So it's a season of - among other things - digging through piles of digital detritus in search of old workshop plans. I hate doing this kind of thing. I do almost anything to avoid it. I do this because as long as I don't actually look into my archives, I can delude myself into thinking that they exist.
There is something perversely paradoxical in my seeming inability to organise things properly. It's enough to think 'this is quite good, I should make sure to keep it' and then all hope of actually doing so is gone. I don't know how to ratify my allergy to proper record keeping with a simultaneous and contradictory need to assert my presence on the world.
That's a big tug and pull for me.
I want to leave foot prints, so long as my feet aren't artificially weighed down. I want to wear a groove, but only the kind that allows for divergence.
So yeah. Whatever that's about, my (lack of) record-keeping is a physical manifestation of it. Happily, the disorder is accompanied by amnesia and a good deal of serendipity. I probably don't have what I'm looking for, but I do have other stuff, like this, to share.
This particular this is a glossary of practice I wrote last year, as a means of deciding whether or not it was worth asking others to do it in a workshop setting. I found it this afternoon, over a year later.
Wink: The desire that the work avoid taking itself too seriously; a reminder to endeavour always to approach Chekhov in the sense of laughing because otherwise we’d just all kill ourselves; a rejection of the kind of high-brow pretension that makes us scared to speak among colleagues; a revelling in absurdity, while still embracing caring as a good.
Run(ning) towards complexity: The work’s resistance to anything too easy, to reductive, too neat.
Smashed beads: A visual metaphor for montage. Less about stringing discrete units, more about overlay, juxtaposition, mash-up.
Dramaturgy: intelligent, intentional making
The why: Something which must always be answered. The principle of curation. The litmus test. The engine.
Specificity: Actually something - the principle that something genuine/actual is actually more communicative than a bunch of apologetic generals.
It’s for them: A reminder to give it away, a reminder that it’s not for/about me.
Some additions from the last year:
It's all part of the same thing: A reminder that there's an element of choice in the creation of internally divisive walls. I'm not working against myself, if I understand the interconnectedness of all things, even those I dislike. There's value in knowing what I'm not.
Auto- : A prefix of agency, learned from Sonia Gomez. What I have. What I can do with it. What is at my disposal. There's always something.
There is something perversely paradoxical in my seeming inability to organise things properly. It's enough to think 'this is quite good, I should make sure to keep it' and then all hope of actually doing so is gone. I don't know how to ratify my allergy to proper record keeping with a simultaneous and contradictory need to assert my presence on the world.
That's a big tug and pull for me.
I want to leave foot prints, so long as my feet aren't artificially weighed down. I want to wear a groove, but only the kind that allows for divergence.
So yeah. Whatever that's about, my (lack of) record-keeping is a physical manifestation of it. Happily, the disorder is accompanied by amnesia and a good deal of serendipity. I probably don't have what I'm looking for, but I do have other stuff, like this, to share.
This particular this is a glossary of practice I wrote last year, as a means of deciding whether or not it was worth asking others to do it in a workshop setting. I found it this afternoon, over a year later.
Wink: The desire that the work avoid taking itself too seriously; a reminder to endeavour always to approach Chekhov in the sense of laughing because otherwise we’d just all kill ourselves; a rejection of the kind of high-brow pretension that makes us scared to speak among colleagues; a revelling in absurdity, while still embracing caring as a good.
Run(ning) towards complexity: The work’s resistance to anything too easy, to reductive, too neat.
Smashed beads: A visual metaphor for montage. Less about stringing discrete units, more about overlay, juxtaposition, mash-up.
Dramaturgy: intelligent, intentional making
The why: Something which must always be answered. The principle of curation. The litmus test. The engine.
Specificity: Actually something - the principle that something genuine/actual is actually more communicative than a bunch of apologetic generals.
It’s for them: A reminder to give it away, a reminder that it’s not for/about me.
Some additions from the last year:
It's all part of the same thing: A reminder that there's an element of choice in the creation of internally divisive walls. I'm not working against myself, if I understand the interconnectedness of all things, even those I dislike. There's value in knowing what I'm not.
Auto- : A prefix of agency, learned from Sonia Gomez. What I have. What I can do with it. What is at my disposal. There's always something.
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