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My most recent post for the or-bits.com blog is here. (See also this post.) The text of this post is copied in full below as it has something in common with the Pigeon Wing project I’m working on.
The person at 298b has only a very small window offering almost no view at all: just the top of a brick wall and a few inches of sky. This is inadequate. At times he feels like staring into the plotless scrolling of people and things you get through proper windows, but there’s nothing to see. The view’s blank.
So at times like these he’s started building the view himself. Read the rest of this entry »
I propose we each carry a purse containing threads with small clips fastened at each end. One end of each thread would be attached to the inside of the purse, and the other would be clipped in passing to objects and people we expect might be relevant later on. Over time we would each amass tens of thousands of these clipped threads, both issuing from our purses and clipped to our person and personal effects by others.
Provided the threads are sufficiently long and robust and numerous, instead of speaking we could physically tug at the things we wish to denote and finally abandon language once and for all.
Admittedly communication would proceed painstakingly. Read the rest of this entry »
Yesterday VerySmallKitchen announced my new publication:
Tamarin Norwood’s TEXT AS TOOLKIT: A Practical Handbook is the first in a series of e-chapbooks developed from the Art Writing Field Station.
Tamarin’s text was first devised as a presentation for the field station event at Five Years Gallery on 7th February 2009. As Tamarin observes in her introduction:
TEXT AS TOOLKIT proposes a methodology for reading and hence for writing. The purpose of this methodology is to identify and extract from texts certain metatextual tools that might be used to examine the practices and products of writing. Mining texts for their tools is a consciously interventional strategy that considers texts as provisional and active material participants in a cumulative art writing field. Read the rest of this entry »
Resonance fm is broadcasting a new audio work of mine this afternoon as part of Digestives, the ongoing art writing radio series from antepress. It’s going to be be aired on today at 4:30pm and repeated Friday 20 November at 7:30pm.
You can listen live by clicking the ‘Listen Now’ mp3 stream at www.resonancefm.com, or tune in to 104.4fm inside London. Afterwards it will be available to download as a podcast at www.antepress.co.uk/digestives.php.
I come back to these diagrams very often.
My new audio work Holidays Vocabulary was first aired on Resonance 104.4 on September 21st as part of the weekly antepress series Digestives. You can listen to the work here if you missed it at the time.
Tomorrow afternoon’s Digestives broadcast on Resonance FM is Holidays Vocabulary, a new work of mine based on the sound files I unearthed on an old dictaphone of mine last month. It’s an experiment in translation.
Holidays Vocabulary airs tomorrow at 4:30pm and is repeated this Friday at 7:30pm, and you can listen by clicking the ‘Listen Now’ mp3 stream at www.resonancefm.com, or tune in to 104.4fm inside London. Afterwards it will be available to download as a podcast at www.antepress.co.uk.
Here’s a short extract of What To Do, a 35 minute ‘blank talk’ that flattens its own text as it goes along.
Just for fun, below are some rough copies of the diagrams, some of which eventually appear in the talk itself.
Read the rest of this entry »
The things are back where they came from now, only red. There’s a nasty hierarchy now among my things. The painted things indicate the nakedness of all the other things. Are the red things fake, or are they the only things that are real, because they acknowledge themselves? They look smug about it.
I came across this picture today while I was trying to find the painting of Susannah and the Elders Diderot describes in his Salon reports. Jacopo Tintoretto’s version of events is the painting in this photo – it isn’t the one I was looking for, but the photo illustrates very happily my interest in the painting’s surface as a kind of pivot for the beholder’s gaze.
