Buchanan notes group two

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This takes the form of a series of index cards and notes on notes which refer to the more dense (and as provided by numerous participants, repetitive) note at

http://pzwart3.wdka.hro.nl/fa-wiki/Ruth_notes rather than an attempt to process the days progress in its entirety.

it isn' necessaryily clear where the references are within the body of the text, but they operate more or less chronologically down the length of the notes (section by section)


this is broken into index card box sections as follows

performance

space/installation

writing

speech

role of the artist/institution

protagonists

objects

references



performance


1. sig. para 2 - performative hierarchy - guiding viewers to seats. and performance of 'the artist' as self representing on TV.

2. sig - co-opting the viewers body as a performance site.

3. sig - cornelia parker, jettisoning words from a cliff.

4. sol - 'no solitary beat' - posits the viewer as performative element, by emphasising other bodies forcing the knowledge of your own. the circuit of viewing destabilises itself.

5. sol -guiding viewers. dispersing them. performing the relationship of viewer to artist/guide/insitution - self characterising as the butler

6. sol - sitting in the audience, speaking the text over wireless headphones

7. sol - the relationship is particular - performative motions in the text. actions of use. the pulling, repeating elements of speech.

8. sol - after poem. emily dickenson and acusmatic voice - allowing the writing to become performative

that things can perform in space. that the curtain can become a character. and in the text that a performed relation between curtain and archive can be established.

9 - susanna - the viewer viewing the body viewing

10 - susanna the situation of doubling, where te viewer is the performer and the subject.

11- susanna- coming to performance not because of an interest in the live but from an interet in language

12 - susanna - the generosity of this becoming aggressive (i.e. the many hours some of these language performances take to complete.


space/installation [Sig]

Installation

Environmental factor on cognitive thought Installations to reflect the artists brain.

Spatial to produce implication double the presence of the language – reading/oral/spatial Positions in hierarchy are not fixed Multiple points of entry Comes from exterior point The style looks slick and constrained. striped panel makes people walking past ‘jutter’ while other people watch (art about art) Matin Boyce aesthetic (the audience there were kind of weird)(in another instance/place this might have been less clumsy)(heightened the awkwardness)(its started)(this is off the script)

no solitary beat - departs from a text/script about someone viewing someone viewing. installed 3 times. spatial constellations which split/double the body. and vassilates the viewer between being the performer and the viewer as you encounter it and yourself as a listening viewing body. as the text details this. implicates you as the viewer as a productive or performative element. - english voice with german translation projected. doubling the language as a reading or aural moment and the contingent diffusions of meaning form translation, presumable. the script is not meant as an illustration but that the acting of viewing it and the audio script perform a circuit and fold back into each other. audio on headphones. various points of interruption to increase the sensation of your own bodily presence, that the audience views the other audience membrane you are multiplied as roles in performer viewer position hierarchy constantly shifts. multiple points of entry is a mechanism for "short circuiting" standard viewing strategies and playing out the constraints of theatre and viewing spaces and how they can be manipulated as less of an artist performed things. SR what is gained by removing yourself as the artist from the scenario

she sat live in the audience and spoke to them over a closed circuit wireless headphone. mediating her voice from within the body of the public the script was in a way a narration of the monitor content and the experience/rotation within the space. first time using the logic of this multiple viewing points, multiple entries, her position as within the audience changes, the relationship is less charged more complex as a performer. seated everyone individually to disperse them. she took them personally to a seat. clumsy somehow, in a way which would have suited another audience somehow. it may not have been as clumsy with an audience more willing to be taken and controlled, and less confused. also introduced the technology - put it on channel 1, here is how to turn the volume up. wealthy aged audience from geneva.


WRITING

A way of writing which is a way of spacing. Compiling a text to negotiate a work, as a way to sort through a work in progress. Different tones of writing. Qualities to produce different effects. Numeric structure. Again repetitive structure. This maybe particularly suits the spoken form. Starting from scratch with writing is a terrifying point. But finding some point, some line, or a paragraph is great point of departure. And then EDITING. So there it originates the repetition. Writing as a way of literally being there. Writing then becoming performative. It solicits an affect, and exercises a change. Writing as an exercise in naming something and relating or positioning against it.. taking a position before acting. The material can tell you more than you know. Not writing descriptive things about work…the writing is the work, but it is a work that is working out while it’s made.



Speech

1 sig - the intimacy of the voice through the headphones. conspirational.

2. insist on a movement - quotes from her spoken text - character of a text as spoken object - repetition, etc.

3- sol - no solitary beat - script received through spoken voice via headphones.

4. sol - conversational transcript. siting language within the body (as speech?)

5. sol -speech as tonal character, rather than signifier of meaning - TV interview turned so low that words are turned to a vocal rumble. textural qualities of the voice.


6. sol - sting in the audience, speaking the text over wireless headphones

7. sol -repeating éléments of text to anchor the speech.

8 - sol- brief Q&A conversational interlude.

9- sol- text 2 - spoken. repetitive form provided visible (audible structure in the text and spatialises it.

10 -1sol -use of textural sibilance - a hush, hush hushing, a brush, brush brushing, to capture the motions and characteristics of the curtain, and its function in soak as an editing/performative device. that this is both precise and provisional need not be underscored. this is both precise and provisional. ambiguous possibilities of spoken word over text for re-reading/fracturing sense in intention, this is and this not allowed by the linear duration.

11 - sol - ursula bell poetry.


12- sol - after poem - acusmatic voice, emily dickenson - wisp

13- sol -wisp the work being in the noise. the meaning being conveyed in the texture of the voice.

14 - alex - the resonance of the voice as a translation device for the encounter with space - the room



role of the artist/institution

When ruth initiates projects they work better (sometimes you can trick people into letting you do stuff – playing with their generousity ) though the work itself doesn’t look or seem outwardly critical. is it too dry to obviously provoke? When the curtain was ‘co-opted’ and potentially going to be shown by the museum, Ruth seemed to feel this was somehow stealing her idea/work. What was the motivation of her work then? The institution absorbing the criticism and co-opting it. Repressing individual resistance by agreeing with it, making it fashion/marketing it. Swallowed by their marketing department In order for it to maintain its integrity it needs to be in a different place of abstraction. She feels piece that criticizes the museum should be shown elsewhere.

As artists she is attempting to take the roll of the butler, disappearing into the object or the performance. There was still something important for her to be repeating the image of the artist walking through the space with another person rather than an invigilator leading them.


ALICE use of institutional space - is this because these are the spaces that invite you? RB no this has come from my approaching a space. my own initiative. so she has a particular freedom when investigating the historicity of the space. constraints or particularities of how these spaces operate and organise - how they mediate their operation. (or how to mediate this in fact ) she likes having something to move against, to push at. something agonistic. an almost physical engagement with the institutional structure. they are such specifically scripted spaces. something exciting to shift or disturb or interfere. not sabotage or secrecy, but a tilt or a shift. thinking of these institutional structures as a formal material. the level of investment is greater when she initiates the project. it comes from an awareness of a weirdness. more investment in the constraints. 
how to establish relationships yourself and the fall out if you accidentally set something in motion. and the ease with which things can be co-opted.

protagonists

A double vision of the Protagonist

A split position of hierarchy

The split person standing on a rug

that turned into a drawing of a floor plan

Arts and Crafts

The viewer is the curtain or the carpet

Protagonism of children viewers

who are to young to be embarrassed

They move and touch curtains

and when they stand still

they are Archives

Absence and Presence'''



OBJECTS

Following the life of an object.

Floor plan

"Conditions Drawing 2012" originally made as the cover of the second edition of To the Lighthouse, for Showroom using Virginia Wolf as a key protagonist in the text. FORM of the rug/drawing as a means of thinking about spatial organisation in another form. How does this work in a gallery space? How does it work through time? Rug = time heavy production method. Rationalise these problems. THINGS Demands of another form. How they alter and become reconstituted in meaning. FLOOR PLAN and its relation to the text. TEXTURE- a touch, a moment, a presence. The floor plan that she has knitted encounters the table farthest towards the door in the small project room. It encounters the space that exists to the left of the doorway. To the left of the entrance of the small project room. We, the audience, encounter the floor plan. The floor plan creates a movement around the tables that we sit at.

Photo

Unfolding a photo of a space encountered in the space CIRCUIT. Creates a LOOP LOGIC of a circuit.


A photograph of the space encountered in the actual space. [repeat] .

A photograph of the space encountered in the actual space.


Ruth presents a photograph of the space of a room that doesn’t exist anymore. An archive of a gallery space c. 1958. A gallery that once existed in ’58. Two turned away figures facing each other, photo of woman and bust at Auckland museum. Seeing the photograph of the space, as it no longer exists. Greeting an entry, a frame. Sense of vantage point, and sightlines through time. Viewed from a distance up close the photograph produces a circuit. Gaps, and the material of the space and the possible, lost archived space. Yet Ruth is still in the space where the room should exist. The space now exists in the small project room as we pass the photograph around the table. Existence and non-existence, and yet still somehow we're in both.

Book

Lying Freely. Direction of movement through various artist works and spaces. A Room of One’s Own. Hide behind the text & paper before you really know the text or the artist.



references/quotes

art on TV.

emily dickenson and acusmatic voice

alain resnais, marienbad, toute la mammaire du monde

ursula bell

cornelia parker words which defy gravity

the aloe katherine mansfield - publishd page by page with manuscript and edited form.

susan howe - my emily dickenson. writing into dickeson.