This is not a Pipe
Following a presentation by Rosemary outlining the artists or works that people felt could help her practice, we read the 2nd chapter of ‘This is not a Pipe’ by Michel Foucault. The following are bullet points of words highlighted, discussions and various artists and philosophers/writers etc
• Calligram = a word or piece of text in which the design and layout of the letters creates a visual image related to the meaning of the words themselves.
Examples of Calligrams
pg 21 of ‘This is not a Pipe’: “The calligram uses that capacity of letters to signify both as linear elements that can be arranged in space and as signs that must unroll according to a unique chain of sound. As a sign, the letter permits us to fix words; as line, it lets us give shape to things.”
• Tautology – the saying of the same thing twice over in different words, generally considered to be a fault of style (e.g. they arrived one after the other in succession ).
synonyms: repetition, repetitiveness, repetitiousness, reiteration, redundancy,superfluity, periphrasis, iteration, duplication; More
• – a phrase or expression in which the same thing is said twice in different words.
plural noun: tautologies
• – LOGIC a statement that is true by necessity or by virtue of its logical form.
• Jackie: The development of language – understanding the representation of a thing to describe it to something else. Letters are different they have a different form of authority and hierarchy.
• pg 22 of ‘This is not a Pipe’: “Let us begin with the first and simplest. It seems to be created from the fragments of an unraveled calligram. paint and writing – intertwined for me. And it is indicated by the word “this .” We must therefore admit between the figure and the text a whole series of intersections-or rather attacks launched by one against the other,…”
• Ian – lesson in ambiguity. After this text was written, approach to art changed.
Discussion about Placing Practice
• Jesse – What is the role of knowledge production in art?
• systems in art. Is there something unstable about the production of knowledge of art…
• jackie – ambiguity – that is what is what i like about art… is it bullshit – is it not???
• learning because you want to learn. Looking into things because you are intersted in,
• Trying to understand things from different perspectives
• Ian – people in galleries from all walks of life – for everybody. Essentially that is what art is trying to do – unravelling situations so you can present a number of ….
• art – many ways of approaching. in terms of knowledge production…limineal spaces… what goes on between work and viewer.
• Dave Hickey -art critic
• All good art has capability of producing knowledge in an area that is communal
• Jesse – What does the role of the artist have to offer in other disciplines???
• artist – the non linear approach – no end point – not as important as situation you are in. Other professions find this intimidating
• Ian – artists can bring other concepts. different types of thinking. one good example Douglas Gordon and Philippe Parreno – Zidane: A 21st Century Portrait Zidane: A 21st Century Portrait
• Jessie – What does the idea of ‘performance’ mean for an artist as opposed to other professions – ie sport, law etc
• Manuela – endless space for an artist to explore different fields – can swing between different thoughts. Other professions are very structured (these are the results that we want from you)
• artists – boundless field – go out and explore.
• Jackie – the word can mean different things (performance) – can be a time based thing. for an artist, firstly – as a mole of art – it is not a rating/evaluation of an artist – it is what the artist undertakes
• Ian – painting – self involved expressive situation – how can this involve into other practices, bar therapeutic situation. Painting is the only one that is not parallel. It can only be therapeutic. The knowledge produced in a painting is a closed statement
• Manula – no!!!
– show in IMMA about physics – astronomy – still resonates – in terms of interaction
• Grace Weir – relies on interdisciplinary knowledge production. Is this some part of historic rupture in our understanding of painting
• Ian – painting is still viewed traditionally for pleasure
• What is a painting? Post 20th century – painting does not cross, engagement, in terms of parallel
• Jackie – is it because it is a singular activity?
• Jesse – There will be a time when you have to evaluate your own performance in terms of your practice and the other profession.
• Think about 1st contact – who is the 1st person you would like to contact – be ambitious. could be as simple as sending an email. Skype, etc…. who is the first point of contact who is relevant to you.
• Find ideal person 1st, then think of the question….
• These are my ideal people: John Justice with Tynall. (in terms of lasers, LEDs holograms etc) This contact has already been made. David Eagleman, neuroscientist and writer. Ben Ashton, artist. Cork Blackrock Castle Observatory. It was agreed that the artist Ben Ashton is not really for Placing Practice, but I could follow up on this contact on my own. I am going to look into cognitive scientists and maybe neuroscientists. Also, perhaps I will make contact with Blackrock Castle Observatory – to what end, I am unsure as yet.
Max – send him peer feedback – based on ‘ how presence can manifest itself in places of absence. Places that had a function and no longer does
• Cork supernatural society – anyone who knows of an artist that deals with this
• What is concrete, what is supernatural. Phenomenology . Cinematic – think broader than the cinematic. sound might be important
• von Hausswolff Memory Works
– sound and visual artist ashes he had taken from Auschwitz.
• He gets down to bare frequencies and amplifies it
• social geography – Social geography is the branch of human geography that is most closely related to social theory in general and sociology in particular, dealing with the relation of social phenomena and its spatial components.
• Bodies politic – Maynooth – Bodies Politic is a symposium that brings together artists and academics to discuss the bodies of individuals and the body of the state in the context of the 1916 commemorations.
• Be ambitious as possible in terms of enquiry for your practice
- George Baitille – The accursed share
• Kintsugi, The Japanese Art of Fixing Broken Pottery With Gold
• Manuela – send her something about the shamanic and ritualistic in relation to rites of passage
• Rites of passage educationally. research ritual.
• For Manuela: African Initiations: Rites of Passage Through the Eyes of an Initiate (Paperback)
• By: Shakmah Winddrum
• necessary transformation – what is the thing that could transform your practice….. present about own work – 5 mins
• Ian said that the statement ‘Rites of Passage’ could be used for most, if not all of our practices. For me – physical passages
• present yourself as MA:AP crawford in emails.
• Me: Compose the email/s that I will use as an introduction to my Placing Practice potential placements. This will be critiqued next week by the class. Make sure to include what it is I am asking of the ‘Professional’
• The eye/perception – think about bringing together spaces/ways of ‘knowing’ – for example an Optician/Ophthalmologist , a cognitive scientist, a neuroscientist, scientist working with lasers etc, a blind person(?), an artist/s working with light and or perception, lens makers etc
• Think about Systems of Enquiry – the questions you ask and how you frame them