Parallel Lines (2011)


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Parallel Lines (2011)

  1. 1. Counterrevolutionary Semiotec™ drive-thru-rev-u™ system | Low cost criticism outsourced | Cheap businesscriticism | Neologisms used for dramatic effect | Critique too cheap to meter | Full evaluation and assessment ofyour practice(s) | Cheap critical critique | Illusion of creative satisfaction guaranteed or your money spent |Unbeatable crit rates for emerging creatives | Historical and critical service provider and management |Handwritten ingredients | Reduce criticism bills | For all your annual reportage needs | High yield language |Reversable Utopic / Dystopic sentiments options available | Semiotic investigation company | All qualitymetatheory | Hassle free single crit bill | Free research estimates for Scandinavian artists | Guraunteed Englishlanguage compliant | Customised scribery | Worried about only being written about by curators? | Appreciationoutsourcing | Imagine your practice vindicated with one hassle free application of radical veneer | CheaperEuropean crits | Cheaper international wordsmithery (cash only) | Low rate same-day analysis | Cheaper reviewbill | Trope rentals considered | Compare writing prices | Can supply and proof read if necessary | Reduce mycatalogue text bill | Reliable cheaper diatribes | All call centres based at the end of telephone line | Flabbymetaphors fully probed | Critique delivered to your door by email | Full obligation appraisal | All writing comes withthree week guarantee within three weeks | No studio visits | Small jobs charged more | No turds polished |Careers at Kunstec™
  2. 2. David Carriers Artwriting, (1987) puts forward the proposition that art theory has beenreplaced by an emphasis on rhetoric. Was it rhetoric all along? What place does narrative play in persuading us?
  3. 3. Mise en scene can consist of the “creation of aprecise complex of sets and characters, a network ofrelationships, an architecture of connections, ananimated complex that seems suspended in space[…] what is seen is less important than the way ofseeing, or a certain way of needing to see or beseen.”Alexandre Astruc (1959)French auteurist film critic who coined the notion of the caméra-stylo or"camera-pen“.
  4. 4. ‘State of Play – Art and Culture in Scotland Today’. Peter Hill will speak at the Hawthornden Lecture Theatre - Weston Link, National Gallery Complex, Edinburgh on Saturday 2nd April 2011.Peter Hill – SuperfictionsA Superfiction is a visual or conceptual artwork which uses fiction andappropriation to mirror organisations, business structures, and/or the lives ofinvented individuals. The term was coined by Glasgow-born artist Peter Hill in1989.
  5. 5. Two broad approaches:•  Mimetic - To make a specific subject the motive for mise en scene.•  Generic - To use mise en scene as the basis for further work: (i.e. to develop genres and narrators.)
  6. 6. Two broad ways of working:•  Mimetic - To make a specific subject the motive for mise en scene.•  Generic - To use mise en scene as the basis for further work: (i.e. to develop genres and narrators.)
  7. 7. Cultural Logic of Ambient e.g. ViralThis concerns how something is distributed.
  8. 8. Who expresses?Raises issue of the narrator.•  The narrator is a social actor.•  This is true of the artist and the audience alike, both are playing roles.•  We are all unreliable narrators (like the Wizard of Oz) since we are not omnipotent.•  We are both restrained and enabled by our argot - it is our world.