Hallie Ford School of Graduate Studies
Images taken from http://pica.org/event/cmon-language-ct-cr-collective/ (from left to right: Paul Klee, Angelus Novus, 1920; Walter Benjamin, circa 1928)
Portland Institute for Contemporary Art (PICA)
415 SW 10th Avenue, Suite 300
Portland, Oregon 97205
Friday, June 21, 2013
Come If You Dare
Presented as part of Anna Craycroft’s C’mon Language project and the TBA:13 Festival
A series of 12-15 mini-presentations and performances, 1-5 minutes apiece, whether funny, sad, tragic, or silly, but never indifferent, led by members of PNCA’s Critical Theory and Creative Research Collective under the title of its esteemed guest-lecturer series “Come If You Dare.” The task is to determine the stakes of the battle raging (often unacknowledged as such and, indeed, often imperceptibly) between process and telos at various levels of existence and to translate those stakes into felt reality. It’s a matter of time—how to deal with it, make it pass, fly, or stand still, speed up or run like molasses. Thought is a time-based art, but what happens to both time and thought without the notion of beginnings and endings, the model no longer perhaps being the span of human life? How are we to live under these conditions?
Performances will be followed by a discussion based on selected texts by Flusser, Bachelard, Arendt, Whitehead, and Lefebvre, during which we will consider a number of related distinctions and, sometimes, apparent binaries—continuity and discontinuity, chance and necessity, process and proceduralism, unity and chaos, the archaic and the contemporary, chickens and eggs, thought and cognition, activity and action, theory and practice, crisis and critique, code and communication, reality and aesthetics, and so on, . . . the gaps and dyssynchronies between “Let’s just keep going” versus “So what?” and “What’s your question?” and “How do we get from point A to point B, and what for?”
examples (audience members are encouraged to bring in their own)
Manuals of diverse types (particularly, those devised for the effective operation of machines, apparatuses, and gadgets), connect-the-dots exercises (executed by answering questions or guessing answers correctly, preferably in the correct order), typing exercises, micro-mark-making art, prayer books, cookbooks, hymnbooks, punch cards, 12 Step Programs, calorie counters, train schedules, infant-feeding schedules a la Dr. Spock, schedules of tides and phases of the moon, monastic schedules, calendars, clock and watch and timepiece-jewelry designs, Star Trek logs, C++ tutorials, how-to books, point systems, checkbooks, grammar workbooks, habits, wake-up rituals, syllabi, Monopoly, baseball, horoscopic charts, crossword puzzles, the 12 Stations of the Letter of the U.S. Post Office, Robert’s Rules of Order, Spam, 6-Minute Abs, 84 Asanas (3 hours on average), Instructibles.com, the Heimlich Maneuver, Farmers’ Almanac (Grow Your Life), Samplers, the Scientific Method, student loan repayment schedules, magic shows, sushi trains, tv dinners, GMOs, Police Procedurals, Judge Judy, CSI, Columbo, Law & Order, How It’s Made, Iron Chef and every other cooking show
texts: Vilém Flusser, “On the Theory of Communication,” Writings; Gaston Bachelard, “The Instant,” Intuition of the Instant; Henri Lefebvre, “Continuity and Discontinuity,” Critique of Everyday Life: Foundations of a Sociology of the Everyday, volume II; Hannah Arendt, “The Two-in-One,” The Life of the Mind; Alfred North Whitehead, “Civilized Universe,” Modes of Thought; Henri Lefebvre, “Music and Rhythms,” Rhythmanalysis
Had we but world enough, and time: George Orwell, “The Prevention of Literature”; Jakob Johann von Uexküll, A Foray into the Worlds of Animals and Humans: with a Theory of Meaning; Philip K. Dick, “The Evolution of a Vital Love”; Aristotle, On the Part of Animals; Franz Kafka, A Hunger Artist; Susanne Langer, “Symbolic Transformation”; E. H. Gombrich, “The Visual Image: Its Place in Communication”; Francis Bacon, The New Organon; RAND Corporation, A Million Random Digits with 100,000 Normal Deviates; Bruno Traven, The Death Ship; Mark Coeckelbergh, “You, Robot: On the Linguistic Construction of Artificial Others”
The 2012/13 CT+CR Collective is composed of Anne-Marie Oliver, Barry Sanders, Joan Handwerg, Marie-Pierre Hasne, Nicole Smith, Marshall Astor, Carmen Denison, Peter Falanga, Andre Fortes, Dustin Freemont, Val Hardy, Lauren Heagerty, Hannah Horovitz, Evangelina Owens, Mel Ponis, Kevin Smith, Mohammed Usrof, Brooke Wendt, and Chloé Womack.
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