Follow me.....

Experiments in Flash....????

The Him, the Her, the You, the Me, the I, The She, The He

I started watching that art show on BBC last night called IMAGINE and it taught me that:

"Domestic sales of contemporary art are worth more than £500m annually, commanding more than half of all European art sales. And this year, for the first time ever, sales are expected to exceed those of Old Masters. We increasingly desire art that speaks of and for our times."

It got me thinking not only about worth, but the self and its worth. How we can express the self and how this changes its worth (metaphorically). It returned me to the question of worth within text...I seem to equate worth with the ideas of legitimacy and truth. If something is true it is worth more, if it is legitimate it means more and so on...but how does this fit with the materiality of literature...it again led me to the image and text debate and in particular handwriting versus produced text. Does the expression of the self have more worth if produced by the body? Does the self produced by a physical interaction with our materials equate to a more legitimate piece? And how can we express the self within the constraints and rules within language?

On a side note I really liked

Robert Gordon McHarg III's (his name is also amazing) work

HIM BOOK

The representation of many selves is worth exploring!

DISordering

The rainyness of London town made the impact of DISorder more real to me somehow today more than most days. Whilst looking out from the top deck of the 176 I became immersed in rainbows. The haze of the day, made trying to find clarity even harder than normal. I was thinking about my linking experiment where every possible word or sound or image has a link to another, becoming more and more claustrophobic as the piece continues. Moving further through space and into a thicker mesh of the web....here is the beginning (which will change) and MUST GROW!

DISordering

DreamWeaving

The dreamweaver project is becoming more complex by the day...after many ideas about the power of links and how this can affect our reading and our writing strategy...I have worked out what I want to explore. (?)

Is it possible to create a seemingly never ending structure where the reader becomes fully involved with the experience.?

Take something ordered and turn it to DISorder?

Move

away

from structure to chaos?

The concept is to create a procedural piece which in theory could keep expanding and moving away from the original text.



The structure comes in the form of the ALPHABET

dislocating this using an already established finished work

The finfished work comes in the form of Radioheads OK Computer

Rothko Response

The Rothko room became a place of sanctuary and stillness, yet the work produced in response to it was the opposite. It was busy and clustered and evoked a sense of magnification of what was going on in the room at that time. SPACE is an interesting commodity, here I explored Rothko's space. The page becomes similar to his canvasses, layered with many texts as his work is layered with paint. In performance this paint became sound and movement. Expressionism in writing.

The Rothko Room:

can concrete move???

click and visit the dreamlife of letters

The Pillow Book...

Thanks again to Ryan for organising our little outing to see this I was going to say lovely/interesting/though provoking/ dark/light/scary/sad/funny film but none of those words seemed right!....It did make me think;

THE BOOK OF YOUTH

"If God approved of his creature's creation,
He breathed the painted clay-model into life by signing His name
Where is a book before it is born?

Does a book grow like a tree?
Who are a book's parents?
Does a book need two parents - a mother and a father?

Can a book be born inside another book?
And where is the parent book of books?
How old does a book have to be before it can give birth to another?

Do young books cry and scream if they are not read or fed ?

Do they pass words with incontinent abandon?

Do they force every random found sentence into their mouths?
This book is past the first flush of youth. It is a book that is in puberty.
It is hesitating, and from the vantage point of the mature reader, it is both a sad and amusing reminder of the part which is not always attractive enough to be revisited.
The cover is becoming crisp like the hardening of wood on a young tree.
Its pages are pliable and taste a little of salt."

I don't think, well I know that no book I ever make will taste of salt...but some of these are questions which made me think about my own book and modes of production. The energy used to create a book can be a great deal and destroying a book can similarly mean a great deal. (The image of Hedda Gabler burning the manuscript comes to mind here)...Is there ritual involved in the creation of the book? Does a book need a parent? Does the book need an author? Does the author come in the binding or the content?...OK too many questions!!!!agh!!!!

LuNaTiC sOuP...

Rupture is wRitten

When thinking about the digital world. I want to speak in small words I dnt knw why? Mybe its not a gd idea? Mybe I shld go…..and think about whether we are part of a .com generation.


Questions of space and time and how we fit in the virtual world all stream 2wards me. But is the body lost in this new media? Is it the triumph of the machine over the body?…Does it expose the fallibility of the human?...The work of Lyn Hejinian struck me as similar….the rupture of language….can we manufacture projected bodies? Barthes in From Work to Text writes that

“the text is experienced only in an activity of production”

PRODUCE!

Ps:
http://epc.buffalo.edu/authors/hejinian/
http://writing.upenn.edu/pennsound/x/Hejinian.html

organise me

So the blog is supposed to help me organise my thoughts, but it is proving more difficult than first imagined…maybe this is because I find it hard to organise in the first place…its all ordered chaos. I’m A usual scribbler in notepads, books, or anything I can get my hands on at the time; my hand, my arm, I think my clothes are at risk; so the idea of a non improvised thought is something which sometimes I don’t understand. Also I think most of my favourite thoughts or ideas come to me in places of movement, like on a bus, or train or tube or actually come to think of it usually places where I don’t have access to the interface…So I’ve been pondering how I can solve this, but haven’t yet, I think writing this is step one….step two well probably my next post….step three….well that seems too organised for me…..so I’m going to try…..maybe some spontaneous typing will help me form a bond with my interface…(.do you need to be in a room to be there or is it the foals in the field in the garden that seem to be where you are there is this thing called a private fuel whivch seem to become a chat of field and storms a balloon faces the east which glides to the day and then the man speaks of devaststion and asks if the day is the regret classic past masterpiece 30 minutes long jump the waves the rush hour avec la la lalaaaaaaaaaaa there is a thing called a thurrsday margins stop me from)….which I might name…..or start taking on routes so it feels less isolated!...maybe it needs to be hugged….or dressed up….or well I’m not sure what!...maybe I need to take it out for a drink, but then it is usually a friend of wine and candles and fairy lights but maybe it longs to dance and spin…can I take my interface to the dance floor?...maybe!!!