Monday 29 December 2008

Observation

THE 'POSTS' ARE
THEY GETTING
SMALLER THAN SMALLER?

Far right hand side

All these, never knowing always known things, writing to not write plunged from the sick pulsing heart of the dead frenchman in the asylum. IT IS OK! We have no need for such rawness now, we are patient and we shall wait.

Incident

TRANSCRIPTION
TRANSCRIPTIVE
TRANSFERENCE
COLLATIVE

(Attempted defeats)

Awoke

Today. TA. 'Today'

Arts Club

The thought of the lost use was lost, for the use was never thought

Ye

A list of Latin American Surnames should be read alongside births and deaths

Outside of

pause for splurge/
spurge for pause

Sunday 28 December 2008

French thought

All files signposted, Remember Gianfranco standing on steps dreaming of draped curtains (green)

Everything

LANGUAGE AS
LANGUAGE IS

CONSERVATION OF REBELLION

PT 2

(read before)

A painting is experienced. This painting (the painting), the nominal 'painting' not specific - how does this vary?

Why this?

THIS...

What happens

Question:
What happens to the 'provenance' of the image after it has been re-used.

Provenance.
/or origin, something done once, done again

A change/ no change in the recieved response.

"Are you talking about identifying visual with audio"

Monday 22 December 2008

Gwnewch y pethau bychain mewn bywyd

Wednesday 17 December 2008

Principa Linghuistica

H = 1-1 (+)
Who soothes the line that rests between them?

g-ate

g8g8g8g8g8g8g8g8g8g8g8g8g8g8g8g8g8
g8g8g8g8g8g8g8g8g8g8g8g8g8g8g8g8g8
g8
g8g8g8g8g8g8g8g8g8g8g8g8g8g8g8g8
g8
g8g8g8g8g8g8g8g8g8g8g8g8g8g8g8g8
g8
g8g8g8g8g8g8g8g8g8g8g8g8g8g8g8g8
g8
g8g8g8g8g8g8g8g8g8g8g8g8g8g8g8g8
g8g8g8g8g8g8g8g8g8g8g8g8g8g8g8g8g8
g8
g8g8g8g8g8g8g8g8g8g8g8g8g8g8g8g8

es

esisis

sssss

eses

feats

def.
deafdot
___________
odd feat

The first cut

W
UU
W
UU
W
UU
W
UU
W
UU
W
UU
UU
W
UU
W
UU
W
UU
W
UU
W
UU

3ww3we3

3W

W3

WE 3


................................................................................................................................................................................................................................................................................................................................................................................................................................

PWETRY

The basket and the hallway,
The basket in the hallway
The hallway in the basket
basket in the hallway The
In the basket The hallway
In the hallway The basket
hallway in The basket the
basket the hallway The in
The in hallway the basket
The basket in the hallway basket

(x2)

ATNTATN

any
time
no
time
any
time
no

Sunday 14 December 2008

£0.99

PERFECT GIFT
'MY SIGN IS VITAL'
PERFECT PRICE
ONE BAND ONE ALBUM
PERFECT GIFT
JUST £5
PERFECT PRICE
WHAT DO I WIN?
PERFECT GIFT
NAP-TIME
PERFECT PRICE
EXCESS DIRT AND CRUMBS
PERFECT GIFT
DON'T PLAY WITH THE FACES
PERFECT PRICE
A LIFE OF NO SURPRISES
PERFECT GIFT
IDIOTS!
PERFECT PRICE
THEY CUT OUT THE BEST WORD
PERFECT GIFT
FEEL THE SEA BREEZE
PERFECT PRICE
THEY JUST HAD PUDDING
PERFECT GIFT
LIFE OF THE PARTY
PERFECT PRICE

Saturday 13 December 2008

Just not happening

Chairman, ok, cash -in.
It's your call
To even consider it,
even if it spells the end
On the day
To follow
It could kick us

Today

Every attempt to stay out of the kitchen,

Dating all the way back

Cut the cameras now,
Strictly
Pressure
Local Rivals
In contrast
Harder and harder
Seeen that this week

Last Week

Shall have to wait until tuesday,
Snooker Championships is not a good idea
The empty glass
Reading, instead of radio

Tuesday 9 December 2008

Q.A

Q: Why do I have to write an artist statement? It's stupid. If I wanted to write to express myself I would have been a writer. The whole idea of my art is to say things visually. Why can't people just look at my art and take away whatever experiences they will?

A: Artist statements are not stupid; they're more like essential. And you don't have to be a writer to write one. And people already look at your art and take away whatever experiences they will. Your artist statement is about facts, a basic introduction to your art; it's not instructions on what to experience, what to think, how to feel, how to act, or where to stand, and if it is, you'd better do a rewrite.

Pudding

WRITING YOUR ARTIST'S STATEMENT

You'll need pencil and paper, a dictionary, and a thesaurus.

STEP ONE: Assemble the Ingredients.

1. Take five minutes and think about why you do what you do. How did you get into this work? How do you feel when work is going well? What are your favorite things about your work? Jot down short phrases that capture your thoughts. Don't worry about making sense or connections. The more you stir up at this point, the richer the stew.

2. Make a list of words and phrases that communicate your feelings about your work and your values. Include words you like, words that make you feel good, words that communicate your values or fascinations. Be loose. Be happy. Be real. Think of these as potential seasonings for your stew. You don't have to choose which ones to use just yet, so get them all out of the cupboard.

3. Answer these questions as simply as you can. Your answers are the meat and potatoes of your stew. Let them be raw and uncut for now.

  1. What is your favorite tool? Why?
  2. What is your favorite material? Why?
  3. What do you like best about what you do?
  4. What do you mean when you say that a piece has turned out really well?
  5. What patterns emerge in your work? Is there a pattern in the way you select materials? In the way you use color, texture or light?
  6. What do you do differently from the way you were taught? Why?
  7. What is your favorite color? List three qualities of the color. Consider that these qualities apply to your work.

4. Look at your word list. Add new words suggested by your answers to the questions above.

5. Choose two key words from your word list. They can be related or entirely different. Look them up in a dictionary. Read all the definitions listed for your words. Copy the definitions, thinking about what notions they have in common. Look your words up in a Thesaurus. Read the entries related to your words. Are there any new words that should be added to your word list?

6. Write five sentences that tell the truth about your connection to your work. If you are stuck, start by filling in the blanks below.

When I work with__________ I am reminded that___________.

I begin a piece by______________.

I know a piece is done when__________________.

When my work is going well, I am filled with a sense of _____________.

When people see my work, I'd like them to ________________.

STEP TWO: Filling the Pot.

Write a three paragraph artist's statement. Keep your sentences authentic and direct. Use the present tense ("I am," not "I was," "I do," not "I did.") Be brave: say nice things about yourself. If you find that you falter, write three paragraphs about an artist whose work you admire. Then write about yourself as though you were an admiring colleague. As a rule, your artist's statement should be written in the first person. Refer to yourself with the pronouns "I, me, my." If this blocks you, write in the third person, then go back and change the pronouns as needed when you get to Step Four. Use the suggestions below to structure your statement. Write three to five sentences per paragraph.

First paragraph. Begin with a simple statement of why you do the work you do. Support that statement, telling the reader more about your goals and aspirations.

Second paragraph. Tell the reader how you make decisions in the course of your work. How and why do you select materials, techniques, themes? Keep it simple and tell the truth.

Third paragraph. Tell the reader a little more about your current work. How it grew out of prior work or life experiences. What are you exploring, attempting, challenging by doing this work.

STEP THREE: Simmering the Stew.

Your artist's statement is a piece of very personal writing. Let it simmer overnight before your reread it. This incubation period will help give you the detachment necessary to polish the writing without violating your sense of integrity and safety. While your statement simmers, let your mind wander over the ingredients you assembled in Step One. Allow yourself to experience the truth of your creative experience. Marvel at the wealth of seasonings and abundance of vegetables you have at your disposal. Enjoy the realization that your work is grounded in real values and experience. If you think of things you might have left out of your statement, jot them down, but leave the statement alone.

STEP FOUR: Taste and Correct the Seasonings.

Read your statement out loud. Listen to the way the sounds and rhythms seem to invite pauses. Notice places where you'd like the sound or rhythm to be different. Experiment with sounding out the beats of words that seem to be missing until they come to mind. Do this several times until you have a sense of the musical potential of your statement. As you read your statement, some phrases will ring true and others false. Think about the ones that aren't on the mark and find the true statement lurking behind the false one. You may find that the truth is a simpler statement than the one you made. Or your internal censors may have kept you from making a wholehearted statement of your truth lest it sound self-important. Risk puffing yourself up as long as your claims are in line with your goals and values.

Keep reading and revising your statement until you hear a musical, simple, authentic voice that is making clear and honest statements about your work. Refer to your word list and other Step One exercises as needed. By now your taste buds are saturated. You need a second opinion. Choose a trusted friend or professional to read your statement. Make it clear that you are satisfied with the ingredients on the whole, but you'd like an opinion as to seasoning. In other words, you alone are the authority for what is true about your work, but you'd like feedback on clarity, tone, and such technical matters as spelling and punctuation. Once you've incorporated such suggestions as make sense to you, make a crisp, clear original of your artist's statement. Sign and date it. Make lots of copies, you will have lots of people to serve it to!

STEP FIVE: Summon the Guests.

There's little point in concocting a fabulous stew if you don't invite anyone to dinner. Every time you use your artist's statement you extend your circle of influence and build new branches of the support network for making, showing and selling your work. Enclose a copy of your artist's statement whenever you send a press release, letter of interest to a gallery or store, or contact a collector. Send it to show promoters and curators. Enclose a copy with shipments of your work so it can be displayed wherever your work is exhibited. The rest of this manual will suggest many opportunities for using your artist's statement to express your truth and support your presentations.

STEP SIX: File Your Recipe!

Save all the notes and drafts that you've made. You'll want to revise and update your artist's statement from time to time to reflect changes in your work.

Still, it is likely that many of the underlying expressions of your authority will remain the same. Having access to the "recipe" for your original statement will help you generate better revisions and will give you a sense of creative continuity. Whenever you need copy (for announcements, packaging, exhibit catalogues, etc.) return to your warm-up exercises. The words and phrases there will help you write openly and honestly about your work. And repeating the exercises will help you chart new creative territory.

Statement of Research

I like to operate at the interface between art and science, between the proscribed and the ineffable. These days, I mainly work in paint, but sometimes it’s video, sometimes it’s music. It is an ongoing process of aesthetic experimentation, you never know what’s around the next bend, and frequently neither do I.

Often my subjects are scientists and philosophers, investigating the nature of stature and legacy, reputation and posthumous reward. Recently the majority of work has been in the form of painting, and an ongoing series of video works, but that could change at any time.

Monday 8 December 2008

Update

First draft - wednesday, 80 pages
Artist Statement - drafts needed, research/form
'The waiting room, brief'
Proposal - Theme, just mash
Target 35
Chile page, 'the economy of the south'

Titel

Politics of Experience
K.D Laing

Saturday 6 December 2008

Mess

Products


Services

Lingerie Changing Room, Customer Service Desk, Bakery, Customer Ordering - Clothing, Lingerie/Bra advisor, per una, Pay Phone, Bureau de Change, Wine Gift Ordering, Lifts, Customer Seating, Mens Changing Room, VAT back service, Beauty Hall, Customer Toilets, Limited Collection, Departmental Phones, Hearing Loop Tills, Cash Machine, Flower Ordering, Gift Registry, Wine advisor, Select Now, Pay Later, Womens Tailoring and Alterations, Reservations, Special Needs Pack, Blue Harbour, Womens Changing Room, Plus, Cashback, Collect By Car, Cake Ordering, Baby Changing Facilities, Personalised Cakes, Water Cooler, Leave It To Us - Food Ordering, per una due, Homeware, Caféevive, Sandwich Platter Ordering, Mens Tailoring and Alterations.


Store Events

There are no store events for this week.

BIOG

Painter, fabric designer and from 1957 maker of collages. Born 7 May 1931 at Basingstoke, Hampshire. Lived at Trebetherick, North Cornwall, till 1951; came to London, studied illustration at Goldsmiths' College 1951–2 and fabric design at the Central School 1952–5. First one-man exhibition at Gallery One 1957.


Details,
7 May, 1931 (77- 2008)
first exhibition 21 (1952)

Not, at my age

3 adverts

Change everything
Here we go
I've gotta find this man
This town is mine now
Guests arriving shortly
Crab canapes
Gorgeous fresh dinky credit

The only person who did not know
The disapearanace
DRIVE!
it's beautiful up here
It didn't matter
You lost me there
No

Then she was gone...

This is how you browse

17.01
Doctor!

17.02
Crikey what have I done.

(piped telephone)

BACK, WHY, SLIGHT CURVATURE - THAT IS ALL, WITH MY POOR BACK. WHAT DOES HE MEAN? YOU CAN BE SURE HE IS RIGHT. - THERE MUST BE SOMETHING. A SINGLE BRUISE, EXCUSE ME, NEXT OF KIN, OHNO, NOT YET. ANYDAY NOW, I'M ON THE VERGE. I HAVE A RIGHT TO KNOW. WE NEED THE BEDS, HE NEEDS A GOOD REST. ALRIGHT THEN ALRIGHT. A WEEK AT THE MOST I AM VERY SORRY

X-RAY

What about that then.
Owh!
Waaah!
What are you doing down there number 7?
Pwooah!
I will be with you in a moment (rational)
Cough, cough
I thought you'd like to smell it
Allright then, might as well
You can come in now

Novel A

Chapter 1

She didn't think she should leave that day.Amused by the possibilty of waiting for him, she ran a bath and

Cornurstone

4, 3, 3, 2
4,
3,
2

Concerto

%Hands on wooden hallway
Scream on TV
%Whah Whah!
Stiffled grunt, jarring sound

%"Release"

Horses & Horns
%Horsenhorn

Horse/ fanfare

%gunshoot
drama music

%Cough from the...

single fire

P / D

Freezing, I'm back.
Right
-black cloud?
(He was kidnapped by Gunners father)
We have him trapped now, get away from that fence.
I'll take the ...
/Siren

(Wail, clap, clip-clop)

Plathbook

Tuesday 2 December 2008

Ropling says:

"STOP GOING ON ABOUT THE DE-MATERIALISATION OF THE ARTFORM IF ALL YOU WANT IS AN ART OBJECT"

'ss' and z

This does not mean that this is a formula

Alte Art


Monday 1 December 2008

Letter, opener

He still might call... you can be off now but "there is something to be said for travelling light through life"
- you'll never get a chance for true love. I'm on my way to France do you want any of this? I thought you were going to help me get supplies.

Have you seen my watch anywhere,I thought Suzie was getting breakfast, I want bacon and eggs, jump to it!

peace all night can't turn it off so what do you want to do then? A bit of shopping
Shut up and let me think. Let me get one thing straight ok.

Come on, you'll be late for school

You all set? Some extra pairs of nickers in a bin bag style. A new one and I've got arrested before our big trip
- You are mad.
Listen we've got loads of time to do this like an advert off the telly.

'Como estas muy bien gracias' been learning it at school book the tickets where did you get that we've got to book the tickets now pay it back before the bill even comeswhat if the money is found missing it will be worth it

Um if you can give 20 to peter make sure she doesn't sell in our cafe christmas is about giving not fleecing money out of people swap I'll do this one Come on bobby

What are you talking to him for? Forget it and anything else is that it.

Hey just so you know I'll set up that last order easy for you and hard for me

What about this one, its not exactly quality, have you got any decent knockoffs I'll be cruising round paris or is it rome on Friday

I'm the one sitting here waiting talking about books and poetry cheers sorry It don't take a genius and you won't fail lets get start look over this line here the hall till later Romeo Romeo where are you Romeo you could have sent me a text or something I am not an idiot

two minutes ok all the same

Rule

Discussion and other material on the website is for your personal use. You may in any way make commercial or other authorized use, by publication, re-transmission, distribution, or otherwise, of material obtained through the website, except as not permitted by the Copyright Art or other law.

Surrounded

The History of Chile, Rector, palgrave, opened DL envelope, mug 'gwersyll LLANGRANOG', mug 'LOTR', the car without the girl, Squeezable honey (empty), Sharwoods Mango Chutney (empty), mug 'Brecon mountain railway', Wineglass stained.