Parallel Lines


Published on

Lecture slides for talk on my writing given to MA students at Goldsmiths College, London.

Published in: Education
1 Like
  • Be the first to comment

No Downloads
Total views
On SlideShare
From Embeds
Number of Embeds
Embeds 0
No embeds

No notes for slide
  • Parallel Lines

    1. 1. Counterrevolutionary Semiotec™ 'drive-thru-rev-u'™ system | Low cost criticism outsourced | Cheap business criticism | Neologisms used for dramatic effect | Critique too cheap to meter | Full evaluation and assessment of your 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 quality metatheory | Hassle free single crit bill | Free research estimates for Scandinavian artists | Guraunteed English language compliant | Customised scribery | Worried about only being written about by curators? | Appreciation outsourcing | Imagine your practice vindicated with one hassle free application of radical veneer | Cheaper European crits | Cheaper international wordsmithery (cash only) | Low rate same-day analysis | Cheaper review bill | Trope rentals considered | Compare writing prices | Can supply and proof read if necessary | Reduce my catalogue text bill | Reliable cheaper diatribes | All call centres based at the end of telephone line | Flabby metaphors fully probed | Critique delivered to your door by email | Full obligation appraisal | All writing comes with three week guarantee within three weeks | No studio visits | Small jobs charged more | No turds polished | Careers at Kunstec ™
    2. 2. David Carrier's Artwriting , (1987) puts forward the proposition that art theory has been replaced by an emphasis on rhetoric. Was it rhetoric all along? What place does narrative play in persuading us?
    3. 3. “ Mise en scene means two things, one obvious - the directing process; the other mysterious - the result of that process...” Jean-Louis Comolli (1965)
    4. 4. Two broad approaches: <ul><li>Mimetic - To make a specific subject the motive for mise en scene. </li></ul><ul><li>Generic - To use mise en scene as the basis for further work: (i.e. to develop genres and narrators.) </li></ul>
    5. 5. “ The tendency to reject auteurism because it is 'hopelessly contradictory' loses sight of the extent to which subsequent authorship theories of the production of ideologies in films were at least inflected, if not initiated by these contradictions.” - John Caughie (1981)
    6. 6. Don't be afraid if things seem difficult in the beginning. That's only the initial impression. The important thing is not to retreat; you have to master yourself. Unlock that funky chaindance. Tension mars the prettiest face. Suit the action to the word. You know how hard it is for me to shake the disease that takes hold of my tongue. Korbut Ware-Gore, 1980.
    7. 9. FULLERTON, Michael Scottish painter of portraits, landscapes, and fancy pictures, one of the most individual geniuses in European art. Born in Glasgow, h e showed an aptitude for drawing early and first was encouraged by his mother, who was a woman of well-cultivated mind and excelled in flower-painting. He went into town to train, probably studying with a French engraver or scene-painter . He remained in Glasgow and, when t he DSS brought an annuity, started his career as a portrait-painter in the city’s Anderson area. His work at this time consisted mainly of heads and half-lengths ( Mrs Sassoon; Wayne Allard ), but he also produced some small works in red public hair which are the most lyrical of all conversation pieces. He used to spend a lot of time outdoors, smoking. He developed a free and elegant mode of painting seen at its most characteristic in full-length portraits ( Paddy Joe Hill; Roger Winsor ). In later life, he further developed the personal style, working with light and rapid brush-strokes and delicate and evanescent colors. He was an independent and original genius, able to assimilate to his own ends what he learnt from others. He had no drapery painter, and unlike most of his contemporaries he never employed assistants.
    8. 10. Michael Fullerton Bibliography: Bergerac, Jim. World of Fullerton: Paintings and Drawings , Paris: Chatte Riche, 1990. Painting of Europe, XXI Centuries: Encyclopaedic Dictionary , London: Kellogg, 1965. Barrell, John. The Dark Side of the Landscape: The Rural Poor in English Painting , New York: Cambridge University Press, 1980. Manwearing, Willoughby. Fullerton: View of Faslane (World of Art) Edinburgh: Radical Vans, 2001.
    9. 11. Craig Mulholland – Old Paint Barnyard Slut, October 2002 A Loner in Triplicate: Old Paint Sittin' on down, Old Paint is a little teacherish for his years, but he's solid without taking himself for his own statue. A Brooklyn guy with 6 pairs of eyes and a heart that won't lie, a little nasty beauty with a mounting, barking rhythm, he discovered himself in West Humanity in the country of Self. Gaunt, tall, GI-jacketed, Old Paint twanged out rich imagistic guitar in the New York coffee shops. He could afford to be hard and ironic, learned his wounds well, and some of the world's dishonesty, while in New Jersey stir for 6 years on an armed robbery count. Is subtle as well as lavish. Shy as a shadow also, with a fiendish jollity rising up within the prison walls of his hard-earned loneliness and individuality. You rarely see the cat's gleaming eyes behind his mother-loving sunglasses. Spooky-real Old Paint! Old Paint is the real thing. Once wanted to be a theoretical physicist but gave into the muse and began his very inside, real, stylish, lethal ultra, honest, terse, hurting in that way that counts. Jail in Frisco, fighting and dodging Arabs in Israel, getting pickled in Harlem. His pants are always three inches to short for his shoes - he's awkward blue, but, as he'd say, he's got a good sound. Proper isn't bright with the bitter glitter of missile-age precocity. Old Paint could be tender, nutty, lyrical, when the mood mooded him. Way down shack town, Old Paint 's stuff runs like drunken faucet. Urchin looking, street-bred, his playing gives his living-room style the lie. Full of unexpectedness and unclassifiableness, off beat imagination to burn. A glitter of contradictions, closetful of skills, a dead-end kid commonsense. He's honest about wanting the dollar and bitter in his appreciation of its Lordship. A flinty, sardonic wiseguy complete with brain. A nice guy with a touch of nasty.
    10. 13. Mise en scene can consist of the “creation of a precise complex of sets and characters, a network of relationships, an architecture of connections, an animated complex that seems suspended in space […] what is seen is less important than the way of seeing, or a certain way of needing to see or be seen.” Alexandre Astruc (1959) French auteurist film critic who coined the notion of the caméra-stylo or &quot;camera-pen“.
    11. 14. Two broad ways of working: <ul><li>Mimetic - To make a specific subject the motive for mise en scene. </li></ul><ul><li>Generic - To use mise en scene as the basis for further work: (i.e. to develop genres and narrators.) </li></ul>
    12. 15. Dear Paganini, I thank you for your letter but why should I? You didn’t thank me for mine . And please don’t call me ‘Steve’, it reminds me of the Bionic man, to whom I bear little resemblance. Robert Mackie, Words by Morrissey , October 22nd 1980.
    13. 16. It is Thursday and time for you to sign on, but first make sure you’re decent! Trevor Lever and Peter Jones, Hampstead , Melbourne House, 1984.
    14. 18. School of Pigeon English
    15. 23. Sick Happy Idle - House Hopping The Shaws
    16. 26. <ul><li>Tayto et Tayto facilitated shows: </li></ul><ul><li>Republic of Leather (Peoples’) – Generator, Dundee (2000) </li></ul><ul><li>Youg Young Dragons’ – Protoacademy, Edinburgh (2000) </li></ul><ul><li>Hampstead Achieved (2001) </li></ul><ul><li>Strategic Art Getts – Embassy, Edinburgh (2005) </li></ul><ul><li>It Takes a Nation of Liberals to Hold Us Under the Conditions of Late Capitalism – Hyperground, Edinburgh (2006) </li></ul><ul><li>It Takes a Nation of Liberals to Hold Us Under the Conditions of Late Capitalism – Flat 01, Glasgow (2007) </li></ul>
    17. 29. On and Onanism   Fields: Taytopography, Onanology. Aim: To investigate wanking as a contemporary form of Taytopoanalysis through the development and implementation of Taytology. Objectives:To define and critically appraise the field defined through the practice of wanking within contemporary Taytopoanalysis. To identify and critically appraise historical precedents for wanking as Taytopoanalysis. To investigate and critically appraise the work of contemporary Taytopoanalists by whom wanking is made an explicit practice within their Taytopoanalysis. To investigate whether the definition of such a field is coherent and meaningful to Taytopoanalists and wankers.To identify wanking outside of the frame, which contributes to wanking in the frame. To develop, implement and evaluate a Taytology through which new wanking is produced as part of the research process.Identify opportunities for further research Euros within the field. Assumptions:The project, therefore, is based on the following assumptions: That wanking is a technical definition; that is, it describes a generic technical process. That there is a field that can be defined technically and that Taytopoanalists within this field can be called Wanking Taytopoanalists; That wanking is, or has been, a method and a field of study in other academic disciplines, such as Anthropology and Sociology; That wanking takes its place in the canon of critical theory and has a particular status conferred upon it;
    18. 30. Vito Acconci wanking inside of the frame in 1972 in ways that contributed critically to ecologies of wanking outside the frame.
    19. 36. Peter Hill – Superfictions A Superfiction is a visual or conceptual artwork which uses fiction and appropriation to mirror organisations, business structures, and/or the lives of invented individuals. The term was coined by Glasgow-born artist Peter Hill in 1989.
    20. 55. <ul><li>Who expresses? </li></ul><ul><li>Raises issue of the narrator. </li></ul><ul><li>The narrator is a social actor . </li></ul><ul><li>This is true of the artist and the audience alike, both are playing roles. </li></ul><ul><li>We are all unreliable narrators (like the Wizard of Oz) since we are not omnipotent. </li></ul><ul><li>We are both restrained and enabled by our argot - it is our world. </li></ul>
    21. 56. Anyone can be Clifton if they wear the disguise, master aspects of the Clifton argot, if they learn the routine . Tony Clifton is therefore an example of a participatory media, a multiple narrator, a reproducible artiste social-actor.
    22. 57. Web 2.0 is another kind of participatory media that enables this kind of multiple authoring.
    23. 59. Cultural Logic of Ambient e.g. Viral This concerns how something is distributed.
    24. 60. <ul><li>Ohne Titel </li></ul><ul><li>This involves creating a mise-en-scene via a faux taxonomy (led by AASSLAW - Academy for the Advanced Study of Sticks Leaning Against Walls), an absurd systematisation of material culture. </li></ul><ul><li>A stick is very basic form of technology. </li></ul><ul><li>I’m establishing a mnemosyne, collecting images of sticks using viral media (Web 2.0 smart mobbing + word of mouth). </li></ul><ul><li>Participants blog images of sticks leaning against walls (none of which are made by me). </li></ul>
    25. 61. from Neoformalism to Adaptive
    26. 62. <ul><li>Argots </li></ul><ul><li>Timbre </li></ul><ul><li>Autogenerative </li></ul>