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This is the space I'm suggesting the current MA group use to have a series of online discussions over the Easter break. If you follow one of the discussions at the bottom of the page you can see the structure of the conversations - just reply > you can enter a discussion at at any point > It may also be interesting to view last years conversations which might illustrate some of the concerns of the previous group.
Rather than set a time the discussion could be ongoing from the 8th onwards -
or / we can meet at 10am / continue the course meet time >
Some explanations - On obsolescence - Liz - if these hastily scribbled notes on obsolescence sounded if they are indicative of a drugged state - or some surrealist delirium - possibly it is because they were meant to! that is, to trigger a sense of urgency out of expectation/convention/ conservativism [ written as requested yesterday on the understanding that they are only meant to signal something of the terrain between what is already redundant in multi-media, installation, grafitti, the 'street' etc,
these are merely immediate responses outside the convention of what is usually deemed 'obsolete' ie.e. of no more or further social use or technical function [ see definitions wikipedia]- here specifically addressed to an artistic 'usefulness' always 'protected', not 'prevented', as a 'proposal' in avant-gardist rhetoric - something like The Useless is dead! long live the Useless! heralded in manifestos from the period, where it is also to be taken into account that the avant-garde is itself now also 'obsolete' as an opposition to mainstream, or consumer culture...hence my referring to institutional critique, also having moved on... I take it then that the inference of a protection of your convergent thinking or 'conventional' understanding of what art is [ ie. expression, in saying [ are you on drugs?]' prohibits taking these ideas seriously in regard to the meanings generated by the paradox 'new / obsolete', in the title [ but the paradox does have serious precedents in philosophy and aesthetic, psychanalytic/social theory where there's a condition, or symptom at work] concerning the obsolescence of the image and the object in any assumption of providing stable relationships to and in the world, or 'markers' of authenticity, or as 'standing in' for reality, and to the production and reproduction of 'things' that both objects and images conjoin as 'cultural' phenomena generally. The affix of 'new' makes an ironic qualification, I felt that titles should anticipate a multiplicity of responses, an awareness that the new is arguably always already obsolete. This awareness impacts on the position that young artists and designers might wish to project as 'how the market mechanisms might determine the reception of ideas and how an intervention in that process of obsolescence might be critically distanced. I would suggest that if you were interested to, refer to Kant's theory of teh sublime, to 'disinterest' in the sphere of aesthetics, to ideas also of time and value, how temporality 'affects' or effects value and perception and cognition, and how Duchamp [ now obsolete!] had understood that a visual indifference or 'uselessness' might configure as art, in the early assembly of ideas that precipitated into avant-grade principles [ what differentiates the useless or obsolete] - these are some references, such as in cultural antropology [Levi-Strauss, Durkheim] to Homi Bhaba's wriitng on the time-lag. Most recently in teh writings of Badiou on temporalisation [ a critique of empiricism/ romanticism ] and how art practices are saturated in 'obsolescence' - the avant-garde's suture of didacticism and romanticism...
hello all, London Show catalogue: Think this should be a piece of work in its own right that combines critical writting and artwork (made specifically for the book). I think we should contribute the content (whether it is a critical text by you or someone else (ie writer) or 'artwork') but the design and formating of that content should be done by one or two people (acting as curater/designers) . Im assuming Mark would be really keen on taking on this role supported by anyone who is keen to get involved (BUT I think we need to avoid 100s of cooks and trust those interested in this area to work their magic) Rupert
I think this is a good idea - format should be decided so that we all know basically what we are contributing, the idea of critical text and artwork sounds good, should we allot spaces (ie one or two pages) and also decide on size of catalogue so everyone can know how much to write....also how big the artwork image would be...
I have been asked at very short notice to participate in the Merz research exhibition / conference/ performance at Royal College. They have indicated that we could set up a live connection on wednesday to add to discussions on new configurations of merz - as a structure and as a migratory artwork, at same level as the refuggee and the terrorist...
way outside the avant garde of Schwitters. This is exciting but we dont have much time to get it going. If we give them instructions how to join www.collaborationtransmission. maybe we can give them a name and they can set up.
or we can do a webcam on skype?
I have ameeting at 11.00am to discuss future and will meet after to set up something with Royal College
I suggest we work toward the afternoon session with pre contact with royal college and make sure we both get it going - also some research on merz would be useful - the language barrier is less distinct than the experiment with ecole des beaux arts so it should work but rca might have the same restrictive access on transmission - i will find this out - also we should contact guillaume's group and also mark whiteman's
