the book of practice-part ii

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series 6: research programthe book of practice part ii

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the practice of the individual

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the series 6-research program is based on a time

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central station politicsart




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the series 6-research program contains the following thoughts

book of job

trojan war (the idea of being enclosed)

large dominating piece of art (seurats grand jatte)

religious painting (oppression and the thought of no absolute truth)

genesis 22: abraham commanded to offer isaac

portraiture

history of art as a research program, the art history-research program

the idea of what can be done has been done

theory must have contact with paintings

celebrity movie stars as a research program, celebrity-research program

science as a research program, the science-research program

technology from five years ago at the time was modern, new and fashionable. now it looks old, outdated. why? the research program has grown beyond that original point

series 6-research program is based on a hexagon

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central station politicsart research programpolitics

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creativity is to consider what is new. (new facts can be added to the research program)

aesthetics is to judge how the facts fit into the research program

science is the analysis of the facts in the research program (deduction)

must do the i/d twist (see series 5 research program)

basic idea is that the i/d twist expands the research program

want to experiment with new techniques of applying paint and ink onto the glass

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virgin untouched layer virgin untouched layer virgin untouched layer

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some aspect of the series 6-research program should have the feel of the german expressionists woodcuts

critique of don gill: gill essentially uses the research program process. the gallery is the research program; new data (information collected on his walks) enters the research program (or gallery). this data is analyzed and the next step decided

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ntr a politicsresearch program

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gill and the series 6-research program both say the same thing: research programs are in constant flux

how similar are the ideas of gill to the series 6-research. both contain ideas about flux and documentation

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research programno. 6- religion

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gill does show the robustness of the research program idea; can the idea of research programs be applied to other different situations?

problem is theoretically, you can draw a line between gill and the series 6-research program; they both can be made to mean the same thing (even though at a glance, they are in fact quite different)

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context is important, without context can something be anything at all?

think about the painting from the surface up, from its first conception to the fully developed series 6-research program

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what is history?

happening or the event (image)day by day account of happenings (history book)

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By his power the sea was made quiet; and by his wisdom Rahab was wounded.

BBE: By his power the sea was made quiet; and by his wisdom Rahab was wounded.

Am I a sea, or a sea monster, that you put a guard over me?


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happenings: could be written, oral, painted or what is preserved, artefactshistory book: narrative of these happenings

when we create any image or painting, is it based on a theoretical substratum?

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Am I a sea, or a sea monster, that you put a guard over me?research programpolitics










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is theoretical intent enough to produce a painting of merit? is a painting a good enough representation of theory? (why produce a painting at all?)

is history what happened? or what historians tell us what happened?(is history, theory, or actual events like images?)

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karl marx (1818-1883) men make their own history, but not in the circumstance of their own choosing

history reflects the choices of individual or groups; it also reflects constraining circumstances and structures

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history is neither determined by cause or is it entirely accidental

history is very dense, so many people who commit so many actions, how can we measure or document all this?

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there is no perspective free history; it inherently depends on the observers interests

history is cognitive; we use facts in the present, written records, oral history and artefacts

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we create, interpret, fictionalize, mythologize and valorize the past

giambattista vico (1668 1744): offers the view that there is an underlying uniformality in human nature across historical settings that permits explanation of historical actions and processes

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johann herder (1744-1803): human nature is a historical product, human beings act differently in different periods of historical developments

georg hegel (1770-1831): regards history as an intelligible process moving towards a specific condition, namely freedom

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historical objectivity: is it possible for historical knowledge to objectivity represents the past? or do forms of bias, omission, selection and interpretation make historical representation dependent on the perspective of the individual historian?

causation in history: what is the role of casual ascriptions in historical explanation. can we identify casual connections between historical events? (although history very dense, impossible to find all causes?)

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the philosophy of history of the 1970s become influenced by postmodernism and french literary theory, these philosophers emphasize the rhetoric of historical writing, the non-reducibility of historical narratives to a sequence of facts. (hayden white (1928-) metahistory)

this new way, emphasized narratives instead of causation

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the series 6-research program is a history book that contains within its pages a sequence of text and images

is this not just a sequence of facts, and the paintings just a representation of one of these facts? (where one painting in the sequence, is represented by one page of the book)

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why make a painting at all, why not exhibit a chair instead; a chair is a representation of an event or fact. if everything is just a series of events or facts and a painting a representation of one of these facts, why do we prefer one fact (or painting) to another?

history as the past or history as an account of the past? (how are these two points different?)

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what is history? is it just the past, what happened before now?

post modernists ask what is significant; who or what is worthy of the historians attentions (what subject matter is worth the attention of an artist). might say big events or celebrates, for example wars or movie stars. but why only consider the big events and stars, what about the history of a specific, working class person. is this not interesting?

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description: describes what happened, nothing more; bookkeepingexplanation: must do more then describe, must look for causes

there is no centre of meaning

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what historians are confronted with are fragmentary accounts or traces of the past. these are not facts, but are what other people thought was important from their given perspective

problem with history is that our account of the past is always incomplete. we cannot document everything. unfortunately historians rely on these records to provide an accurate account of the past. since the past has gone, never to return, we cannot accurately check our account of it

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hermeneutics: the art and science of interpreting authoritative writing, like the scriptures

historical representations are always incomplete. what then is the historians motivation for continuing this pursuit, as this task appears pointless? do we need a new way to think about history?

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derridas deconstruction destroyed the epistemological investigation of history

deconstruction destroys any hint of the teleological (or end game) scenario for history

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history is not a course set in advanced, headed towards telos as a future-present, a foreseeable, planned, programmable anticipated future. history instead is to set sail, without a course, open ended and non-teleological. history for derrida is an event, a happening, breaking out and tearing up the circular course of time

when something new occurs, always a surprise, a shock, (i did not see that coming!)

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the impossible is not the logical contradiction of the possible; it is hope against hope, faith

deconstruction is as close to this hope against hope as possible, beyond deconstruction there is something un-deconstruction to come

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the experience of the impossible is the least bad definition of deconstruction.

deconstruction is passion or a prayer to the impossible. deconstruction runs up against the limits of what can never be present, to go where we cannot go. derrida says there is never any arrival or final destination, for if there was this would be catastrophic (everything would be complete, we would know everything)

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the historian is driven by passion, a radical desire and faith to see and understand

is the series 6-research program about passion, faith and the search for the impossible?

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how does passion relate to practice?

the impossible can also go by another name, diffrance. diffrance like the impossible is deferral, in this case the full-saturated meaning of words never arrive

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a decision must do through the terrifying experience of undecidability, or not knowing, otherwise it will not be a decision. when the decision is made, we leap beyond what we already know

not knowing what to do, does not mean that we have to rely on ignorance and to give up on knowledge. a decision must be prepared as possible by knowledge, by information, by infinite analysis. at some point for a decision to be made, you have to go beyond knowledge, do something you dont know, something, which does not belong to, or is beyond the sphere of knowledge. you make a leap beyond the field of knowledge, a leap of faith

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is the point of the impossible to make us intolerant of structures around us, to offset compla-cency and to heighten our sensitivity to those who suffer injustice?

diffrance does not wipe out the real world, steal it from under our noses, or lock us in a prison of signifiers; it simply attaches a co-efficient of contingency

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deconstruction is not out to deny something exists, but only to show the difficulty we have nailing down anything in a definitive way. this is the difficulty we have with all historical representations, science, art and even philosophy

historical representation is thus an on going process, never to be completed, with no foreseeable end in sight

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the book of practice-part ii

Documents

research program deduction

research program process

research program aesthetics

art historyresearch

research program basic

new facts

new techniques

section i118the series