http://pzwiki.wdka.nl/mw-fineart/index.php?title=Dan_method_draft&feed=atom&action=historyDan method draft - Revision history2024-03-29T06:20:57ZRevision history for this page on the wikiMediaWiki 1.38.2http://pzwiki.wdka.nl/mw-fineart/index.php?title=Dan_method_draft&diff=14305&oldid=prevDanieltuomey at 14:52, 15 April 20162016-04-15T14:52:15Z<p></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>I held a group critique around this installation and found it interesting that while some of the criticisms of the video echoed those from the previous performance (in Boyer's terms, that the struggle remained theatrical and ultimately continued to fix power) there was a more nuanced discussion about the mechanics and dynamics of this. For one thing people seemed to be able to take more pleasure in it. Despite this Mike remarked that "when this is over all we are left with are the subjects it raised". I'm not sure it's in art's power to do more than this, but maybe the goal is for the subjects you raise to do something different than the subjects you started with.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>I held a group critique around this installation and found it interesting that while some of the criticisms of the video echoed those from the previous performance (in Boyer's terms, that the struggle remained theatrical and ultimately continued to fix power) there was a more nuanced discussion about the mechanics and dynamics of this. For one thing people seemed to be able to take more pleasure in it. Despite this Mike remarked that "when this is over all we are left with are the subjects it raised". I'm not sure it's in art's power to do more than this, but maybe the goal is for the subjects you raise to do something different than the subjects you started with<ins style="font-weight: bold; text-decoration: none;">. The subjective voice that guides this video ends up in the same place it started, playfully deferring narrative responsibility to its father. I spoke to Tracy afterwards about my enduring interest in artists who use characters with their own names and attributes to do strange and dark and sometimes shocking things. She pointed out that by making the character's resemblance to me go beyond the name, by using my own image and actual details from my real life family, and then sending the character out on these dark limbs I was "putting my finger in the hot socket"</ins>.</div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The final shot of the video is a freeze frame of the last image, the 'completed tee shirt design'. It shows the narratives three main characters: Eileen Gray (her clothes replaced with one of her prototype chairs), Le Corbusier and my father (both wearing the same glasses and rendered in a style reminiscent of Le Corbusier's 'purism'). Perforating the image are the letters of the phrase 'E-1027 IS OURS'. In the discussion there was some laughter about how the two men had taxidermied Gray and claimed her legacy, which was relevant and prescient, but I had hoped that the phrase lingering after the story had been told might open a question about who can lay claim to this legacy. Gray's Irishness, her sidelining as a woman architect in the masculine modernist trajectory, and the rather perfect idiosyncratic livability of E-1027 were all referenced in the video and I wanted to make a genuine proposal about taking up this imperfect situation and moving forward with it. Hosting the event in my home was intended to be a gesture towards the germ of generosity and inclusivity that E-1027 still holds despite its history of being vandalised and appropriated. This history can't be erased, but with Gray's legacy increasingly getting the justice it deserves I don't think that the house's importance is diminished by accommodating the tattered history of its recognition. A house's own history is always its principal occupant.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The final shot of the video is a freeze frame of the last image, the 'completed tee shirt design'. It shows the narratives three main characters: Eileen Gray (her clothes replaced with one of her prototype chairs), Le Corbusier and my father (both wearing the same glasses and rendered in a style reminiscent of Le Corbusier's 'purism'). Perforating the image are the letters of the phrase 'E-1027 IS OURS'. In the discussion there was some laughter about how the two men had taxidermied Gray and claimed her legacy, which was relevant and prescient, but I had hoped that the phrase lingering after the story had been told might open a question about who can lay claim to this legacy. Gray's Irishness, her sidelining as a woman architect in the masculine modernist trajectory, and the rather perfect idiosyncratic livability of E-1027 were all referenced in the video and I wanted to make a genuine proposal about taking up this imperfect situation and moving forward with it. Hosting the event in my home was intended to be a gesture towards the germ of generosity and inclusivity that E-1027 still holds despite its history of being vandalised and appropriated. This history can't be erased, but with Gray's legacy increasingly getting the justice it deserves I don't think that the house's importance is diminished by accommodating the tattered history of its recognition. A house's own history is always its principal occupant.</div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>The ability of the video to open out towards this more generous, and from my perspective more sincere, territory seemed to be undermined by certain elements of the subjective position I had given the narrator in relation to the story. To the question "'''''How'' is the black clad man not exactly me?'''" the obvious answer is that until now this distinction, which I always took for granted, has not been made adequately clear in the work. Assuming I find the technical and aesthetic means to make <del style="font-weight: bold; text-decoration: none;">this </del>distinction <del style="font-weight: bold; text-decoration: none;">clear </del>the thornier question becomes what exactly to do with it. What use is a terrible sculpture of oneself?</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>The ability of the video to open out towards this more generous, and from my perspective more sincere, territory seemed to be undermined by certain elements of the subjective position I had given the narrator in relation to the story<ins style="font-weight: bold; text-decoration: none;">. In some ways this figure of the black clad man is becoming a fucking cage</ins>. To the question "'''''How'' is the black clad man not exactly me?'''" the obvious answer is that until now this distinction, which I always took for granted, has not been made adequately clear in the work<ins style="font-weight: bold; text-decoration: none;">. I risk living inside a very boring hall of mirrors</ins>. Assuming I find the technical and aesthetic means to make <ins style="font-weight: bold; text-decoration: none;">the </ins>distinction <ins style="font-weight: bold; text-decoration: none;">clearer </ins>the thornier question becomes what exactly to do with it. What use is a terrible sculpture of oneself?</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''Autobiographical interlude'''</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''Autobiographical interlude'''</div></td></tr>
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<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>My maternal grandfather was a professor of chemical engineering who was of sufficient importance to the University that some time after he died <del style="font-weight: bold; text-decoration: none;">the </del>faculty commissioned a bronze bust of him for the foyer. The artist they chose was an idiot. He made very boring colour field paintings and quite amateurish bronze busts and <del style="font-weight: bold; text-decoration: none;">seemed to regard them </del>as two wholly separate practices. I never worked out which he thought he was moonlighting as. Since I was the subject's arty teenage grandson he expected me to be in awe of him and imposed himself on me quite a lot at the events surrounding the bust's unveiling and launch. I found him unpleasant on a personal level and I was angry at him because he had just made a terrible sculpture of my grandfather.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>My maternal grandfather was a professor of chemical engineering who was of sufficient importance to the University that some time after he died <ins style="font-weight: bold; text-decoration: none;">his </ins>faculty commissioned a bronze bust of him for the foyer. The artist they chose was an idiot. He made very boring colour field paintings and quite amateurish bronze busts and <ins style="font-weight: bold; text-decoration: none;">regarded these </ins>as two wholly separate practices. I never worked out which he thought he was moonlighting as. Since I was the subject's arty teenage grandson he expected me to be in awe of him and imposed himself on me quite a lot at the events surrounding the bust's unveiling and launch. I found him unpleasant on a personal level and I was angry at him because he had just made a terrible sculpture of my grandfather.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In the minutes after it was unveiled my disconsolate aunts and uncles walked around it trying to convince themselves that from extremely specific angles this lump of metal bore some resemblance to the head of their dead father. It was a really, really sad scene. I have an unlikely seeming memory of the panel of reference photographs they had provided for him being to hand during this process, and of their slowly dawning realisation that he had achieved certain planar likenesses but the 3-dimensional shape they had clustered around to form was ugly and grotesquely unrecognisable.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In the minutes after it was unveiled my disconsolate aunts and uncles walked around it trying to convince themselves that from extremely specific angles this lump of metal bore some resemblance to the head of their dead father. It was a really, really sad scene. I have an unlikely seeming memory of the panel of reference photographs they had provided for him being to hand during this process, and of their slowly dawning realisation that he had achieved certain planar likenesses but the 3-dimensional shape they had clustered around to form was ugly and grotesquely unrecognisable.</div></td></tr>
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<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Trusting my intuition that it could, I can begin to propose avenues of exploration<del style="font-weight: bold; text-decoration: none;">, some </del>of <del style="font-weight: bold; text-decoration: none;">which </del>I have already started to work towards:</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Trusting my intuition that it could<ins style="font-weight: bold; text-decoration: none;">, but understanding the need to get my finger away from the hot socket</ins>, I can begin to propose avenues of exploration<ins style="font-weight: bold; text-decoration: none;">. Some </ins>of <ins style="font-weight: bold; text-decoration: none;">these </ins>I have already started to work towards:</div></td></tr>
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<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>1. I’ve done some text-based experiments with lying as a practice, drawing on a long pub-based history of lying as a habit. These experiments have loosely followed the constraint of embedding one invented detail into a fabric of honest narration. The sub-constraint has been that this detail should be obviously false, although it needn’t be totally fantastical.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>1<ins style="font-weight: bold; text-decoration: none;">. Lying</ins>. I’ve done some text-based experiments with lying as a practice, drawing on a long pub-based history of lying as a habit. These experiments have loosely followed the constraint of embedding one invented detail into a fabric of honest narration. The sub-constraint has been that this detail should be obviously false, although it needn’t be totally fantastical. <ins style="font-weight: bold; text-decoration: none;">(illustrate with examples: Kron, mountain, reanimated Mark)</ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div> </div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">2. Making the sculpture worse. I made a drawing before Christmas of Malevich's black square with hands and feet and a head sticking out of it. I think this is quite good. Since the general trend in making the images has been to treat the clothes as a separate entity to the body parts that emerge from them there are possibilities inherent in further abstracting this. Letting the elements drift and diffract and see where it leaves me. (illustrate with examples: Nicholas on the wall, The Incredibly Fine Grey Dust, three armed figure + arachnid figures from notebook, plasticine rearrangement)</ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div> </div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">3. Diversifying. I don't want to allow the black clad man locked in an Oedipal struggle over the inheritance of modernism to become a permanent cage. Invent characters. There are other clothes and other figures who can be brought into play. Variations on the actors who can conflict with variations on the stage. (again, illustrate with examples: The Servant, The Incredibly Fine Grey Dust, Society of Knights and ..., surely there are others?)</ins></div></td></tr>
</table>Danieltuomeyhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Dan_method_draft&diff=14301&oldid=prevDanieltuomey at 11:18, 15 April 20162016-04-15T11:18:17Z<p></p>
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<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>To the question "'''''How'' is the black clad man not exactly me?'''" the obvious answer is that until now this distinction, which I always took for granted, has not been made adequately clear in the work. Assuming I find the technical and aesthetic means to make this distinction clear the thornier question becomes what exactly to do with it. What use is a terrible sculpture of oneself?</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">The ability of the video to open out towards this more generous, and from my perspective more sincere, territory seemed to be undermined by certain elements of the subjective position I had given the narrator in relation to the story. </ins>To the question "'''''How'' is the black clad man not exactly me?'''" the obvious answer is that until now this distinction, which I always took for granted, has not been made adequately clear in the work. Assuming I find the technical and aesthetic means to make this distinction clear the thornier question becomes what exactly to do with it. What use is a terrible sculpture of oneself?</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''Autobiographical interlude'''</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''Autobiographical interlude'''</div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>My maternal grandfather was a professor of chemical engineering who was of sufficient importance to the University that some time after he died the faculty commissioned a bronze bust of him for the foyer. The artist they chose was an idiot. He made very boring colour field paintings and quite amateurish bronze busts and seemed to regard them as two wholly separate practices. I never worked out which he was moonlighting as. Since I was the subject's arty teenage grandson he expected me to be in awe of him and imposed himself on me quite a lot at the events surrounding the bust's unveiling and launch. I found him unpleasant on a personal level and I was angry at him because he had just made a terrible sculpture of my grandfather.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div> </div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>My maternal grandfather was a professor of chemical engineering who was of sufficient importance to the University that some time after he died the faculty commissioned a bronze bust of him for the foyer. The artist they chose was an idiot. He made very boring colour field paintings and quite amateurish bronze busts and seemed to regard them as two wholly separate practices. I never worked out which <ins style="font-weight: bold; text-decoration: none;">he thought </ins>he was moonlighting as. Since I was the subject's arty teenage grandson he expected me to be in awe of him and imposed himself on me quite a lot at the events surrounding the bust's unveiling and launch. I found him unpleasant on a personal level and I was angry at him because he had just made a terrible sculpture of my grandfather.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In the minutes after it was unveiled my disconsolate aunts and uncles walked around it trying to convince themselves that from extremely specific angles this lump of metal bore some resemblance to the head of their dead father. It was a really, really sad scene. I have an unlikely seeming memory of the panel of reference photographs they had provided for him being to hand during this process, and of their slowly dawning realisation that he had achieved certain planar likenesses but the 3-dimensional shape they had clustered around to form was ugly and grotesquely unrecognisable.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In the minutes after it was unveiled my disconsolate aunts and uncles walked around it trying to convince themselves that from extremely specific angles this lump of metal bore some resemblance to the head of their dead father. It was a really, really sad scene. I have an unlikely seeming memory of the panel of reference photographs they had provided for him being to hand during this process, and of their slowly dawning realisation that he had achieved certain planar likenesses but the 3-dimensional shape they had clustered around to form was ugly and grotesquely unrecognisable.</div></td></tr>
</table>Danieltuomeyhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Dan_method_draft&diff=14300&oldid=prevDanieltuomey at 11:13, 15 April 20162016-04-15T11:13:38Z<p></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The final shot of the video is a freeze frame of the last image, the 'completed tee shirt design'. It shows the narratives three main characters: Eileen Gray (her clothes replaced with one of her prototype chairs), Le Corbusier and my father (both wearing the same glasses and rendered in a style reminiscent of Le Corbusier's 'purism'). Perforating the image are the letters of the phrase 'E-1027 IS OURS'. In the discussion there was some laughter about how the two men had taxidermied Gray and claimed her legacy, which was relevant and prescient, but I had hoped that the phrase lingering after the story had been told might open a question about who can lay claim to this legacy. Gray's Irishness, her sidelining as a woman architect in the masculine modernist trajectory, and the rather perfect idiosyncratic livability of E-1027 were all referenced in the video and I wanted to make a genuine proposal about taking up this imperfect situation and moving forward with it. Hosting the event in my home was intended to be a gesture towards the germ of generosity and inclusivity that E-1027 still holds despite its history of being vandalised and appropriated. This history can't be erased, but with Gray's legacy increasingly getting the justice it deserves I don't think that the house's importance is diminished by accommodating the tattered history of its recognition. A house's own history is always its principal occupant.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The final shot of the video is a freeze frame of the last image, the 'completed tee shirt design'. It shows the narratives three main characters: Eileen Gray (her clothes replaced with one of her prototype chairs), Le Corbusier and my father (both wearing the same glasses and rendered in a style reminiscent of Le Corbusier's 'purism'). Perforating the image are the letters of the phrase 'E-1027 IS OURS'. In the discussion there was some laughter about how the two men had taxidermied Gray and claimed her legacy, which was relevant and prescient, but I had hoped that the phrase lingering after the story had been told might open a question about who can lay claim to this legacy. Gray's Irishness, her sidelining as a woman architect in the masculine modernist trajectory, and the rather perfect idiosyncratic livability of E-1027 were all referenced in the video and I wanted to make a genuine proposal about taking up this imperfect situation and moving forward with it. Hosting the event in my home was intended to be a gesture towards the germ of generosity and inclusivity that E-1027 still holds despite its history of being vandalised and appropriated. This history can't be erased, but with Gray's legacy increasingly getting the justice it deserves I don't think that the house's importance is diminished by accommodating the tattered history of its recognition. A house's own history is always its principal occupant.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[File:<del style="font-weight: bold; text-decoration: none;">ours</del>.<del style="font-weight: bold; text-decoration: none;">jpg</del>]]</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[File:<ins style="font-weight: bold; text-decoration: none;">Ours</ins>.<ins style="font-weight: bold; text-decoration: none;">png</ins>]]</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>To the question "'''''How'' is the black clad man not exactly me?'''" the obvious answer is that until now this distinction, which I always took for granted, has not been made adequately clear in the work. Assuming I find the technical and aesthetic means to make this distinction clear the thornier question becomes what exactly to do with it. What use is a terrible sculpture of oneself?</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>To the question "'''''How'' is the black clad man not exactly me?'''" the obvious answer is that until now this distinction, which I always took for granted, has not been made adequately clear in the work. Assuming I find the technical and aesthetic means to make this distinction clear the thornier question becomes what exactly to do with it. What use is a terrible sculpture of oneself?</div></td></tr>
</table>Danieltuomeyhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Dan_method_draft&diff=14298&oldid=prevDanieltuomey at 11:12, 15 April 20162016-04-15T11:12:32Z<p></p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 12:12, 15 April 2016</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l86">Line 86:</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>I held a group critique around this installation and found it interesting that while some of the criticisms of the video echoed those from the previous performance (in Boyer's terms, that the struggle remained theatrical and ultimately continued to fix power) there was a more nuanced discussion about the mechanics and dynamics of this. For one thing people seemed to be able to take more pleasure in it. Despite this Mike remarked that "when this is over all we are left with are the subjects it raised". I'm not sure it's in art's power to do more than this, but maybe the goal is for the subjects you raise to do something different than the subjects you started with.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>I held a group critique around this installation and found it interesting that while some of the criticisms of the video echoed those from the previous performance (in Boyer's terms, that the struggle remained theatrical and ultimately continued to fix power) there was a more nuanced discussion about the mechanics and dynamics of this. For one thing people seemed to be able to take more pleasure in it. Despite this Mike remarked that "when this is over all we are left with are the subjects it raised". I'm not sure it's in art's power to do more than this, but maybe the goal is for the subjects you raise to do something different than the subjects you started with.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>The final shot of the video is a freeze frame of the last image, the 'completed tee shirt design'. It shows the narratives three main characters: Eileen Gray (her clothes replaced with one of her prototype chairs), Le Corbusier and my father (both wearing the same glasses and rendered in a style reminiscent of Le Corbusier's 'purism'). Perforating the image are the letters of the phrase 'E-1027 IS OURS'. In the discussion there was some laughter about how the two men had taxidermied Gray and claimed her legacy, which was relevant and prescient, but I had hoped that the phrase lingering after the story had been told might open a question about who can lay claim to this legacy.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>The final shot of the video is a freeze frame of the last image, the 'completed tee shirt design'. It shows the narratives three main characters: Eileen Gray (her clothes replaced with one of her prototype chairs), Le Corbusier and my father (both wearing the same glasses and rendered in a style reminiscent of Le Corbusier's 'purism'). Perforating the image are the letters of the phrase 'E-1027 IS OURS'. In the discussion there was some laughter about how the two men had taxidermied Gray and claimed her legacy, which was relevant and prescient, but I had hoped that the phrase lingering after the story had been told might open a question about who can lay claim to this legacy. <ins style="font-weight: bold; text-decoration: none;">Gray's Irishness, her sidelining as a woman architect in the masculine modernist trajectory, and the rather perfect idiosyncratic livability of E-1027 were all referenced in the video and I wanted to make a genuine proposal about taking up this imperfect situation and moving forward with it. Hosting the event in my home was intended to be a gesture towards the germ of generosity and inclusivity that E-1027 still holds despite its history of being vandalised and appropriated. This history can't be erased, but with Gray's legacy increasingly getting the justice it deserves I don't think that the house's importance is diminished by accommodating the tattered history of its recognition. A house's own history is always its principal occupant.</ins></div></td></tr>
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<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">[[File:ours.jpg]]</ins></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>To the question "'''''How'' is the black clad man not exactly me?'''" the obvious answer is that until now this distinction, which I always took for granted, has not been made adequately clear in the work. Assuming I find the technical and aesthetic means to make this distinction clear the thornier question becomes what exactly to do with it. What use is a terrible sculpture of oneself?</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>To the question "'''''How'' is the black clad man not exactly me?'''" the obvious answer is that until now this distinction, which I always took for granted, has not been made adequately clear in the work. Assuming I find the technical and aesthetic means to make this distinction clear the thornier question becomes what exactly to do with it. What use is a terrible sculpture of oneself?</div></td></tr>
</table>Danieltuomeyhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Dan_method_draft&diff=14295&oldid=prevDanieltuomey at 10:33, 15 April 20162016-04-15T10:33:58Z<p></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[File:tshirt.jpg]]</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[File:tshirt.jpg]]</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>I held a group critique around this installation and found it interesting that while some of the criticisms of the video echoed those from the previous performance (in Boyer's terms, that the struggle remained theatrical and ultimately continued to fix power) there was a more nuanced discussion about the mechanics and dynamics of this. For one thing people seemed to be able to take more pleasure in it. Despite this Mike remarked that "when this is over all we are left with are the subjects it raised". I'm not sure it's in art's power to do more than this, but maybe the goal is for the subjects you raise to do something different than the subjects you started with. ((<del style="font-weight: bold; text-decoration: none;">I find myself </del>a <del style="font-weight: bold; text-decoration: none;">bit didactic and know</del>-<del style="font-weight: bold; text-decoration: none;">it-all here</del>. <del style="font-weight: bold; text-decoration: none;">I don't know if I really think this</del>, <del style="font-weight: bold; text-decoration: none;">or if </del>I <del style="font-weight: bold; text-decoration: none;">do I don't know if I think an artist </del>can <del style="font-weight: bold; text-decoration: none;">plan </del>to <del style="font-weight: bold; text-decoration: none;">have certain effects in the way I seem to be implying they can here))</del></div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>I held a group critique around this installation and found it interesting that while some of the criticisms of the video echoed those from the previous performance (in Boyer's terms, that the struggle remained theatrical and ultimately continued to fix power) there was a more nuanced discussion about the mechanics and dynamics of this. For one thing people seemed to be able to take more pleasure in it. Despite this Mike remarked that "when this is over all we are left with are the subjects it raised". I'm not sure it's in art's power to do more than this, but maybe the goal is for the subjects you raise to do something different than the subjects you started with.</div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div> </div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">The final shot of the video is a freeze frame of the last image, the 'completed tee shirt design'. It shows the narratives three main characters: Eileen Gray </ins>(<ins style="font-weight: bold; text-decoration: none;">her clothes replaced with one of her prototype chairs), Le Corbusier and my father </ins>(<ins style="font-weight: bold; text-decoration: none;">both wearing the same glasses and rendered in </ins>a <ins style="font-weight: bold; text-decoration: none;">style reminiscent of Le Corbusier's 'purism'). Perforating the image are the letters of the phrase 'E</ins>-<ins style="font-weight: bold; text-decoration: none;">1027 IS OURS'</ins>. <ins style="font-weight: bold; text-decoration: none;">In the discussion there was some laughter about how the two men had taxidermied Gray and claimed her legacy, which was relevant and prescient</ins>, <ins style="font-weight: bold; text-decoration: none;">but </ins>I <ins style="font-weight: bold; text-decoration: none;">had hoped that the phrase lingering after the story had been told might open a question about who </ins>can <ins style="font-weight: bold; text-decoration: none;">lay claim </ins>to <ins style="font-weight: bold; text-decoration: none;">this legacy.</ins></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>To the question "'''''How'' is the black clad man not exactly me?'''" the obvious answer is that until now this distinction, which I always took for granted, has not been made adequately clear in the work. Assuming I find the technical and aesthetic means to make this distinction clear the thornier question becomes what exactly to do with it. What use is a terrible sculpture of oneself?</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>To the question "'''''How'' is the black clad man not exactly me?'''" the obvious answer is that until now this distinction, which I always took for granted, has not been made adequately clear in the work. Assuming I find the technical and aesthetic means to make this distinction clear the thornier question becomes what exactly to do with it. What use is a terrible sculpture of oneself?</div></td></tr>
</table>Danieltuomeyhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Dan_method_draft&diff=14290&oldid=prevDanieltuomey at 09:32, 15 April 20162016-04-15T09:32:54Z<p></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The first way I employed or deployed the outcomes of this process was for a show in my flat. I set up a plywood bench based on a model I originally a stage set made for the writing machines exercise in the RWRM seminar. I conceive of this object, which I had designed to resemble a quasi-cubist reclining figure, as being on a slippery sculpture-furniture continuum. In my flat it had cushions and a light on it, which slid it to some extent more towards the 'furniture' pole. In other experiments in the studio I had pushed its role around between sculptural autonomy and plinth/platform for other objects. I also thought its figural qualities as being sufficiently obvious to joke around with them, giving it the title ''Loungewear'' within the installation's broader title ''Two new outfits''.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The first way I employed or deployed the outcomes of this process was for a show in my flat. I set up a plywood bench based on a model I originally a stage set made for the writing machines exercise in the RWRM seminar. I conceive of this object, which I had designed to resemble a quasi-cubist reclining figure, as being on a slippery sculpture-furniture continuum. In my flat it had cushions and a light on it, which slid it to some extent more towards the 'furniture' pole. In other experiments in the studio I had pushed its role around between sculptural autonomy and plinth/platform for other objects. I also thought its figural qualities as being sufficiently obvious to joke around with them, giving it the title ''Loungewear'' within the installation's broader title ''Two new outfits''.</div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">[[File:loungewear.jpg]]</ins></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The other 'new outfit' was a video installation called ''a tee-shirt for Corb''. This work involved projecting a video onto a mural on the otherwise unpainted plasterboard wall across from the bench. The mural was of a figure whose chest functioned as the screen, and the video was a close up of my hands using tracing paper to make a drawing while a voiceover gave a second hand account of the story of Le Corbusier painting in the nude on the walls of Eileen Gray's E1027. The voiceover used the conceit of the narrator trusting his father's version of events as an alibi for being an unreliable narrator in order to frame modernism as a patrilineal tradition as a subtext or countercurrent to its more common((?)) framing as a radical interrogation of traditions.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The other 'new outfit' was a video installation called ''a tee-shirt for Corb''. This work involved projecting a video onto a mural on the otherwise unpainted plasterboard wall across from the bench. The mural was of a figure whose chest functioned as the screen, and the video was a close up of my hands using tracing paper to make a drawing while a voiceover gave a second hand account of the story of Le Corbusier painting in the nude on the walls of Eileen Gray's E1027. The voiceover used the conceit of the narrator trusting his father's version of events as an alibi for being an unreliable narrator in order to frame modernism as a patrilineal tradition as a subtext or countercurrent to its more common((?)) framing as a radical interrogation of traditions.</div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">[[File:tshirt.jpg]]</ins></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>I held a group critique around this installation and found it interesting that while some of the criticisms of the video echoed those from the previous performance (in Boyer's terms, that the struggle remained theatrical and ultimately continued to fix power) there was a more nuanced discussion about the mechanics and dynamics of this. For one thing people seemed to be able to take more pleasure in it. Despite this Mike remarked that "when this is over all we are left with are the subjects it raised". I'm not sure it's in art's power to do more than this, but maybe the goal is for the subjects you raise to do something different than the subjects you started with. ((I find myself a bit didactic and know-it-all here. I don't know if I really think this, or if I do I don't know if I think an artist can plan to have certain effects in the way I seem to be implying they can here))</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>I held a group critique around this installation and found it interesting that while some of the criticisms of the video echoed those from the previous performance (in Boyer's terms, that the struggle remained theatrical and ultimately continued to fix power) there was a more nuanced discussion about the mechanics and dynamics of this. For one thing people seemed to be able to take more pleasure in it. Despite this Mike remarked that "when this is over all we are left with are the subjects it raised". I'm not sure it's in art's power to do more than this, but maybe the goal is for the subjects you raise to do something different than the subjects you started with. ((I find myself a bit didactic and know-it-all here. I don't know if I really think this, or if I do I don't know if I think an artist can plan to have certain effects in the way I seem to be implying they can here))</div></td></tr>
</table>Danieltuomeyhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Dan_method_draft&diff=14289&oldid=prevDanieltuomey at 21:17, 14 April 20162016-04-14T21:17:54Z<p></p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 22:17, 14 April 2016</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l68">Line 68:</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Another with Rana Hamadeh, who also made two big "a-ha!" contributions. Firstly, and on a similar line to Jan, that I had not really employed three different performative strategies. My white male body shoving itself into various positions at various speeds only constitutes one. And following on from that, that there was no need to inflict violence on myself as some kind of penance. I am not the subject or the object of my work, my inheritance is.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Another with Rana Hamadeh, who also made two big "a-ha!" contributions. Firstly, and on a similar line to Jan, that I had not really employed three different performative strategies. My white male body shoving itself into various positions at various speeds only constitutes one. And following on from that, that there was no need to inflict violence on myself as some kind of penance. I am not the subject or the object of my work, my inheritance is.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>So I stopped stuffing the flesh that I use to walk around in the world into drawers and started to think about how my body is constituted in the world, what its constituent elements are. I began thinking seriously about how my body had always been in my work, sometimes appearing in spectral form as a set of reference dimensions and sometimes physically present, without ever being addressed directly. The main outcome of this thinking has been a body of drawings, photocopies, collages, models and sculptures which allowed me to focus on details of bodily representation and begin to allow the codes and signs that make up 'my' body in the broader terms of inherited masculinity. Images of architecture, furniture, fashion, anatomy, typography circulate and frame one another. I've developed a visual language with which I can quickly make specific articulations using the technology available in the studio. I regard this new process as a generator of source material that can be employed and moved around in different ways depending on the stories that need to be told or the trajectories that need to be taken. The puppets for the show, or the pieces for the chessboard. '''((note: I may or may not use the pretentious term 'techno-cubism' to refer to this process but it might just be opening a can of worms))'''</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>So I stopped stuffing the flesh that I use to walk around in the world into drawers and started to think about how my body is constituted in the world, what its constituent elements are. I began thinking seriously about how my body had always been in my work, sometimes appearing in spectral form as a set of reference dimensions and sometimes physically present, without ever being addressed directly.</div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div> </div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>The main outcome of this thinking has been a body of drawings, photocopies, collages, models and sculptures which allowed me to focus on details of bodily representation and begin to allow the codes and signs that make up 'my' body in the broader terms of inherited masculinity. Images of architecture, furniture, fashion, anatomy, typography circulate and frame one another. I've developed a visual language with which I can quickly make specific articulations using the technology available in the studio. I regard this new process as a generator of source material that can be employed and moved around in different ways depending on the stories that need to be told or the trajectories that need to be taken. The puppets for the show, or the pieces for the chessboard. '''((note: I may or may not use the pretentious term 'techno-cubism' to refer to this process but it might just be opening a can of worms))'''</div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div> </div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">Another major outcome has been the question "'''''How'' is the black clad man not exactly me?'''"</ins></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''Two new outfits: loungewear, a tee-shirt for Corb'''</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''Two new outfits: loungewear, a tee-shirt for Corb'''</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>The first way I employed or deployed <del style="font-weight: bold; text-decoration: none;">them </del>was for a show in my flat. I set up a plywood bench based on a model I originally a stage set made for the writing machines exercise in the RWRM seminar. I conceive of this object, which I had designed to resemble a quasi-cubist reclining figure, as being on a slippery sculpture-furniture continuum. In my flat it had cushions and a light on it, which slid it to some extent more towards the 'furniture' pole. In other experiments in the studio I had pushed its role around between sculptural autonomy and plinth/platform for other objects. I also thought its figural qualities as being sufficiently obvious to joke around with them, giving it the title ''Loungewear'' within the installation's broader title ''Two new outfits''.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>The first way I employed or deployed <ins style="font-weight: bold; text-decoration: none;">the outcomes of this process </ins>was for a show in my flat. I set up a plywood bench based on a model I originally a stage set made for the writing machines exercise in the RWRM seminar. I conceive of this object, which I had designed to resemble a quasi-cubist reclining figure, as being on a slippery sculpture-furniture continuum. In my flat it had cushions and a light on it, which slid it to some extent more towards the 'furniture' pole. In other experiments in the studio I had pushed its role around between sculptural autonomy and plinth/platform for other objects. I also thought its figural qualities as being sufficiently obvious to joke around with them, giving it the title ''Loungewear'' within the installation's broader title ''Two new outfits''.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>The other 'new outfit' was a video installation called ''a tee-shirt for Corb''. This work involved projecting a video onto a mural on the otherwise unpainted plasterboard wall across from the bench. The mural was of a figure whose chest functioned as the screen, and the video was a close up of my hands using tracing paper to make a drawing while a voiceover gave a second hand account of the story of Le Corbusier painting in the nude on the walls of Eileen Gray's E1027. The voiceover used the conceit of the narrator trusting his father's version of events as an alibi for being an unreliable narrator in order to frame modernism as a patrilineal tradition as a subtext or countercurrent to its <del style="font-weight: bold; text-decoration: none;">usual </del>framing as a radical interrogation of traditions.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>The other 'new outfit' was a video installation called ''a tee-shirt for Corb''. This work involved projecting a video onto a mural on the otherwise unpainted plasterboard wall across from the bench. The mural was of a figure whose chest functioned as the screen, and the video was a close up of my hands using tracing paper to make a drawing while a voiceover gave a second hand account of the story of Le Corbusier painting in the nude on the walls of Eileen Gray's E1027. The voiceover used the conceit of the narrator trusting his father's version of events as an alibi for being an unreliable narrator in order to frame modernism as a patrilineal tradition as a subtext or countercurrent to its <ins style="font-weight: bold; text-decoration: none;">more common((?)) </ins>framing as a radical interrogation of traditions.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">Another major outcome has been </del>the question "'''''How'' is the black clad man not exactly me?'''"</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">I held a group critique around this installation and found it interesting that while some of the criticisms of the video echoed those from the previous performance (in Boyer's terms, that the struggle remained theatrical and ultimately continued to fix power) there was a more nuanced discussion about the mechanics and dynamics of this. For one thing people seemed to be able to take more pleasure in it. Despite this Mike remarked that "when this is over all we are left with are the subjects it raised". I'm not sure it's in art's power to do more than this, but maybe the goal is for the subjects you raise to do something different than the subjects you started with. ((I find myself a bit didactic and know-it-all here. I don't know if I really think this, or if I do I don't know if I think an artist can plan to have certain effects in the way I seem to be implying they can here))</ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div> </div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">To </ins>the question "'''''How'' is the black clad man not exactly me?'''" <ins style="font-weight: bold; text-decoration: none;">the obvious answer is that until now this distinction, which I always took for granted, has not been made adequately clear in the work. Assuming I find the technical and aesthetic means to make this distinction clear the thornier question becomes what exactly to do with it. What use is a terrible sculpture of oneself?</ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div> </div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">'''Autobiographical interlude'''</ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">My maternal grandfather was a professor of chemical engineering who was of sufficient importance to the University that some time after he died the faculty commissioned a bronze bust of him for the foyer. The artist they chose was an idiot. He made very boring colour field paintings and quite amateurish bronze busts and seemed to regard them as two wholly separate practices. I never worked out which he was moonlighting as. Since I was the subject's arty teenage grandson he expected me to be in awe of him and imposed himself on me quite a lot at the events surrounding the bust's unveiling and launch. I found him unpleasant on a personal level and I was angry at him because he had just made a terrible sculpture of my grandfather.</ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div> </div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">In the minutes after it was unveiled my disconsolate aunts and uncles walked around it trying to convince themselves that from extremely specific angles this lump of metal bore some resemblance to the head of their dead father. It was a really, really sad scene. I have an unlikely seeming memory of the panel of reference photographs they had provided for him being to hand during this process, and of their slowly dawning realisation that he had achieved certain planar likenesses but the 3-dimensional shape they had clustered around to form was ugly and grotesquely unrecognisable.</ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div> </div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">This was deeply upsetting to the family, admittedly more so to the parents and aunts and uncles than me and my cousins, for reasons that I find myself curiously unable to explain. In a sense it seems obvious why, but in another sense since they didn't pay for it and it was in a building that probably none of us has visited since it seems like we could all have quite happily laughed and instantly forgotten it. Part of what was upsetting might have been that it didn't matter to either the artist or the institution that had commissioned him that it was a bad likeness and a bad sculpture. Both of them had gotten what they wanted from the transaction, and so long as the family remained quiet during the unveiling and the dinner and the rest of the rigmarole questions of aesthetics would never have to be raised. And we did keep quiet, because the hurt made us convince ourselves that this was ok, this was an ok memorial.</ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div> </div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">The question I'm asking myself now, and which I don't claim to have resolved, is whether a terrible sculpture that knew it was one could be more than the sum of the specific angles it was drawn from. Whether the grotesquely unrecognisable shape it resulted in could raise new subjects.</ins></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>The <del style="font-weight: bold; text-decoration: none;">obvious answer is that until now this distinction, which I always took for granted, has rarely been made adequately clear in the work. Furthermore, the thornier question of what exactly to do with this distinction once I</del>'<del style="font-weight: bold; text-decoration: none;">ve done it remains unanswered. And may do for some time.</del></div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">'''</ins>The <ins style="font-weight: bold; text-decoration: none;">Future''</ins>'</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Trusting my intuition that <del style="font-weight: bold; text-decoration: none;">something interesting can be done with </del>it, <del style="font-weight: bold; text-decoration: none;">and ammending the question to "'''How can I ''make it'' so that the black clad man is not exactly me?'''" </del>I can begin to propose avenues of exploration, some of which I have already started to work towards:</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Trusting my intuition that it <ins style="font-weight: bold; text-decoration: none;">could</ins>, I can begin to propose avenues of exploration, some of which I have already started to work towards:</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>1. I’ve done some text-based experiments with lying as a practice, drawing on a long pub-based history of lying as a habit. These experiments have loosely followed the constraint of embedding one invented detail into a fabric of honest narration. The sub-constraint has been that this detail should be obviously false, although it needn’t be totally fantastical.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>1. I’ve done some text-based experiments with lying as a practice, drawing on a long pub-based history of lying as a habit. These experiments have loosely followed the constraint of embedding one invented detail into a fabric of honest narration. The sub-constraint has been that this detail should be obviously false, although it needn’t be totally fantastical.</div></td></tr>
</table>Danieltuomeyhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Dan_method_draft&diff=14287&oldid=prevDanieltuomey at 16:11, 14 April 20162016-04-14T16:11:20Z<p></p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 17:11, 14 April 2016</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>So I stopped stuffing the flesh that I use to walk around in the world into drawers and started to think about how my body is constituted in the world, what its constituent elements are. I began thinking seriously about how my body had always been in my work, sometimes appearing in spectral form as a set of reference dimensions and sometimes physically present, without ever being addressed directly. The main outcome of this thinking has been a body of drawings, photocopies, collages, models and sculptures which allowed me to focus on details of bodily representation and begin to allow the codes and signs that make up 'my' body in the broader terms of inherited masculinity. Images of architecture, furniture, fashion, anatomy, typography circulate and frame one another. I've developed a visual language with which I can quickly make specific articulations using the technology available in the studio. I regard this new process as a generator of source material that can be employed and moved around in different ways depending on the stories that need to be told or the trajectories that need to be taken. The puppets for the show, or the pieces for the chessboard. '''((note: I may or may not use the pretentious term 'techno-cubism' to refer to this process but it might just be opening a can of worms))'''</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>So I stopped stuffing the flesh that I use to walk around in the world into drawers and started to think about how my body is constituted in the world, what its constituent elements are. I began thinking seriously about how my body had always been in my work, sometimes appearing in spectral form as a set of reference dimensions and sometimes physically present, without ever being addressed directly. The main outcome of this thinking has been a body of drawings, photocopies, collages, models and sculptures which allowed me to focus on details of bodily representation and begin to allow the codes and signs that make up 'my' body in the broader terms of inherited masculinity. Images of architecture, furniture, fashion, anatomy, typography circulate and frame one another. I've developed a visual language with which I can quickly make specific articulations using the technology available in the studio. I regard this new process as a generator of source material that can be employed and moved around in different ways depending on the stories that need to be told or the trajectories that need to be taken. The puppets for the show, or the pieces for the chessboard. '''((note: I may or may not use the pretentious term 'techno-cubism' to refer to this process but it might just be opening a can of worms))'''</div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">'''Two new outfits: loungewear, a tee-shirt for Corb'''</ins></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The first way I employed or deployed them was for a show in my flat. I set up a plywood bench based on a model I originally a stage set made for the writing machines exercise in the RWRM seminar. I conceive of this object, which I had designed to resemble a quasi-cubist reclining figure, as being on a slippery sculpture-furniture continuum. In my flat it had cushions and a light on it, which slid it to some extent more towards the 'furniture' pole. In other experiments in the studio I had pushed its role around between sculptural autonomy and plinth/platform for other objects. I also thought its figural qualities as being sufficiently obvious to joke around with them, giving it the title ''Loungewear'' within the installation's broader title ''Two new outfits''.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The first way I employed or deployed them was for a show in my flat. I set up a plywood bench based on a model I originally a stage set made for the writing machines exercise in the RWRM seminar. I conceive of this object, which I had designed to resemble a quasi-cubist reclining figure, as being on a slippery sculpture-furniture continuum. In my flat it had cushions and a light on it, which slid it to some extent more towards the 'furniture' pole. In other experiments in the studio I had pushed its role around between sculptural autonomy and plinth/platform for other objects. I also thought its figural qualities as being sufficiently obvious to joke around with them, giving it the title ''Loungewear'' within the installation's broader title ''Two new outfits''.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>The other 'new outfit' was a video installation called ''a tee-shirt for Corb''. This work involved projecting a video onto a mural on the otherwise unpainted plasterboard wall across from the bench. The mural was of a figure whose chest functioned as the screen, and the video was a close up of my hands using tracing paper to make a drawing while a voiceover gave a second hand account of the story of Le Corbusier painting in the nude on the walls of Eileen Gray's E1027. The voiceover used the conceit of the narrator trusting his father's version of events as an alibi for being an unreliable narrator in order to <del style="font-weight: bold; text-decoration: none;">highlight</del></div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>The other 'new outfit' was a video installation called ''a tee-shirt for Corb''. This work involved projecting a video onto a mural on the otherwise unpainted plasterboard wall across from the bench. The mural was of a figure whose chest functioned as the screen, and the video was a close up of my hands using tracing paper to make a drawing while a voiceover gave a second hand account of the story of Le Corbusier painting in the nude on the walls of Eileen Gray's E1027. The voiceover used the conceit of the narrator trusting his father's version of events as an alibi for being an unreliable narrator in order to <ins style="font-weight: bold; text-decoration: none;">frame modernism as a patrilineal tradition as a subtext or countercurrent to its usual framing as a radical interrogation of traditions.</ins></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Another major outcome has been the question "'''''How'' is the black clad man not exactly me?'''"</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Another major outcome has been the question "'''''How'' is the black clad man not exactly me?'''"</div></td></tr>
</table>Danieltuomeyhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Dan_method_draft&diff=14286&oldid=prevDanieltuomey at 15:56, 14 April 20162016-04-14T15:56:23Z<p></p>
<table style="background-color: #fff; color: #202122;" data-mw="interface">
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 16:56, 14 April 2016</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l76">Line 76:</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Another major outcome has been the question "'''''How'' is the black clad man not exactly me?'''"</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Another major outcome has been the question "'''''How'' is the black clad man not exactly me?'''"</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>The obvious answer is that until now this distinction, which I always took for granted, has rarely been made adequately clear in the work. Furthermore</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>The obvious answer is that until now this distinction, which I always took for granted, has rarely been made adequately clear in the work. Furthermore<ins style="font-weight: bold; text-decoration: none;">, the thornier question of what exactly to do with this distinction once I've done it remains unanswered. And may do for some time.</ins></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div> </div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">Trusting my intuition that something interesting can be done with it, and ammending </ins>the question to "'''How can I ''make it'' so that the black clad man is not exactly me?'''" I can begin to propose avenues of exploration, some of which I have already started to work towards:</div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div> </div></td><td colspan="2" class="diff-side-added"></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">If I amend </del>the question to <del style="font-weight: bold; text-decoration: none;">be </del>"'''How can I ''make it'' so that the black clad man is not exactly me?'''" I can begin to propose avenues of exploration, some of which I have already started to work towards:</div></td><td colspan="2" class="diff-side-added"></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>1. I’ve done some text-based experiments with lying as a practice, drawing on a long pub-based history of lying as a habit. These experiments have loosely followed the constraint of embedding one invented detail into a fabric of honest narration. The sub-constraint has been that this detail should be obviously false, although it needn’t be totally fantastical.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>1. I’ve done some text-based experiments with lying as a practice, drawing on a long pub-based history of lying as a habit. These experiments have loosely followed the constraint of embedding one invented detail into a fabric of honest narration. The sub-constraint has been that this detail should be obviously false, although it needn’t be totally fantastical.</div></td></tr>
</table>Danieltuomeyhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=Dan_method_draft&diff=14285&oldid=prevDanieltuomey at 15:31, 14 April 20162016-04-14T15:31:48Z<p></p>
<table style="background-color: #fff; color: #202122;" data-mw="interface">
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td>
<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 16:31, 14 April 2016</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l68">Line 68:</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Another with Rana Hamadeh, who also made two big "a-ha!" contributions. Firstly, and on a similar line to Jan, that I had not really employed three different performative strategies. My white male body shoving itself into various positions at various speeds only constitutes one. And following on from that, that there was no need to inflict violence on myself as some kind of penance. I am not the subject or the object of my work, my inheritance is.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Another with Rana Hamadeh, who also made two big "a-ha!" contributions. Firstly, and on a similar line to Jan, that I had not really employed three different performative strategies. My white male body shoving itself into various positions at various speeds only constitutes one. And following on from that, that there was no need to inflict violence on myself as some kind of penance. I am not the subject or the object of my work, my inheritance is.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>So I stopped stuffing the flesh that I use to walk around in the world into drawers and started to think about how my body is constituted in the world, what its constituent elements are. I began thinking seriously about how my body had always been in my work, sometimes appearing in spectral form as a set of reference dimensions and sometimes physically present, without ever being addressed directly. The main outcome of this thinking has been a body of drawings, photocopies, collages, models and sculptures which allowed me to focus on details of bodily representation and begin to allow the codes and signs that make up 'my' body in the broader terms of inherited masculinity. Images of architecture, furniture, fashion, anatomy, typography circulate and frame one another. I've developed a visual language with which I can quickly make specific articulations using the technology available in the studio. I regard this new process as a generator of source material that can be employed and moved around in different ways depending on the stories that need to be told or the trajectories that need to be taken. The puppets for the show, or the pieces for the chessboard. '''((note: I may or may not use the pretentious term techno-cubism to refer to this process but it might just be opening a can of worms))'''</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>So I stopped stuffing the flesh that I use to walk around in the world into drawers and started to think about how my body is constituted in the world, what its constituent elements are. I began thinking seriously about how my body had always been in my work, sometimes appearing in spectral form as a set of reference dimensions and sometimes physically present, without ever being addressed directly. The main outcome of this thinking has been a body of drawings, photocopies, collages, models and sculptures which allowed me to focus on details of bodily representation and begin to allow the codes and signs that make up 'my' body in the broader terms of inherited masculinity. Images of architecture, furniture, fashion, anatomy, typography circulate and frame one another. I've developed a visual language with which I can quickly make specific articulations using the technology available in the studio. I regard this new process as a generator of source material that can be employed and moved around in different ways depending on the stories that need to be told or the trajectories that need to be taken. The puppets for the show, or the pieces for the chessboard. '''((note: I may or may not use the pretentious term <ins style="font-weight: bold; text-decoration: none;">'</ins>techno-cubism<ins style="font-weight: bold; text-decoration: none;">' </ins>to refer to this process but it might just be opening a can of worms))'''</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>The first way I employed or deployed them was for a show in my flat. I set up a plywood bench based on a model I originally a stage set made for the writing machines exercise in the RWRM seminar. I <del style="font-weight: bold; text-decoration: none;">conceived </del>of this <del style="font-weight: bold; text-decoration: none;">bench</del>, which I had designed to resemble a quasi-cubist reclining figure</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>The first way I employed or deployed them was for a show in my flat. I set up a plywood bench based on a model I originally a stage set made for the writing machines exercise in the RWRM seminar. I <ins style="font-weight: bold; text-decoration: none;">conceive </ins>of this <ins style="font-weight: bold; text-decoration: none;">object</ins>, which I had designed to resemble a quasi-cubist reclining figure<ins style="font-weight: bold; text-decoration: none;">, as being on a slippery sculpture-furniture continuum. In my flat it had cushions and a light on it, which slid it to some extent more towards the 'furniture' pole. In other experiments in the studio I had pushed its role around between sculptural autonomy and plinth/platform for other objects. I also thought its figural qualities as being sufficiently obvious to joke around with them, giving it the title ''Loungewear'' within the installation's broader title ''Two new outfits''.</ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div> </div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">The other 'new outfit' was a video installation called ''a tee-shirt for Corb''. This work involved projecting a video onto a mural on the otherwise unpainted plasterboard wall across from the bench. The mural was of a figure whose chest functioned as the screen, and the video was a close up of my hands using tracing paper to make a drawing while a voiceover gave a second hand account of the story of Le Corbusier painting in the nude on the walls of Eileen Gray's E1027. The voiceover used the conceit of the narrator trusting his father's version of events as an alibi for being an unreliable narrator in order to highlight</ins></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Another major outcome has been the question "'''''How'' is the black clad man not exactly me?'''"</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Another major outcome has been the question "'''''How'' is the black clad man not exactly me?'''"</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>The obvious answer is that until now this distinction, which I always took for granted, has rarely been made adequately clear in the work. <del style="font-weight: bold; text-decoration: none;">The audience rarely if ever grasp it.</del></div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>The obvious answer is that until now this distinction, which I always took for granted, has rarely been made adequately clear in the work. <ins style="font-weight: bold; text-decoration: none;">Furthermore</ins></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
</table>Danieltuomey