|
UN-UNDO
turn on the sea.
turn on the lights . .
(intermittence) . . .
Here, at the almost-beginning, I am blind to a future undiscovered art. The question initiates images that make the spaces of technophilia (dystopic/utopic). In this ambit, art is simply more of what it is now – to the nth degree. This is a dumb terminal, which is in need of a host to process anything at all. In-terminably now – something will have to be invented, made up as one goes. You can do this too. Make it up. Why stick with same old thing, when we can make something crazy. Try it in your living room.
UN-UNCOVER
dis(un)covered - existence awaiting exposure, baring, a-waiting – in hope that one may stumble upon, come across as in reve(a)lation, un(do dis)covered – to un undo the covering. To undo the undo of dis that is covering – will be an action that is difficult to de – scribe. One would have to act it – or further – become the action. The covering is done (past), virtually. Something comes forward to bother me back. The undo of the covering is virtually actual. It is the potentiality of the past made future-present in affluent places, (once called The West, now called Global as if the poor are of other worlds), one is with amongst technology. People use video, post-product, and promoting with their own networks. The need for an agent, a mentor, one who helps you has, if not gone, at least dissipated. Each to their own agency. Authority wears a new mantle. Or at least the garment is structured differently. I want to think that visual arts, poetics and philosophy have moved closer together – that nothing is taken for granted – nothing is given as already is. Yet language – writing – is still(ed) made implementary. Implement apparatus appliance gadget furniture wares impedimenta adjunct – as if the real thing is happening elsewhere – yet this is the real thing – this relationship you/I the reader, I/you the writer, have with this text now at this moment and maybe later too. Furniture – as if writing/language is something one ar(t)ranges one's unassailable body on/in: one rests one's body or has one's body supported by, (one + body = mind + container.) Support of/for the body. Body at rest. Body: defined as what is, in the end, burnable. Ash remains, building ash. Ash composed of many types of matter. (Many of the dead remain undressed, unwashed, unacknowledged.) Is body defined only as identity? 'alive you were this body dressed and undressed, / this body that contained your thought (or soul) / this body that also bore this, your, name / identity does not last in the world except by this analogy' (Jacques Roubaud). What if the distinction between body and furniture, (furniturebody), remains undefinable – what is first at play, be-fore and at the points (of inflection) is multiplicity.
UN-FREQUENT(ED)
Someone sends email to a list frequented by artists in response to a posting about arts writing. The response was a plea of sorts – for arts writing that makes its work other than the distribution of judgement – critical as risk rather than knowing, a writing that takes itself as object, as matter, to be structured, unstruc(k)tured – folded, unfolded, refolded – whichever image for whatever movement-moment. This writing moves(d) from and by a work of art, and makes something new from that departure point. 'This isn't a poetry list', was the first reply. And I wonder, if what seems so obviously fluid to one seems so already formed to another, is there any point at all in attempting to de-scribe this way of thinking-making art writing. Probably not. Best still to write "the duration of 'the impermanence of everything actual' ". (Nietzsche, cited by Lyn Hejinian in The Language of Inquiry)
Beyond judgement lies what? Perhaps stuttering. Lyotard makes a case for stuttering (foreword in Andrew Benjamin's Lyotard Reader), as does Deleuze (He Stuttered) and many others too no doubt. To stutter is to open something – to fall over is a generous act – it allows the viewer reader to be writer maker.
START HERE. [This could be an interlude – a story – my friend LMW would say 'make a score for instance'] Score scratch archive keep count total cut notch slash groove mark
scratches are heard from the darkened room. A small chime – something gathers …
PREDICTIONS:
Fore-casting trends (fishing or knitting) – a certain sort of prophecy. If you write it – it will happen. It can be before or after the fact.
This is chia-ku-wen, which means bone-and-shell script on a tortoise carapace, c. 1300-1100 BC. A tool for divination; questions were scratched into the surface of fresh bones and thrown into a fire. Cracks would appear, the diviner or shaman answered questions based on the interpretation of these cracks. The question might be whether next year's harvest would be good or if a neighbor shared feelings of love. What carapace do we score our questions into? What fires do we throw them upon? Where do the cracks convergence? Who reads/writes the cracks? What questions might they suggest ...
Subject to no rule. Mixing mediums and affects and genres. A work may resonate and produce an affinity – through both pleasure and pain. Singular works. Monad works. Predictions (things) are not future undiscovered art. They are really very old stories. The thing about future undiscovered art is that it remains to be invented. It cannot be known before it is made. So then, to imagine from the place of un-known, the un-thought – not to think it and therefore arrest/know it – rather to make something.
Teri Hoskin
|
|
|