| Paranoia in some respects, I think is a modern-day development of an ancient, archaic sense that animals still have - quarry type animals - that they are being watched... I say paranoia is an atavistic sense. It's lingering sense , that we had long ago, when we were - our ancestors were - very vulnerable to predators, and this sense tells them they're being watched. And they're being watched probably by that's going to get them... And often my characters have this feeling. But what really I've done is , I have atavised their society. That although it's set in the future , in many ways ther're living- there is a retrogressive quality in their lives, you know? They're living like our ancestors did. I mean, the hardware is in the future, the scenery's in the future, but the situations are really from the past. 1
Blindspots appear between the edits
through perception we do not see clearly, now edits are too fast we don't see in totality, technology sees in totality this has changed the way we see the world the world has lost its continuity
the speed of progress of technology, do you think that you are alone or do we all feel that no one is able to step back and see the implications
Romeo and Juliet the recent film seems to make no sense but is a succession of images without meaning in parts it is too fast to make sense. the film may address modernist filmic concerns about image rather than literary meaning which is ironic with a shakespeare text
The sovereign subject is the self, the relationships between ourselves and everything around us cannot be separated from ourselves.
The eye in a philosophy of reflection, derives its capacity to observe the power of becoming always more interior to itself. Lying behind each eye that sees, there exists a more tenuous one, an eye so discreet and yet so agile that its all-powerful glance can be said to eat away at the flesh of its white globe; behind this particular eye, there exists another and then still others, each progressively more subtle until we arrive at an eye whose entire substance in nothing but the transparency of its vision. This inner movement is finally resolved in a nonmaterial centre where the intangible forms of truth are created and combined in this heart of things which is the sovereign subject. 2
Is the eye too literal an image as a metaphor
you can't see the operations of the ideology in terms of the ultimate all seeing eye
the image from bladerunner compared to the image from 2001 with the entering into another dimension sucked into infinite space
film is a callous medium a homogenous package, made for consumption made to disempower " disempowerment through spectacle"
are we really looking at perception - science deals with physics and chemistry and left perception to the arts and art made a bad job of it. - De Bono
perspective offers an unattainable goal the railway lines never meets - -space is frozen time recycled culture cynically redistributed in the global market as culture is simply a marketable commodity the mothers day card parcelled up and sent around the world as culture becomes homogenous.
The meaning of this last term, the screen is obscure. I understand it to stand for the cultural reserve of which every image is one instance. Call it the conventions of art, the schemata of representation, the codes of visual culture, this screen mediates the object -gaze for the subject. But it also projects the subject from this object-gaze, for it captures the gaze, " pulsatile, dazzling and spread out", and tames it in an image. 3
there is no body there is just mucus and mush
redirection of the object of desire
the objects merge on the screen.
what informs there audience
pornography as a platform
horrific images from benetton
transferring to the screen
puts you in a situation of being concerned
confessionals guarantees you a space
we are always inside
even being with the symbolic there is something more
It is what you do inside the system.
open up spaces with the system
partial situated groups
find yourself within a local space
a multiplicity of stories rather than a grand narrative.
Trying to negotiate the smaller spaces
breaking down of bodily boundaries
if a work shows abjection is it actually abject
Is there a cultural politics here? Often in the general culture of abjection (I mean the culture of slackers and losers, grunge and GenerationX) this posture of indifference expresses only a fatigue with the politics of difference. Yet sometimes too this posture seems to intimate a more fundamental fatigue: a strange drive to indistinction, a paradoxical desire to be desireless, a call of regression that goes beyond the infantile to the inorganic. 4
we see appropriation
romance of the death drive
it comes back to a particular romance
that which is desired and desirable
it is easy to deal with the death drive than to be positive
it pulses with life and not death
fundamental power of the image as magic
we already know what death is
the screen and lacans diagram
the gaze is the object and the object is the gaze
Since the seer is caught up in what he sees, it is still himself he sees: there is a fundamental narcissism of all vision. And thus, for the same reason, the vision he exercises, he also undergoes from the things, such that as many painters have said, I feel myself looked at by the things, my activity is equally passivity - which is the second and more profound sense of the narcissism: not to see in the outside, as the others see it, the contour of a body one inhabits, but especially to be seen by the outside, to exist within it, to emigrate into it, to be seduced, captivated, alienated by the phantom, so that the seer and the visible reciprocate one another and we no longer know which sees and which is seen. 5
that which is not communicated through the symbolic order
intuition
irrational construction in religion
a different way of knowing
the eye and the non eye
privilege knowledge
spontaneity
effect at the cellular level friction's hotness and coldness
art is learnt ignorance
bring my experience of personal knowledge
when it happens its organic
we pull it into a realm that we can talk about
has postmodernism turned into high modernism,
is the institution propping up postmodernism
we are not constructed totally from discourses or else there would be no change there is always excess which are not always accounted for outside the symbolic
Hal Foster suggests the 'death of the subject' was only the death of the universal subject claimed to be able to speak for all . Foster's nimble intervention enables the critique of subjectivity to be confined to a single blow - the critique was directed at the universal subject, thus exempting the new, 'specific' identities from a similar kind of scrutiny. 6
there is no ultimate point it keeps replicating to infinity
where is forward , locating yourself is important
The implications is that the 'new and ignored subjectivities of the 90's have in no way partaken of the previous decade's critical interrogation of identity. 7
man is no longer the centre, the still point the ground is always shifting chaos is about finding order in chaos
if we are trying to identify ourselves in this world and chaos says there are multiple points of perspective no linear points, we have a problem were do we start.
idea of a debate as a performance for PICA leaning towards chaos theories.
How does one articulate something like a new identity in a globalised art world when the tools of expression have become so blatantly internationalised?8
1.P Dick quote Hal Foster Obscene, Abject, Traumatic October Fall 1996. 2.Christine Boyer, CyberCities p116. 3. Hal Foster Obscene, Abject, Traumatic October Fall 1996. 4. Hal Foster Obscene, Abject, Traumatic October Fall 1996. 5.Merleau-Ponty. 6. Sue Best Real Time February 1997. 7.Sue Best Real Time February 1997. 8 Ibid
Terminus = Paul Thomas Mark Cypher David Carson Brian Mckay Jeff Jones Barbara Bolt
Theo Koning Jeremy Blank Alex Spremberg
INTRODUCTION
MEETINGS.
ARTISTS
E-Mail: p.thomas@curtin.edu.au
Terminus=
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