <div class="separator" style="clear: both; text-align: center;">
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--></style><b style="mso-bidi-font-weight: normal;">Studio research:
January 10<sup>th</sup> 2017.</b></div>
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<b style="mso-bidi-font-weight: normal;">Smoke on plates.</b></div>
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<b style="mso-bidi-font-weight: normal;">Working towards
coming home. (Hull March)</b></div>
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<u>Aims:</u></div>
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To begin to explore some of the physical properties of
crockery, through a sense of surface. </div>
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To begin to consider the position of the spectator – an
audience distanced from, or invited to the table. </div>
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To use candle smoke – prompted by the reminder of seeing
candles on the dinner table at Christmas. Remembering the cruciform
smoke-pattern on the ceiling of a Cypriot chapel, remembering the process of
smoking egg shells for decoration, thinking of smoke as particles of dust – of
ash from the fire at home.</div>
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The smell</div>
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The plate becomes hot</div>
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The wax drips on the cloth</div>
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What does the cloth do?</div>
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Sitting – a blue chair.</div>
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<span style="mso-spacerun: yes;"> </span>The soot gathers in
soft lines – the anthropomorphic language of describing the flame that licks.</div>
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The flickering, guttering of the flame.</div>
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What is the flame?</div>
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The risk of wax, flame burning the skin. The hand and
fingers.</div>
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Wax fixes?</div>
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The sitting.</div>
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Who is opposite? Should spectator be opposite?</div>
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Whose table?</div>
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What does this do to the performing space?</div>
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Where is the site?</div>
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Proximity – what I see / they see</div>
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The surface</div>
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The desire to touch</div>
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Smoking the plate – a print making technique – etching
plate. Could I make marks in the soot? Etch into it?</div>
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Scribe / inscribe – textual. Literal?</div>
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Artist: back to Abramovic at the table – receiving? Export
on the table with wax. At not on the table.</div>
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The wax on the table- household guides on how to remove
candle wax from a table cloth.</div>
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What is the cloth doing? It is making it a ritual – it is
describing / defining the edges of the table – the space for the ‘event’.</div>
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The candle ritualises – birthdays, mass, votive.</div>
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<i style="mso-bidi-font-style: normal;">Is this what I want?</i></div>
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What is the invitation to the spectator?</div>
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How does this upset/ uncanny/ disturb the domestic?</div>
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It brings into a collision the familiar plate – the food
offering, social, giving, nurturing. But the plate is empty except for soot.</div>
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It aestheticizes a variety of plate decorations – it masks
the pattern. Creates a new pattern.</div>
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It reminds me of the plates found in the sea –their pattern
is augmented by the stains of trace metals in the mud and calcification of
barnacles. </div>
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This is different to breaking plates.</div>
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The permanence of the action is questionable – the dishes
could be washed… returned to their state – status quo.</div>
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Again, this suggests that the ‘damage’ is not permanent – a
polite intervention.</div>
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It invites and rejects participation at the same time </div>
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You can sit at my table but I am in control.</div>
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The action is controlled.</div>
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It is the control that describes the domestic? A place of
stability ….</div>
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But the action is of another place…</div>
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This is a matriarchal ritual.</div>
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It speaks of loss-<span style="mso-spacerun: yes;">
</span>mourning…</div>
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Of what?</div>
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Who should be at the chair? Husband, child, mother, friend,
self/ alter ego? Who is invited? Who is absent?</div>
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Is this a séance? Calling of someone – other?</div>
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Where is the other chair? At the ‘long’ end of the table – I
notice that I have not placed my chair ‘square on’ to the table but at a more
open angle, allowing for more room for my legs; avoiding being ‘head on’ to the
(currently absent) invited spectator – or the camera as a proxy witness.</div>
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What does the invitation to the spectator do to shift the
table space?</div>
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What are these dishes?</div>
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From junk shops- mis-matched.</div>
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Some are bone china</div>
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The light shines through the bone china – it luminesces.</div>
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What is the glow?</div>
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The bringing together of random possessions that no longer
‘belong’ to a place or person.</div>
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‘Lost souls.’</div>
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Re-describing home – a place at the table – on the table.</div>
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They belong and do not belong.</div>
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Soot on fingers<span style="mso-spacerun: yes;"> </span>- the
one thumb print on the plate where the object was gripped – held. A trace of
the human, the female – finger print.</div>
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Soot on fingers transfers to face – touch.</div>
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Wax on hand and arms – itches, burns.</div>
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Delicacy/ intimacy of marks.</div>
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Soot on outside of a pot denotes cooking over fire – but on
the inside?</div>
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Pace- slowness –not affected – how long it takes. Task as
duration – as time code. Doing performance.</div>
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Sitting – watching the smoke rise as the candle is
extinguished.</div>
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Repetition of r lighting match, candle, plate handing.</div>
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<br /></div>
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A pile of them. Accumulation. In cupboards, in sideboards,
on shelves. Stuff – so much stuff.</div>
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<br /></div>
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Is this what ‘lamp black’ is? Soot used for polishing and
blacking? The source of ink… tattooing.</div>
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https://paleotechnics.wordpress.com/2014/02/25/lampblack-what-it-is-and-what-its-good-for/</div>
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<br /></div>
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Frank – Mary Edgeworth 1836. P125</div>
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<a href="https://books.google.co.uk/books?id=V59hAAAAcAAJ&pg=PA125&lpg=PA125&dq=candle+smoke+on+plates&source=bl&ots=U9ZejEyOD8&sig=o7rGEdbHJYpRaA8igOUDwbK9SVk&hl=en&sa=X&ved=0ahUKEwjpgvPioc7RAhWMDxoKHVMqBFAQ6AEIWTAP#v=onepage&q=candle%20smoke%20on%20plates&f=false">https://books.google.co.uk/books?id=V59hAAAAcAAJ&pg=PA125&lpg=PA125&dq=candle+smoke+on+plates&source=bl&ots=U9ZejEyOD8&sig=o7rGEdbHJYpRaA8igOUDwbK9SVk&hl=en&sa=X&ved=0ahUKEwjpgvPioc7RAhWMDxoKHVMqBFAQ6AEIWTAP#v=onepage&q=candle%20smoke%20on%20plates&f=false</a></div>
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<br /></div>
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<a href="http://www-sibarber-co-uk.photoshelter.com/image/I00008QUkLvf3ZFI">http://www-sibarber-co-uk.photoshelter.com/image/I00008QUkLvf3ZFI</a></div>
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<br /></div>
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<a href="https://www.spab.org.uk/media-centre/press-releases/press-release/?ContentID=202">https://www.spab.org.uk/media-centre/press-releases/press-release/?ContentID=202</a></div>
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<br /></div>
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<a href="http://www.mola.org.uk/blog/protecting-tower-london-evil-spirits">http://www.mola.org.uk/blog/protecting-tower-london-evil-spirits</a></div>
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<br /></div>
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Spodomacy <a href="https://en.wikipedia.org/wiki/Spodomancy">https://en.wikipedia.org/wiki/Spodomancy</a></div>
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<br /></div>
Gillian Dysonhttp://www.blogger.com/profile/06320106116463213001noreply@blogger.com0tag:blogger.com,1999:blog-2256559382666411389.post-41093256665921470932016-11-08T02:14:00.004-08:002016-11-08T02:14:36.632-08:00Definition
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Calibri; font-size: 14.0pt; line-height: 150%; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Working
Definition:</span></b></div>
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<span style="font-family: Calibri; font-size: 14.0pt; line-height: 150%; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">For me, the feminine uncanny draws
(consciously or unconsciously) upon, and doubles back on Freud’s
psychoanalytical concept of the uncanny as a way to problematize normative constructs
of the female in a patriarchal space.</span></div>
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<span style="font-family: Calibri; font-size: 14.0pt; line-height: 150%; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">The feminine uncanny appears in the evocation
of something unsettling and uncomfortable. It disturbs the normal and undermines
notions of stability.</span></div>
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<span style="font-family: Calibri; font-size: 14.0pt; line-height: 150%; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">By<i style="mso-bidi-font-style: normal;"> </i>replicating
empowering aspects of the (un)homely the feminine uncanny objects to the repressive
qualities of the home. The feminine uncanny exploits the duality of the <i style="mso-bidi-font-style: normal;">unheimlich</i> and <i style="mso-bidi-font-style: normal;">heimlich</i> to create an indirect resistance to and salutation to
both. In doing so the feminine uncanny creates a feminist tension around the
domestic.</span></div>
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<span style="font-family: Calibri; font-size: 14.0pt; line-height: 150%; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">The feminine uncanny is evoked in the placing
together in a space the strangely familiar materials of the female (body) and
the everyday object so as to reimagine their inter-relationship. Thus the feminine
uncanny troubles the corporeal and psychic identity of the feminine in order to
dislocate patriarchal authority. This reimagining of gendered body and everyday
object suggests the development of a non-repressive language of the domestic
that enables a different kind of femininity to emerge.</span></div>
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<br /></div>
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<br /></div>
Gillian Dysonhttp://www.blogger.com/profile/06320106116463213001noreply@blogger.com0tag:blogger.com,1999:blog-2256559382666411389.post-2429970090444784702016-09-05T09:34:00.002-07:002016-09-05T09:34:53.448-07:00femine?<span style="font-family: Arial,Helvetica,sans-serif;">I am thinking about how to 'lock down' the terminology of my practice-based research to fix the use of a fem-concept.<br />I have used the term 'feminine uncanny' as the focus of the research question but find the feminine negative. I am reading
<span style="font-size: 12pt;">Koloki, A. (2004) <i style="mso-bidi-font-style: normal;">Undoing ‘homeliness’ in feminist art: The case of Feministo: Portrait
of the Artist as a Housewife (1975-7) </i><span style="mso-bidi-font-style: normal;">which introduces a discussion of Irigeray's use of the work 'feminine'. I am trying to distiinguish:</span></span></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12pt;"><span style="mso-bidi-font-style: normal;">the subject of the research > me/ my body/ female/ gendered</span></span></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12pt;"><span style="mso-bidi-font-style: normal;">the contextual lineage of the pratice research > feminist</span></span></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12pt;"><span style="mso-bidi-font-style: normal;">the subject of the research > (feminine) domestic objects (neg)</span></span></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12pt;"><span style="mso-bidi-font-style: normal;">and a method that disrupts the relationship between domestic object and female body which could be > feminine uncanny.</span></span></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12pt;"><span style="mso-bidi-font-style: normal;"><br /></span></span></span>
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12pt;"><span style="mso-bidi-font-style: normal;">I continue to think and write ...</span></span></span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg260vkJRKGwkjxbyMXFqHuC71TkfP-RoKux__9fULEFgZLZPt4m6cq272KpmPoN1dofu1REUADE2suaDEemK3N2_myZszpxsmjmE0ZR13sDMJJaFn_mOTeoYwAudYWEm_Dw-GY-luZIqU/s1600/Screen+Shot+2016-09-05+at+17.33.19.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg260vkJRKGwkjxbyMXFqHuC71TkfP-RoKux__9fULEFgZLZPt4m6cq272KpmPoN1dofu1REUADE2suaDEemK3N2_myZszpxsmjmE0ZR13sDMJJaFn_mOTeoYwAudYWEm_Dw-GY-luZIqU/s320/Screen+Shot+2016-09-05+at+17.33.19.png" width="320" /></a></div>
<br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: 12pt;"><span style="mso-bidi-font-style: normal;"><span style="font-size: xx-small;">(photo credit Christian Kipp 2014)</span></span></span></span><br />
<br />
<br />
<i><span style="font-family: Calibri; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: major-latin;"><span style="mso-bidi-font-style: normal;"></span></span></i>Gillian Dysonhttp://www.blogger.com/profile/06320106116463213001noreply@blogger.com0tag:blogger.com,1999:blog-2256559382666411389.post-15780229449540281052016-08-23T04:32:00.002-07:002016-08-24T02:43:39.450-07:00small table
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<b style="mso-bidi-font-weight: normal;">Research Question: 16<sup>th</sup>
August 2016</b></div>
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<b style="mso-bidi-font-weight: normal;">Practice Based
Research</b></div>
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<b style="mso-bidi-font-weight: normal;">Studio</b></div>
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<br /></div>
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How does drawing as a live action inform the relationship
between object and body?</div>
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<br /></div>
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What is trace in this research process?</div>
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<br /></div>
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Also…. Using <i style="mso-bidi-font-style: normal;">this</i>
table – how is scale impacting on the uncanny presence?</div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimz-mBYH3qV-s-10x45-Q78TdfSy32oeAIxU_fkr-rfUyw3Vz2LaWd9DSt4SVHD9RVsQNNZtQjXzfoHOPQS20rqRC-BmhTFO1KPZcC6Ym-lLGzgZK-RU6cgQ6a3_f6bgbMUq-dsltrR7k/s1600/Screen+Shot+2016-08-23+at+12.32.05.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="88" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimz-mBYH3qV-s-10x45-Q78TdfSy32oeAIxU_fkr-rfUyw3Vz2LaWd9DSt4SVHD9RVsQNNZtQjXzfoHOPQS20rqRC-BmhTFO1KPZcC6Ym-lLGzgZK-RU6cgQ6a3_f6bgbMUq-dsltrR7k/s400/Screen+Shot+2016-08-23+at+12.32.05.png" width="400" /></a></div>
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<br /></div>
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I have found out that most of my physical gesture / position
with a table in some way mimic <i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span>of </i><span style="mso-spacerun: yes;"> </span>a table – placing myself in a quadruped-like
position on all fours. Sometimes I do this with knees bent, but I am drawn to
being in a legs straight / knees locked position (like a yoga down-dog style).
I enjoy the sensation of back and leg extension. The table suggests the placing
of hands and feet ‘at four corners. If my body is close to the table this also
pushes my face forward to the table top – inviting me to further explore the
dimensions of the table through touch of my face- my eye lash. I see the table
in very close proximity, noticing the trace of dust, the scratches in the wood,
the stains in the varnish. Lifting and carrying become a feature. With this
small table I am able to lift the object entirely, to tuck it under my arm or
into my body. I can lift it comfortably with one hand.</div>
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<br /></div>
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The image of the quadrupedal position throws up a problem for
me as it brings to mind Allen Jone’s women <i style="mso-bidi-font-style: normal;">as</i>
table in <i style="mso-bidi-font-style: normal;">Table</i> (1969). This along
with his other fetishized images of women as furniture prompted a feminist
backlash against the overt objectification of the woman which was parodied in
Helen Chadwick’s performance works.</div>
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<span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">“[…] the imagery of capitalism, in
which the alluring female body did not act as a sign for its owner’s own
sexuality, but only as it existed for the male sexual imagination”.</span></div>
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<span style="mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";">Natalie Ferris in <i style="mso-bidi-font-style: normal;">Allen Jones and the Masquerade of the Feminine</i></span></div>
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https://www.theguardian.com/artanddesign/2014/nov/10/allen-jones-sexist-art-royal-
<a href="https://www.academia.edu/15172418/Allen_Jones_and_the_Masquerade_of_the_Feminine_Allen_Jones_London_Royal_Academy_2014_">https://www.academia.edu/15172418/Allen_Jones_and_the_Masquerade_of_the_Feminine_Allen_Jones_London_Royal_Academy_2014_</a></div>
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<br /></div>
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Does my physicality with these domestic objects in some way
also explore a capitalist regime where the sexual and gender identity are still
only constructed through and for the male consumer? I contest my own suggestion
here. I think that the on all fours position for me is indicative of something
more playful, more childlike. The four legs is animal-like.<span style="mso-spacerun: yes;"> </span>Is this another uncanny mechanism to allude
to a less human, less ‘animate’ form? Is the uncanniness appearing when a
binary of human/ non human is broken down?</div>
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<br /></div>
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The act of drawing around the object and my body further
promotes an awareness of the movement of exploring, climbing around and moving
the table. I find that the line becomes a delineation of both the place of the
table/ body and of the shadow of the table/ body. As such the lines are
confused and do not indicate where the mark traces the position of the actual
object or of the shadow of the object. As such there is a blurring of the
tracing of presence and effect of presence (blocking light).<span style="mso-spacerun: yes;"> </span>In the resulting drawing the actual presence
of the object and the effect of the object are rendered with similar lines.
Lines overlap lines as I have moved myself and the table. The scope of this
movement has been in response to the dimensions of the paper on the floor, the
presence of sunlight through the window and the field of vision of the camera.
These semi-conscious restrictions are placed on the action. The restrictions
promote returning movements, repeated overlapping of lines and rotation of the
body and table.</div>
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<br /></div>
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This is a small table and perhaps appears at first to be
miniature. But it is a ‘full size’ table in the sense that it is not a toy. It
functions in the home with ‘proper’ use. This is an ‘occasional’ table.<span style="mso-spacerun: yes;"> </span>It currently functions as a side table in my
living room, placed in a corner adjacent to a small sofa, and is the place for
a small lamp. It is a table I have inherited from my family and it was made by
my granddad so probably dates to the 1960’s. The splayed legs and laminated
wood top perhaps also suggest a 60’s style. The table has removable, screw-in
legs and because of this has been convenient to travel and move house with
since I first left home.</div>
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<br /></div>
<div class="MsoNormal">
However, in the practice-based research action imagery the
table does appear diminutive, and perhaps toy. The action therefore promotes a
shift in thinking or understanding of the object – is it ‘real’ or is it an
‘imitation’ of a table? It draws into question the functionality of the
object<span style="mso-spacerun: yes;"> </span>and in turn I suggest the naming
of the object<span style="mso-spacerun: yes;"> </span>as ‘table’. </div>
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<br /></div>
<div class="MsoNormal">
I arrive at a sense of tracing – that the small table is a ‘trace’
of the larger dining table. The small table, the body in a four-leg shape, the
outline on the paper – these are as Derrida might suggest, <span style="mso-spacerun: yes;"> </span>original and not original. They are both
inscribed and absence of their originating form. By that I mean that they echo
something previous, and are also something in themselves. I feel that this is
essence of ‘disturbance’ in the research action that evokes the uncanny. The
trace object/ activity draws attention to<span style="mso-spacerun: yes;">
</span>- as trace- to the subject/ artist/ female. The play of human and object
marks a ‘shift’, a shudder where comfortable reading and understanding are
disturbed or displaced. I relate this disturbance back to the uncanny – uncanniness
being the ‘feeling’, the experience of disturbance.</div>
Gillian Dysonhttp://www.blogger.com/profile/06320106116463213001noreply@blogger.com0tag:blogger.com,1999:blog-2256559382666411389.post-74072334557373346082016-08-12T02:48:00.001-07:002016-08-23T04:53:33.038-07:00I am thinking about Deleuze’s introduction ‘Repetition and Difference’<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVuUPIvONbM6zUV2-ZwKVMF65w2NP-L1wLq59qlUjFuvZItAj_HOYJpw1Nqbj8GHNyaDsDzW4W1ValbZ3_0KcfJ9HUbvI30yHPj0PdeHSt9E-Tbkq_DYbDatS6S3FN8gvbqhyphenhyphenNKncBD4w/s1600/Screen+Shot+2016-08-18+at+15.03.40.png" imageanchor="1"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVuUPIvONbM6zUV2-ZwKVMF65w2NP-L1wLq59qlUjFuvZItAj_HOYJpw1Nqbj8GHNyaDsDzW4W1ValbZ3_0KcfJ9HUbvI30yHPj0PdeHSt9E-Tbkq_DYbDatS6S3FN8gvbqhyphenhyphenNKncBD4w/s320/Screen+Shot+2016-08-18+at+15.03.40.png" width="300" /></a><style>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b style="mso-bidi-font-weight: normal;">August 9<sup>th</sup>
2016.</b></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">“To repeat is to behave in a certain manner, but in relation
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">I am thinking about how repetition of an event indexes the
original event and <i style="mso-bidi-font-style: normal;">vice versa</i>. That
in effect the first iteration is itself a determiner of subsequent iterations.
I like the occurrence of the word’ vibrate’ in Deleuze’s sentence “[…] And
perhaps this repetition at the level of external conduct echoes, for its own
part, a more secret vibration which animates it, a more profound, internal
repetition within the singular”.</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Is he suggesting that even in the singular there is a
vibration – a shudder of possibility that the event repeatable? In the singular
an event or object is <i style="mso-bidi-font-style: normal;">re-encountered</i>
in the process of experiencing. </span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">I perform the simple action of carrying a table and chair
into the space and sitting. I do this ten times. As performer there is
something in the ‘knowing’ that from the first manifestation of the action I am
going to repeat. The first action determines the repetition. There can be no
repetition without the first action. </span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Is the first action actually repeated? Or rather, is it
re-represented; in extreme resemblance or perfect equivalence? Of course, my
research action is not a ‘perfect’ set of equivalences. Each repeat (or should
I say re-representation) reveals the flaws and inconsistencies. I handle the
furniture slightly differently each time. I place my feet differently. I pause
at the table for an inconsistent length of time. More over, the shift of light
at the window, the rain-fall outside and ambient sounds of the building betray
the falseness of the repetition, revealing instead a series of singular events
and encounters.</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">I am aware that the incidental choice of <i style="mso-bidi-font-style: normal;">this </i>table and chair also awakens
another equivalence. This is the furniture of an exam room, calling to mind the
rows and rows of ‘identical’ chairs and tables, and in turn the identical
sitting, studying bodies at the tables; time passing. </span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The representation of one table and chair, and the one
performance action represent repetition even if they are different kinds of
design. </span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">(As digital design reproduction advances I wonder if the
idea that repetition as a ‘transgression’ from natural laws as Deleuze suggests
is being brought into further question, undermining the ‘natural’ beyond that
which the ‘similarly’ mass produced table and chair represent).</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Is the performance, as Jane Blocker suggests in using Peggy
Phelan’s terms – always in the process of disappearing, in the process of
becoming itself? By that I mean, as I try to remove significance of the gesture
through repetition am I also making that performance become ‘something’, become
‘the performance that repeats; that the repetition defines the performance in
some way? Blocker uses Rebecca Schneider’s thinking here in considering
performance as “of” disappearance:<span style="mso-spacerun: yes;"> </span>“[…]
if we think of ephemerality as “vanishing”, and if we think of performance as
the antithesis of “saving”, do we limit ourselves to an understanding of
performance predetermined by a cultural habituation to the patrilineal,
West-identified (arguably white-cultural) logic of the Archive?</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Rebecca Schneider, <i style="mso-bidi-font-style: normal;">Archives:
Performance Remains</i>, Performance Research 2001, vol 6. No 2. P100. </span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">I think this is relevant to my experience through the
practice-based research because what I experience in the process of performance
is a sense of both ‘loosing’ the ‘original’ through the repetition of action,
whilst at the same time developing an awareness of the archival history of that
action through its re-iteration. My body has a muscle-memory of each action of
lifting and carrying and starts to mimic the previous version, placing the
table in the ‘same’ position on the floor, holding my arms on the table in a
similar fashion to the previous time. In addition, a shift in the sense of time
occurs – not dissimilar to any experience of mundane, physical work, where the
counting of the repeated action, the duration of it and sense of time passing
alters in some way. As such I feel that the performance itself ‘disappears’ to
be overtaken by the whole process. It becomes about the repeated lifted and
carrying. </span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">This leads me to reconsider the physical content of my work,
and to think about the importance of carrying and lifting. How does this
connect to ‘handling’, to caressing? What is the endurance of this (for example
carrying a mattress, or holding utensils above my head) doing and saying?</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">(There is a problem in that I am thinking about the action
as a live experience but you the secondary spectator are consuming as or
through the video – a medium that in Jane Blocker’s words has capacity for
endless repetition simultaneously preserves, re-enacts, and hollows out.)</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Blocker, Jane. <i style="mso-bidi-font-style: normal;">Repetition:<span style="mso-spacerun: yes;"> </span>A Skin which Unravels</i></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">In Jones, Amelia & Heathfield, Adrian (2012) Perform
Repeat Record: Live Art in History. Bristol, Chicago. Intellect.</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><i style="mso-bidi-font-style: normal;">Introduction:</i><i style="mso-bidi-font-style: normal;"> Repetition and
Difference </i></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Deleuze Gilles (1994) <i style="mso-bidi-font-style: normal;">Difference and Repetition</i></span> </div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Translated by Paul Patton. Columbia
University Press. New York. 1-4.</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Available August 2016:</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><a href="http://topologicalmedialab.net/xinwei/classes/readings/Deleuze/Difference-and-Repetition/English/DifferenceRepetition01.pdf#page=15&zoom=auto,86,-165">http://topologicalmedialab.net/xinwei/classes/readings/Deleuze/Difference-and-Repetition/English/DifferenceRepetition01.pdf#page=15&zoom=auto,86,-165</a></span></div>
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</span>Gillian Dysonhttp://www.blogger.com/profile/06320106116463213001noreply@blogger.com0tag:blogger.com,1999:blog-2256559382666411389.post-53280180005999598552016-08-08T04:37:00.001-07:002016-08-08T04:37:45.787-07:00
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><i>Not At Home</i> - Description. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW3SJhcJY_jDrjMGDCgoDBMxIlqcSdbwa25Il-F36E_PQmoj0CCIYg0gCV7KFQPakyjxMVoluHJyF5ukV9mdxpnSy7Qw7TZh3JiBqm5vqsbCkvSlDAiqx38Cag_B3YNYKz-_-NGIWSm5o/s1600/Screen+Shot+2016-08-08+at+12.33.44.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW3SJhcJY_jDrjMGDCgoDBMxIlqcSdbwa25Il-F36E_PQmoj0CCIYg0gCV7KFQPakyjxMVoluHJyF5ukV9mdxpnSy7Qw7TZh3JiBqm5vqsbCkvSlDAiqx38Cag_B3YNYKz-_-NGIWSm5o/s320/Screen+Shot+2016-08-08+at+12.33.44.png" width="174" /></a><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"> </span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><i>Precarious Assembly</i>, The Whitworth Manchester. </span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">August 4th 2016.</span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><br /></span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">I carry and place a cardboard box of objects in the space.
Each of the five actions is performed in sequence, in the following body
states and spaces:</span></div>
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</span><div class="MsoListParagraphCxSpFirst" style="mso-list: l0 level1 lfo1; text-indent: -18.0pt;">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">1.<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span>In black t-shirt and long trousers; bare feet,
hair tied back.<span style="mso-spacerun: yes;"> </span>(Taking place in the
first floor textiles exhibition).</span></div>
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">
</span><div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo1; text-indent: -18.0pt;">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">2.<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span>Naked. (Taking place in the Elizabeth Price
curated exhibition).</span></div>
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">
</span><div class="MsoListParagraphCxSpLast" style="mso-list: l0 level1 lfo1; text-indent: -18.0pt;">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">3.<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span>In denim skirt and blue t-shirt. (Taking place
in the main collection - new aquisitions).</span></div>
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</span><div class="MsoNormal">
<br /></div>
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">
</span><div class="MsoListParagraph" style="margin-left: 54.0pt; mso-add-space: auto; mso-list: l1 level1 lfo2; text-indent: -18.0pt;">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">a.<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span>Utensils</span></div>
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">
</span><div class="MsoNormal" style="margin-left: 36.0pt;">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">I take some kitchen utensils from
the box, that includes wooden spoons and spatulas; plastic fish slice and
slotted spoon; potato masher’ wire whisk; metal fish slice and spoon. A divide
the utensils into two hands and stand with a fists of these tools – looking at
them for a moment. I begin to lick the utensils. I explore the length and
contours of the utensils with my tongue. I move from one fistful to the other,
repeating this action five times. As I complete a licking action I raise my
hands slightly so that both fists become elevated from my body. As I lick I can
taste the residue of cooking on the utensils- a sweet and savoury ‘onion-ish’
taste. I feel the coldness of the metal and the roughness of the wood. I lick
over my fingers and along the spoon handles, pushing my tongue into the slots
of the fish slices, the curve of the potato masher and the wires of the whisk.
When I have done this five times I raise my fists of utensils up and stand for
a count of fifty. I then let the utensils drop and they clatter to the floor.</span></div>
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">
</span><div class="MsoListParagraph" style="margin-left: 54.0pt; mso-add-space: auto; mso-list: l1 level1 lfo2; text-indent: -18.0pt;">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">b.<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span>Bed</span></div>
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">
</span><div class="MsoNormal" style="margin-left: 36.0pt;">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">I take a used pillow from the
box, it is white fabric stained yellow. I place the pillow on the floor. I take
a wooden toy bed from the box. It is dark brown, hand made. I crouch to place
it next to the pillow (below and to the right), and then I stand. I hold my
hands/ arms as if still holding the toy bed. I then crouch to pick the bed up
and hold it forward before putting it down again. I repeat this action of
picking up and replacing the bed twenty five times. I then step forward onto
the pillow and jump up and down fifty times, holding my body loosely, becoming
breathless. I stop and quickly lie down behind the pillow, grabbing the toy bed
and placing it on my chest/ abdomen so that it rises and falls as I pant. I
hold my fists tightly, but slowly let them release with creaking, jumping
motion of the tendons. Once my breathing has returned to normal and my fists
are unclenched I allow my body to relax and press into the floor.</span></div>
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">
</span><div class="MsoListParagraph" style="margin-left: 54.0pt; mso-add-space: auto; mso-list: l1 level1 lfo2; text-indent: -18.0pt;">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">c.<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span>Pan</span></div>
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">
</span><div class="MsoNormal" style="margin-left: 36.0pt;">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">I take a large saucepan and lid
from the box. It is stainless steel with two handles. I lift the lid and look
at it, consider it. I am holding the lid in my left hand and the pan in my
right. I see the reflection of the room in the pan lid. I twist my body slowly,
holding the lid and maintaining a gaze into the lid so as to visually explore
the space I am in. I move my body, turning on-the-spot so that I can take in
the whole space, walls, floor, people, ceiling. I try to twist my body so that
I can see all the way behind me. As I move I occasionally spin the pan in my
right hand. One I feel that I have gone ‘all the way round’ I return to front
and slowly replace the lid. I place the pan on the floor.</span></div>
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">
</span><div class="MsoListParagraph" style="margin-left: 54.0pt; mso-add-space: auto; mso-list: l1 level1 lfo2; text-indent: -18.0pt;">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">d.<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span>Curtain</span></div>
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">
</span><div class="MsoNormal" style="margin-left: 36.0pt;">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">I take a curtain from the box. It
is made from a fabric in creams and browns with a floral pattern of poppies and
thistles. The curtain is lined, with gathering tape and hanging weights. The
curtain lies in a pool at my feet. I bundle the fabric into a ball and start to
roll this around and over my body. I make my way from one leg, across my torso
and up my chest. I try to keep the bundle whole, refolding fabric into the ball
as it drops loose. I roll the fabric under my arm put, behind my neck and over
my head, and along an arm. I roll it down my back and between my legs, down my
leg to the floor. I let the curtain fall on the floor at my feet then pick up
the top edge and with two hands pull the fabric up over my face and head until
it covers me, pulling the fabric from behind my back so it travels over my head
and body to fall behind me. Step back so the curtain is at my feet again. I do
this thee times then leave it heaped on the floor.<span style="mso-spacerun: yes;"> </span></span></div>
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">
</span><div class="MsoListParagraph" style="margin-left: 54.0pt; mso-add-space: auto; mso-list: l1 level1 lfo2; text-indent: -18.0pt;">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="mso-bidi-font-family: Cambria; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Cambria; mso-fareast-theme-font: minor-latin;"><span style="mso-list: Ignore;">e.<span style="font-feature-settings: normal; font-kerning: auto; font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-synthesis: weight style; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span>Crockery</span></div>
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">
</span><div class="MsoNormal" style="margin-left: 36.0pt;">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">One-at-at time I take twelve
ceramic plates from the box. They are of varying sizes and designs. I place a
plate on the floor. There is a slight ringing noise when some plates touch the
hard floor. I stand close to the plate and then lift my bare foot to trace the
shape and feel of it with my foot. Standing with my weight on one leg I allow
my toes to trace the edge of the place, or across the bowl of it. Sometimes my
feet stick a little and the plate moves. I can feel embossed pattern on some
places and the warmth of the china plates. Once I have placed and touched all
the plates I collect them up in my arms. I stack them against my breasts,
leaning back a little so as to cradle the plates in my arms. I shuffle the
plates so as to put them in some sort of order. Some slip, and there is a
clattering noise. Once happy with the action and arrangement I stack the plates
on the floor. I go to stand on the stack with my full weight. The first two
times some of the plates crack and break. (I leave the broken shards in the
space). I do more than stand on one leg. The third time (with a diminished pile
of now stronger plates) I am able to fully stand with two feet on the stack and
lift my heels from the plates. I can stand for a count of fifty before stepping
off the stack. </span></div>
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">
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<br /></div>
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</span><div class="MsoNormal" style="margin-left: 36.0pt;">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">I gather all the objects up, back
in the box. If there are broken shards of pottery I leave these in the gallery.
On one occasion I forget a wooden spoon and it is also left. I carry the box to
exit the space (or to move to the next performance site).</span></div>
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">
</span>Gillian Dysonhttp://www.blogger.com/profile/06320106116463213001noreply@blogger.com0tag:blogger.com,1999:blog-2256559382666411389.post-12983649625100356342016-08-02T09:54:00.001-07:002016-08-12T11:15:01.885-07:00A question arising around the choice of (un) dress in the performance research<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglc-iVn39w_yuEVU_GNNThfYlXKE3QlthHXcSqfCX0fJ07VEeCO9hfuTCiaSVQDBFfOxvWR4EgtGUeG-D9hYVMJiO8YTGvXVsHI__ED2yNGX-5epf4iHSuys33tOJknvpuYlPhf8MYIuM/s1600/Screen+Shot+2016-08-02+at+14.31.01.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglc-iVn39w_yuEVU_GNNThfYlXKE3QlthHXcSqfCX0fJ07VEeCO9hfuTCiaSVQDBFfOxvWR4EgtGUeG-D9hYVMJiO8YTGvXVsHI__ED2yNGX-5epf4iHSuys33tOJknvpuYlPhf8MYIuM/s320/Screen+Shot+2016-08-02+at+14.31.01.png" width="235" /></a></div>
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<div class="MsoNormal">
<span style="font-family: "helvetica";">August 2<sup>nd</sup>
2016</span></div>
<div class="MsoNormal">
<span style="font-family: "helvetica";">Rough Notes.</span></div>
<div class="MsoNormal">
<span style="font-family: "helvetica";">The process throws
forward a question around dress – how do I present ‘self’ as a clothed / naked
person? What does this do to the politics of the action?</span></div>
<div class="MsoNormal">
<span style="font-family: "helvetica";">I perform the same
action in three states of un-dress: wearing the clothes I have on that day
(denim skirt and t shirt); wearing black t shirt and trousers as ‘performance
clothes’; naked. All the time I have bare feet and my hair tied back.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "helvetica";">Action: holding a bundle
of kitchen utensils in each fist – wooden spoons, spatulas, whisks and the like
– I lick the utensils, alternating five times from each hand. As I lick from
one hand the other hand slowly rises until both fists of utensils are raised in
the air. I hold this for a moment, then fling the utensils to the floor with a
clatter.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "helvetica";">What I notice about the
difference in dress is that it complicates the visual imagery with added
context. The black clothes seem neutral until they are set against nakedness.
The alternative states of dress draw attention to the first – they add to
saying something of my identity as woman in her 50’s; as performer/ artist. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "helvetica";">In jeans skirt I perhaps
look ‘homely’ – plain and utility. The clothing seems to be without
significance but I reconsider that once this dress is juxtaposed with the black
clothing and the naked body its own significance comes forward. These clothes
speak of me – they are the most normative apparel and as such most closely
connected with the sense of belonging and perhaps home. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "helvetica";">In black I become a
solid shape. Black absorbs light, black is of solemnity. The black clothing is
recognisable as a ‘performance art uniform’ – it claims a neutrality that asks
the viewer ‘ don’t consider the clothing, consider the action and the body’. I
am aware of course that the black art clothing, much like the gallery space
itself, is not without context. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "helvetica";">In contrast the naked
body operates as revealing of the ordinariness – the reality of the body of the
performer. It says ‘ this is the body of the fifty year old woman’. My body is
not slim but is muscular in places. I have suntan marks from a recently worn
bikini and shaved public hair – perhaps this tells of the leisure time that I
can afford? It removes all other contextual signification of jeweller or
clothing. I am reminded of Kenneth Clark’s discussion on the nude in suggesting
the nude is not the subject of the art form but the form itself. My body is not
nude per se – it is naked (without clothes) – where are the clothes? (My mind
leaps to the images of heaped clothes at Auschwitz that in turn mark the
absence of the body.) The naked body becomes it’s own <i style="mso-bidi-font-style: normal;">momento mori</i> speaking both of life and death.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "helvetica";">If shoes signify the
wearer in some way what does bare feet do? The bare footed person is not
without identity, otherwise clothed their gender, faith, employment etc. can
still be signified. In the context of the performance action I suggest that the
bare foot signifies the act as art work, it creates a bodily ‘frame’ that moves
the ordinary body part into a place of cultural object.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "helvetica";">The bare foot signposts
the action of walking and draws attention to the grounding of the body to the
floor. It signals an attention to the mechanics of the body which might become
a choreography.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "helvetica";">Further reading:</span></div>
<div class="MsoNormal">
<span style="font-family: "helvetica";">Tim Ingold – talking
about the wearing of shoes and training of the feet – separation of body/ mind.
The way the feet embodied </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "helvetica";">Eugenio Barba – the ordinary
becoming extra ordinary?</span></div>
<div class="MsoNormal">
<span style="font-family: "helvetica";">Zerilli – 2004
phenomenology of acting? </span></div>
<div class="MsoNormal">
<span style="font-family: "helvetica";">Intentionality?<br />
Gradiva – the walking woman?</span></div>
Gillian Dysonhttp://www.blogger.com/profile/06320106116463213001noreply@blogger.com0tag:blogger.com,1999:blog-2256559382666411389.post-35137339360307889332016-08-02T09:22:00.000-07:002016-08-02T09:24:26.878-07:00Plates<div class="separator" style="clear: both; text-align: center;">
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<div class="MsoNormal">
<span style="color: #cccccc;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: 14.0pt;">Plates</span></span></span></div>
<div class="MsoNormal">
<span style="color: #cccccc;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: 14.0pt;">Action
Research</span></span></span></div>
<div class="MsoNormal">
<span style="color: #cccccc;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: 14.0pt;">August
1<sup>st</sup> 2016</span></span></span></div>
<div class="MsoNormal">
<span style="color: #cccccc;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">(First draft notes)</span></i></span></span></div>
<div class="MsoNormal">
<span style="color: #cccccc;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: 14.0pt;">I am
gathering household objects. I buy a china tea service from a junk shop -
thinking that this has no emotional connection to me and that therefore I will
feel comfortable working with it, experimenting, breaking it potentially. Yet
once I am in studio, sharing the space with these delicate cups, plates and saucers,
I feel attached to them and somehow responsible as a new custodian of them. A
simple score determines my actions: to repeat an action; to think about my
feet. I place the plates. The action research sits in a creative environment
loaded with context that seeps into the space as if triggered by the presence
of the objects I elect to work with at that time. </span></span></span></div>
<div class="MsoNormal">
<span style="color: #cccccc;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><br /></span></span></div>
<div class="MsoNormal">
<span style="color: #cccccc;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: 14.0pt;">The
research action asks how does my body describe the properties of the plates,
and perhaps visa versa. What is the moment when the ordinary becomes extraordinary, and why? Dramaturgy is developed in a responsive manner, dealing
with the moment of encounter and interaction. As I take the crockery from a
cardboard box and set it on the floor a series of automatic gestures are
triggered, that involve hand and foot. I place the plates and saucers on the
floor and hear them offer a slight ringing sound to the air around. I feel the
warmth of the ceramic with my toes. I stack the plates and stand on them. The
plates creak a little but do not break. </span></span></span></div>
<div class="MsoNormal">
<span style="color: #cccccc;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><br /></span></span></div>
<div class="MsoNormal">
<span style="color: #cccccc;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: 14.0pt;">The
action describes a dialogue between the inanimate object and the body.
Responding to the ‘found’ crockery speaks of the negotiation of the present/
presence in a way that Susan Stewart described a sense of suburbia, something
of the two foci of the suburban as nostalgia and technology (Steward. 1994.1).
In the moments of holding, handling and standing upon the crockery I am
reminded of the industrial technology that produced it and indeed the
industrious hands that made it. (I have been engaged in a conversation recently
with a ceramicist and am reminded of the history of labour in the pottery
industry). I imagine the hands of the woman that applied the slip transfer to
this design, or edged the rim of the plate with gold paint. I also recall the
antiquated tradition of accumulating a dinner service for marriage and the
young housewife’s attachment to the display of and use of the crockery.</span></span></span></div>
<div class="MsoNormal">
<span style="color: #cccccc;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><br /></span></span></div>
<div class="MsoNormal">
<span style="color: #cccccc;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: 14.0pt;">The
placing of the foot on the plate seems naughty, taboo*. The action tests the
body by placing the lower limbs under tension and creating a dramaturgy of tension,
balance, holding. Whilst the action presents at stillness the body is placed in
a constant motion, shifting weight, tensing and relaxing muscles so as to keep
a balance. </span></span></span></div>
<div class="MsoNormal">
<span style="color: #cccccc;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><br /></span></span></div>
<div class="MsoNormal">
<span style="color: #cccccc;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: 14.0pt;">Is the
work ‘about’ nostalgia? I don’t think that there is any intention of wistful or
sentimental longing for the past evoked here. Rather, a strange tension
develops in the unsettling action of the body with and against the objects. The
work <i style="mso-bidi-font-style: normal;">dismantles </i>the nostalgic through
the irreverence shown in the employment of the feet, whilst somehow recalling a
memory caught in a memory, in Freudian sense of ‘working through’ that is
physically recalled in the existence of the plates as a kind of ‘portal’. There
is /was no utopian life of the suburban housewife to recall. Rather it is the memory
of a construct, and the aspiration to a construct that cannot and was not achieved.
Swedish philosopher and editor in chief of <i style="mso-bidi-font-style: normal;">Site</i>
Journal makes reference to Hegel’s notion of <i style="mso-bidi-font-style: normal;">Aufhebung, </i>in relation to poetry and I wonder if there is not a
useful parallel here apparent in the simultaneous cancelling out and preserving
of a state of being as expressed in the action of standing on the plates? By
this I mean, the action emerges from philosophical concerns to both acknowledge
(and perhaps even a supressed desire to achieve) a sense of status quo as
represented by the suburban home, whilst at the same time to undermine and deconstruct
this archetype. And yet, nothing is destroyed. The detritus of broken plates,
or old mattresses serves only to re-recall, re-repeat the presence of the
domestic?</span></span></span></div>
<div class="MsoNormal">
<span style="color: #cccccc;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><br /></span></span></div>
<div class="MsoNormal">
<span style="color: #cccccc;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 14.0pt;">*</span></i><span style="font-size: 14.0pt;"> I think about Freud’s
thinking on taboo – and belief in the power of the person to transmit a
spiritual energy to an object: “Persons or things which are regarded as taboo
may be compared to objects charged with electricity; they are the seat of
tremendous power which is transmissible by contact”.<span style="mso-spacerun: yes;"> </span>(Freud. 1918.12)</span></span></span></div>
<div class="MsoNormal">
<span style="color: #cccccc;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><br /></span></span></div>
<div class="MsoNormal">
<span style="color: #cccccc;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><br /></span></span></div>
<div class="MsoNormal">
<span style="color: #cccccc;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: 14.0pt;">Steward, Susan (1994) <i style="mso-bidi-font-style: normal;">On Longing:
Narratives of the Miniature, the Gigantic, the Souvenir, the Collection.</i><span style="mso-spacerun: yes;"> </span>USA. Duke University Press </span></span></span></div>
<div class="MsoNormal">
<span style="color: #cccccc;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><br /></span></span></div>
<div class="MsoNormal">
<span style="color: #cccccc;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: 14.0pt;">Wallenstein, Sven-Olov (no date) <i style="mso-bidi-font-style: normal;">Tropes
of Nostalgia: Winckelmann, Hegel, Heidegger, and the Quest for Origins.</i> </span><span style="font-size: 14.0pt;">Accessed
August 2016 at:</span></span></span></div>
<div class="MsoNormal">
<span style="color: #cccccc;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: 14.0pt;"><a href="http://iloapp.philosophy.se/blog/thinklink?ShowFile&doc=1212586706.pdf"><span style="color: black; mso-themecolor: text1;">http://iloapp.philosophy.se/blog/thinklink?ShowFile&doc=1212586706.pdf</span></a></span></span></span></div>
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<span style="color: #cccccc;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><br /></span></span></div>
<div class="MsoNormal">
<span style="color: #cccccc;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: 14.0pt;">Site
Magazine</span></span></span></div>
<div class="MsoNormal">
<span style="color: #cccccc;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: 14.0pt;"><a href="http://www.sitemagazine.net/"><span style="color: black; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-themecolor: text1;">www.sitemagazine.net</span></a></span></span></span></div>
<div class="MsoNormal">
<span style="color: #cccccc;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><br /></span></span></div>
<div class="MsoNormal">
<span style="color: #cccccc;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: 14.0pt;">Freud, Sigmund
(1918) <i style="mso-bidi-font-style: normal;">Totem and Taboo. </i></span></span></span></div>
<div class="MsoNormal">
<span style="color: #cccccc;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: 14.0pt;">Chapter II. <i style="mso-bidi-font-style: normal;">Taboo
and the Ambivalence of Emotions.</i> Accessed August 2016 at:</span> <span style="font-size: 14.0pt;">http://www.bartleby.com/281/2.html</span></span></span></div>
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<span style="color: #cccccc;"><span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><br /></span></span>Gillian Dysonhttp://www.blogger.com/profile/06320106116463213001noreply@blogger.com0tag:blogger.com,1999:blog-2256559382666411389.post-52763762140956379352016-06-27T09:17:00.002-07:002016-06-27T09:17:37.882-07:00sketches - table, iron, shiver<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYJWKtVAkFM6VLr15KAuWYQ7N5ia-3QzxfmUg5t3fy4Kta8cQotyw2mwB5mOWwUDLcE31VvlcdUUNUBf94TCkLzv7fB_d0OCz3c_j5lx2RO2-bbOB2HDmfnm97l_Tu16IF_ce4Ph1Kp5Y/s1600/cul+de+sac+sketch.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYJWKtVAkFM6VLr15KAuWYQ7N5ia-3QzxfmUg5t3fy4Kta8cQotyw2mwB5mOWwUDLcE31VvlcdUUNUBf94TCkLzv7fB_d0OCz3c_j5lx2RO2-bbOB2HDmfnm97l_Tu16IF_ce4Ph1Kp5Y/s1600/cul+de+sac+sketch.JPG" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8CByo9OX7CHjh6mMuTXOU9aNsSxT7ow0SnbQ1VIzNQKyVy87GHV8HnPq_on-ZY4d9_OXgNNvi8bq-ylA35sOpNlTu_udh4TPXHNQBNz-O9QD6-vYEVW0h156HEh7STYZCRMpyKMy1Cfc/s1600/iron+table+sketch.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8CByo9OX7CHjh6mMuTXOU9aNsSxT7ow0SnbQ1VIzNQKyVy87GHV8HnPq_on-ZY4d9_OXgNNvi8bq-ylA35sOpNlTu_udh4TPXHNQBNz-O9QD6-vYEVW0h156HEh7STYZCRMpyKMy1Cfc/s1600/iron+table+sketch.JPG" /></a></span></div>
<br />
<span style="font-family: Arial,Helvetica,sans-serif;">Thinking about possiblities of table - body action shiver, shake, wet. Ironing with hot iron onto the wood veneer of the table.</span><br />
Gillian Dysonhttp://www.blogger.com/profile/06320106116463213001noreply@blogger.com0tag:blogger.com,1999:blog-2256559382666411389.post-8701257191568672202016-06-10T10:26:00.002-07:002016-06-10T10:33:35.362-07:00Kitchen Drawer. 1.<style>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">In response to <i style="mso-bidi-font-style: normal;">Action
Poetry: </i>Karen MacCormack, and Steve McCaffery<i style="mso-bidi-font-style: normal;">. </i>OUI Performance. York. 9<sup>th</sup> June 2016, and thinking
about Martha Rosler.</span></div>
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Gillian Dysonhttp://www.blogger.com/profile/06320106116463213001noreply@blogger.com0tag:blogger.com,1999:blog-2256559382666411389.post-13574129303744331002016-06-08T04:07:00.002-07:002016-06-10T10:31:38.366-07:00House as performance archive<style>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">June 1<sup>st</sup> 2016</span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">I listened to Mike Pearson at York University last night Professor
Mike Pearson ('Revisiting Theatre/Archaeology' Humanities Research Centre). He
spoke of theatre and archaeology, and it made me consider the house as site,
and for the performance research to be an archaeology of sorts in the way that
the house becomes a live archive of the activities taking place there, and of
the associative memories and meanings that are indexed by the house in all that
entails.<span style="mso-spacerun: yes;"> </span>I was interested in his
consideration of the forensic – that in reading a site we sort through the
‘garbage’ to filter the ‘evidence’. I reflect on how I am approaching the house
as a site of research. <span style="mso-spacerun: yes;"> </span>How do I
distinguish the evidence from the garbage?
</span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">Is the home an inviolable object – impregnable - not to be
dishonoured?</span><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">Does it reflect the social milieu of its inhabitants? </span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">What then is the performance in / of the house doing? Taking
Pearson’s understanding of performance as ‘doing’ (here he makes reference to
Butler) I reflect that the actions of research that I make are largely going
unrecorded: moving around the building; looking ‘differently’ at things I have
thought of as familiar – cracks in the ceiling, the fall of curtains, the play
of light on the wall. I do activities that <i style="mso-bidi-font-style: normal;">are</i>
housework cleaning, cooking, making beds, but that ‘slip’ into the frame of
artwork through the presence of the camera, or simply the added awareness of
self-observation.</span><br />
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><br /></span>
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">I start to think of the house as an archive. The performance then becomes and
action of ordering, curating, managing the archive. Engaging with the place cannot
be only in the material but in the representational– what the house
‘represents’. In Pearson’s terms of the archaeological this process is a
re-articulation of the past. But for/ of whom? Is this a past that actually
‘resides’ in my bodily experience and therefore is not of the house, (as Andre
Lapecki might suggest – the body is/ as archive), or is it something that
exists / is traced in the material of the house – in those cracks in the plaster
and folds in the curtains? In a sense, by moving house we bring with us all the
archive of previous houses – previous homes. <i style="mso-bidi-font-style: normal;">This </i>house is a palimpsest of all the houses – all the homes.
(Activated by the transposing of furniture or belongings from one house to
another – <i style="mso-bidi-font-style: normal;">where ever I lay my hat</i>…).
But also in the sense that this house contains the layers of activity of many,
multiple occupancies, reflected in traces of it’s previous form – the remnant
of wallpaper revealed when a fixture is removed, dents in the paint work, or
large architectural interventions of loft conversions and garage extensions.
The house morphs, adapts to it’s inhabitants but nonetheless remains fixed,
installed and rigid.</span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">I become interested in the cracks – as metaphor for decay
and in their actual physical appearance. They are drawings into the surface.
They are fissures. Fragmented, fragmenting.</span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">Pearson suggests that the fragment always implies the
archaeological – that the fragment traces the aftermath of the event –it is a
document. These documents stand in for the past. </span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">It becomes a kind of material matter – that ‘matters’.</span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">Pearson suggests that the site operates as a mnemonic – assisting
the remembering of incidents and events past. I suggest that it is also a score
– directing <i style="mso-bidi-font-style: normal;">future</i> incidents,
offering rigid direction to the activity – and therefore the performance ‘doing
in the house. For example, the stairs can be negotiated in the conventional
way<span style="mso-spacerun: yes;"> </span>- walking up and down, or I can
experiment with pace (run) body orientation (slide head first) or intention
(stop on one step), but inevitably the staircase itself dictates a direction of
diagonal travel, or ascent or descent. It also references every journey on the
stairs (sitting playing as a child, falling down with a full tea cup, running
for the bathroom, sliding down on your bottom…). These are the quotidian events
that mark the house as ‘home’. They reinforce presence in and in turn belonging
to the home.</span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">In turn the objects of the home are a shifting private
history. The performance, in the forensic metaphor, becomes a sifting and
filtering process – allocating additional value to the souvenir, tool and
furnishing. I say souvenir in the sense that Susan Stewart uses the term in <i style="mso-bidi-font-style: normal;">On Longing.</i> She uses a phenomenological
and psychoanalytical approach to understanding the objet in relation to the
body experience, space and time and memory, but also psychoanalysis to discuss
to the object as fetish or the desired. I am interested therefore in the
transference of signification that occurs in the process of performance; that
the performance action ‘lifts’ the object (indeed the whole house) away from
the role of commodity, social anthropology or decorative, into something other.</span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">If as Pearson suggests the art object is the interface of
archaeology and culture (Pearson Shanks 2001: 33) is the performance art
‘object’ also such an interface? Is then the ‘method’ here one of
auto-ethnography where I unpack the process of performance as an uncovering?
Does this performance action alter what is valid – does it shift the focus of
the forensic way from the evidence and towards to garbage?</span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><u>Action response</u></span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">Taking Pearson’s notion of the archaeological I am going to
conduct a survey of the ‘pre-historic’ inhabitants of the house through an
investigation of the cracks, marks, traces of previous presences. My research
question is – how does the haptic exploration reveal something unknown of the
building and therefor my relationship to/ with the building?</span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">I will do this through drawing, movement. I am looking for
the unexplainable, and the unfamiliar.</span></div>
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Gillian Dysonhttp://www.blogger.com/profile/06320106116463213001noreply@blogger.com0tag:blogger.com,1999:blog-2256559382666411389.post-9119164590664307812016-06-08T04:02:00.002-07:002016-06-10T10:31:52.304-07:00Vacuum<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL9PweqgRDZt7oJnkeDKZfE6ja-9KQgD8dUNcMFFkIHvYW4AoEpCK5deXNZVofPRGbW_ZBjos0XafMJt_NoobNMZxzGVqv34lTVIFw-kVFAqLvqKpV3Jt-xCwtg4k3uIjPxeC3TqCVuYQ/s1600/dust.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL9PweqgRDZt7oJnkeDKZfE6ja-9KQgD8dUNcMFFkIHvYW4AoEpCK5deXNZVofPRGbW_ZBjos0XafMJt_NoobNMZxzGVqv34lTVIFw-kVFAqLvqKpV3Jt-xCwtg4k3uIjPxeC3TqCVuYQ/s1600/dust.JPG" /></a></span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">The old vacuum cleaner is broken – I have been meaning to
replace it for weeks. A new one, ordered on the internet, arrives. I unpack it
in the bedroom. I notice the amount of eco-friendly packaging stuffed into the
box, spilling out, contributing to the mess on the carpet that already needs
cleaning. I notice the weight of the parcel, tape to cut with scissors, the
oblong packaging that describes the height of the machine inside. The packing
material has moulded itself to the form of the machine. I lift out the vacuum
cleaner: plastic; red and grey; wires and tubes and cylinder. It needs a
screwdriver to fix the handle to the casing, which I do. I plug it in. The
noise is satisfying indication of motor, drive belt, brush. A less satisfying
burnt rubber smell begins. I push the vacuum across the bedroom carpet. I feel
the weight of the machine and the resistance of the carpet. The motion too and
fro speaks of pacing – impatience, frustration, indecision. I manoeuvre around
the bed and the piles of clothes, lifting something, pushing something else. A
pleasing amount of dust and dander is gathering in the see-through cylinder
already. I go round the edges with the small attachment then give the carpet
one more ‘push pull.’ Stripes appear on the carpet like the pattern of a mown
lawn. I stop and unplug. I coil the power cable in its convenient cleat. I
disconnect the cylinder and scoop the grey formless cloud of dirt, hair, skin
and fibres into a jam jar. I tip out the last part – some falls back onto the
carpet. I screw on the jar lid. </span></div>
Gillian Dysonhttp://www.blogger.com/profile/06320106116463213001noreply@blogger.com0tag:blogger.com,1999:blog-2256559382666411389.post-17320245605367990522016-06-07T02:33:00.001-07:002016-06-10T10:32:06.912-07:00<style>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">29<sup>th</sup> May</span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">I have been thinking about<span style="mso-spacerun: yes;">
</span>the <i style="mso-bidi-font-style: normal;">chatlelaine</i> -<span style="mso-spacerun: yes;"> </span>a housekeepers chain worn on the belt that
carries a variety of objects such as small scissors, keys, an aid memoir
notebook, a coin purse, etc. Can the <i style="mso-bidi-font-style: normal;">chatlelaine</i>
be extended as a metaphor? I suppose that it has become the contemporary
handbag in function – the portable identifier for the woman. A mother’s bag
containing a purse, Tampax, lipstick perhaps, a mobile phone – but also baby wipes;
children’s snacks in a Tupperwear; a rattle. Indeed the phone itself becomes
that <i style="mso-bidi-font-style: normal;">chatelaine</i> – the smart phone
containing all the devises for daily function – the aide memoir notebook, the
small map, the spending App. But how is <i style="mso-bidi-font-style: normal;">chatelaine</i>
a stand in for the identity of the wearer? The <i style="mso-bidi-font-style: normal;">chatelaine</i> was a ‘badge of office’ not only the actual keys to the
house, but the signification of authority in the household; the ‘purse
strings’? Is it a synecdoche – a figure of speech to mean housekeeper <i style="mso-bidi-font-style: normal;">and</i> household? What would my <i style="mso-bidi-font-style: normal;">chatelaine</i> be?</span></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3YGOrk7lbhCaWOPPI4DwydjTuftrTFv_N6x18oT0j-CualgTuA06FjCA6PHO-g0kUEJJCQKMRUkV_2Xa3RCXhg3oB3nvsNTY6TPC-LdUY5ItXSBlspaTsPiIHASIVI_blQPd1eDANRmY/s1600/cabinet-card1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3YGOrk7lbhCaWOPPI4DwydjTuftrTFv_N6x18oT0j-CualgTuA06FjCA6PHO-g0kUEJJCQKMRUkV_2Xa3RCXhg3oB3nvsNTY6TPC-LdUY5ItXSBlspaTsPiIHASIVI_blQPd1eDANRmY/s320/cabinet-card1.jpg" width="151" /></a></div>
Gillian Dysonhttp://www.blogger.com/profile/06320106116463213001noreply@blogger.com0tag:blogger.com,1999:blog-2256559382666411389.post-32115221172960859222016-06-03T12:10:00.003-07:002016-06-10T10:32:19.003-07:00Storm - Moortown<style>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">31<sup>st</sup> May</span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">I have slept badly and awaken already exhausted. My eyes are
heavy – perhaps I am getting a cold. The wind has built up over night and the
atmosphere is stormy, expectant. I know I need to work but cannot settle so
instead, after breakfast I set out to walk the streets near my house. </span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><br /></span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">My intention is a wandering.<span style="mso-spacerun: yes;">
</span>I decide to walk for an hour with my phone-camera in my hand. I decide
to record things I notice. I realise that I have never walked around my
neighbourhood, only perhaps a short and direct trip to the shops, or a café. I
have lived here for almost three years and have not yet mapped the through ways
and cul-de-sacs. I have noticed specific houses as I have driven by, but not
stopped to really look, to see what it is that draw my attention to them in
particular over their adjacent, near identical neighbours.</span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">My photographs are of leaves on the path, of individual
stained glass window-panes, abandoned toys in a drive, builders waste. Of
course I am seeing more than I photograph, feeling more that I recall. It is
9am but I hardly meet anyone else. A dog walker, a couple of builders, a woman
washing her car an a couple pushing a pram. That is it. Everyone is at work I
think. </span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><br /></span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">I’m thinking about Bill Beckely’s 2001 <i style="mso-bidi-font-style: normal;">The Sticky Sublime</i>; the suggestion that</span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">‘The sublime is not simply sublimity – it is loss of a self,
which first must be acquired – through study, connoisseurship, through one’s
varied relations to other people – through the impulse, memories, principles,
and energies that evolve into a sense of self.”</span></div>
<div class="MsoNormal">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><br /></span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">I wonder how this applies to an exploration of the suburban neighbourhood
– how this walk away from the home as defining self, and into a ground that is
somehow about absence, might inform my practice-based research?</span></div>
<div class="MsoNormal">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><br /></span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">The walk I take is a Dérive – an unplanned route through the
suburban landscape. A drifting. As Guy Debord defined it the derive as a ‘mode
of experimental behaviour… linked to the conditions of urban society.. .a
passage through various ambiences…’ <span style="mso-spacerun: yes;"> </span>As
Debord might suggest I am directed by the feelings evoked. A derive is
performed – it is a doing action. As such, without conscious planning I act on
the suburban street. I find myself attracted to certain features in the
terraine. I notice the contrast of colour between the pavement and a bright
purple leaf. Later, a bright purple sweet wrapper is framed on green grass
verge. </span></div>
<div class="MsoNormal">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><br /></span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">Unlike Debord’s observations I do not see change between a
few streets. The architecutral and landscape themes are consistent. Public
space –road, path, grass verge, is varyingly sculpted but generally in good
repair and maintenance. Edges and border are defined according to the function
of the roadside. I follow the paths and roads as routes of least resistance –
going with the curve of pavement into a dead end, or following a drive way to
cross a road. A boundary between the home / house and this public space is
described by a fence, hedge or wall<span style="mso-spacerun: yes;"> </span>- or
a combination of all. Almost without exception the gateway to the property is
open onto an expanse of drive that is described in tarmac or block paving.</span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><br /></span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">I wander / wonder in the lack of specificity of this and how
I am mapping in my mind a psychogeography that is probably as much to do with
the orientation of my body as it is a visual guide to the streets. </span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><br /></span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">I am not sure that I want to change the way I look at the
space – I think I already know how I look. Neither am I seeking to disrupt.
Indeed I feel self conscious, like I am ‘casing the joint’, and feel relieved
to see ‘For Sale’ signs which in my mind legitimise my intrusion onto the empty
paths to stare at the vacated properties. </span></div>
<div class="MsoNormal">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><br /></span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">My photo taking describes me as a ‘creative’ I think –
something I can explain away if confronted- though I am never confronted.</span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">I notice the attempts to delineate boundaries between the
domestic space and encroaching nature. I see bags of garden waste that tells of
recent pruning and clipping. There are carefully groomed lawns and pot plants
adjacent to tufts of weeds or swathes of uncut grass. <span style="mso-spacerun: yes;"> </span>Similarly boundaries between public and
private are interrupted. In places people have placed large stones (often
whitewashed) to stop other people parking on ‘their’ grass verge. Whilst at the
same time households have paved over front gardens to turn them into carparks
which in turn blur the distinction between (public) roadside and home side. </span></div>
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<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">There seems to be a continual process of repair and rebuild
underway. Of the few people I see most are builders. They are replacing
driveways, window frames, roof tiles. They are fitting bathrooms, refurbishing
extensions, installing sheds. Property is in a state of flux, never finished –
always paint peeling, </span></div>
<div class="MsoNormal">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">I turn to Wrights and Sites as a reminder of what the walk
is – can be.</span></div>
<div class="MsoNormal">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">The spaces that are the house exteriors seem to be in a
constant battle with change –change that is permitted, invited, managed; change
that is unsolicited, fluid, unkempt. It is the negotiation of this troubled
(in)balance<span style="mso-spacerun: yes;"> </span>that seems to be the sub –
below, under. The under is revealed in the change and struggle to manage
change. The placing and removal of objects of the house. The planter, the
garden chair, the kids trampoline. I am reminded of the language of<span style="mso-spacerun: yes;"> </span>Dada – of every product of disgust – the
peeling, cracked, weed-infiltrated, stained thing becoming as much part of the
suburb as the pristine render and mowed lawns.</span></div>
<div class="MsoNormal">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">http://www.391.org/manifestos/1918-dada-manifesto-tristan-tzara.html#.V012zNcoLhN
</span></div>
<div class="MsoNormal">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">The walk reminds me of the small things –the ordinary. The
attempts of the house-builder/ DIY homemaker are interventions to pause, place,
frame that have no effect at all in the bigger picture. The actions serve to
perpetuate a market economy. Not of ‘home improvement’.</span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGnq1SvjNhG-tzeT2Uj_7gpm9gBSFKf_-ptpwPPc5Ju0O_DdcMZ5beri5f0T-9Hm2UFVTPYPCpxx2CyJVPkB368mGCPgcGbO9hwtegqVuypAO_9QFTaMgBStRL2rVZGCIpHVFSmBxsmMA/s1600/photos_moortown_may2016.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGnq1SvjNhG-tzeT2Uj_7gpm9gBSFKf_-ptpwPPc5Ju0O_DdcMZ5beri5f0T-9Hm2UFVTPYPCpxx2CyJVPkB368mGCPgcGbO9hwtegqVuypAO_9QFTaMgBStRL2rVZGCIpHVFSmBxsmMA/s320/photos_moortown_may2016.jpg" width="243" /></a></span></div>
Gillian Dysonhttp://www.blogger.com/profile/06320106116463213001noreply@blogger.com0tag:blogger.com,1999:blog-2256559382666411389.post-41287342421545488042016-06-03T10:56:00.000-07:002016-06-10T10:32:31.812-07:00Beginning<span style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;">This blog is an attempt to make visible my research thinking - to myself and interested third parties. I do this partly as a way to order my thinking, to reveal the connections and key themes that are emergent in the research. It also operates as an archive - a way to record the content of practice be that performance or writing, or indeed media, drawing or sculpture.</span>Gillian Dysonhttp://www.blogger.com/profile/06320106116463213001noreply@blogger.com0