Posts Tagged ‘thinking’

Thoughtful accidents

Monday, January 21st, 2008

I have been corresponding with my friend Jeff recently about the implications of this post from a little while ago. He brought up a good argument that in light of how the post was written makes a lot of sense. Essentially his contention came with my use of the the word thought, or rather the necessity of “thinking” in art. His reading of my words came down to me espousing the pre-thinking of a work through to its conclusion without variance. In this sense I wholeheartedly agree with him.

Because, he points out, the accidental or the “mistake” is one of the greatest elements of the creative process. When a plan for a work is set in motion and some rupture or other occurs that breaks the flow and redirects the work into another direction the artist must be able to respond to this situation or the work begins to falter. Not only do I think this is good, I think it necessary. At the same time it means thinking through the whole meaning of a work such that when those moments arise, the challenge can be met.

Thinking need not be an abstract intellectual pursuit either. I use the word thinking in a broad sense here as a reasoned awareness towards the work. After all, I have been violently accused of being unthinking in the past because of my belief in the importance of action before theory. Becasue theory must be grounded in practice. The former derived from the latter.

One of my favorite artists is John Cage whose work centers around the unknown, the accident. His works allows for accidents to occur within a clearly designed and well thought out framework. In so doing he allows for random ruptures to occur, while at the same time intelligently thinking through the entirety of the work.

Randomness is something I not only enjoy but encourage in my own process. Although much of my training had to do with figuring through every detail of a design, I like to construct my light plots such that there is a lot of flexibility in them. During the process for any play some preconceived notion is going to fail. It just happens. That is the nature of the work itself. By allowing for sufficient movement within a predetermined structure, when these moments inevitably happen, they can be responded to quickly and intelligently rather than causing the entire process to break down.

Making space for the inevitability of accidents allows a work to grow in response to its environment. It makes the whole thing dynamic and expansive in a very necessary way. How these allowances are made and what happens when accidents arise necessitates a strong visionary thinking artist to best craft the situation to enhance the work as a whole.

Collect my bank, listen to Shabba Ranks

Wednesday, November 22nd, 2006

The translation for the opera plot is going slower than I had anticipated. The changes in the scenery are minor, but just enough to foul a few things and start to get frustrating. Plus my drafting program has been acting buggy of late. I spent almost an hour trying to get some striplights to behave properly in the program and finally gave up and drew them in the no-fancy way. Perhaps I’ll go back and fix it when I am in a less frustrated mood.

A Picture Share!

Music has been on my mind a lot recently. It often is but there has been a renewed interest on my part. I had relegated Reggae to a genre of only a few songs that were not ruined by all the hippies in college. But living in Flatbush, a West Indian and Jamaican neighborhood, the music has taken on a whole new character. It is the folk music, and it comes out of all the shops. Reggae and Reggaeton and Dub. It is kind of fantastic and has renewed my own interest in Caribbean music.

An ambient electronic song came on the iTunes and I realized how little of this I have anymore. About four years ago I went back to California for a summer. I brought with me only hip-hop, downtempo electronic and ambient CD’s. It was what I listened to almost exclusively at the time and I was planning on spinning records at a party or two. Then one night my car got broken into and the CD book was stolen from it. Most of the music was obscure imports and indie label stuff that is really not replaceable. Certainly not now when I have forgotten the names of many of those artists.

Losing almost one hundred CD’s put the breaks on my music collecting. I shifted into classical and opera because I had to listen to various things for school. No more contemporary music. At least for a while. I still don’t buy new CD’s but it is more of an economic issue than anything else and I have ethical problems with stealing it off the internet, so I don’t. My new musical exploration has been limited things offered for free on the web, but largely I just go through my rather large music collection listening to the whole thing on random shuffle.

Who would have ever thought that David Bowie and Frank Sinatra would go together.

light_render_test

I might have an interesting dance project happening in January. it’s too early to say much, but if it happens I will be very excited. There are logistics galore to work out, but we are hopeful.

Something in my conceptual thinking is beginning to gel. Something elusive. I am not sure what it is and do not really have words yet to describe it. It is a new way of looking and and interpreting performance but I lack the vocabulary to explicate the situation linguistically. So I remain vague.

I have been going through a very systematic if not scientific phase of my lighting work. I feel that is coming to an end. I feel a return to a more intuitive sense of light that I had rejected in place of a more scientific approach. This new transition is not to another extreme. At least it does not feel that way at the moment. More a synthesis of two previously antagonistic currents of my own conceptual and artistic thinking. The dance piece in Williamstown will be more of an experiment into this new way of thinking. Adele will still be in the current status quo. It’s not the right piece to begin experimenting on. It’s too grounded in prose.

Alright. Back to the drafting.

Authentic Categories

Monday, June 5th, 2006

When Jean-Paul Sartre called Che Guevara “the most complete human being of our age” he saw a man who had no inner conflict regarding his world view and aspirations, whose every action made manifest the ideals he lived with inside himself. One may like or dislike Che. They may agree or disagree with any number of things the man did. Che was a highly complicated individual yet he was clear within himself of not only his own personal goals and aspirations, but of what was needed to create a more perfect world. He lived entirely by the ideals he espoused.

This is what we are referring to when we talk of authenticity. The individual is not judged as though a criminal. There is no punishment for wrong doing. Living authentic or inauthentic lives is of no normative concern. It holds no moral weight. No position authentically exists from which one could condemn. Rather, the point of import is within ones self.

Zay Amsbury asks “How does the “come from” of an artist determine their authenticity?” This is a simple enough. It is everything. In one section of his Indeterminacy John Cage relates a Buddhist teaching. The student asks “If the mountains are still mountains and the trees are still trees, then what is the difference before enlightenment and after?” To which the teacher replies, “No difference. Except that the feet are a little bit off the ground.”

In this way we see that the actions themselves may be no different in any formal sense. The wood is still chopped the water still carried, yet for one it is like floating. In the same way, one is always historically determined as regards their prima facia modes of thought and action. One can always act inside of history. One can always follow the path determined y history. Ernesto Guevarra could easily have become a successful Physician healing the rural poor. But few can act outside of history. Or more to the point, few can act with no regard for their ontological historicity because their every action (re)creates it every moment, in every breath.

As I said, “there has been a substantial transformation in Humanity’s mode of existence due to the transition from an industrial to a post-industrial economy. And this transformation encapsulates the arguments of Benjamin and places them within a specific socio-historical context that we label the ‘past.’ ” The very basis for authentic action has shifted. The world historical ‘come from’ is something wholly new and unique to our age. Any attempt to understand the basis of human agency without placing it within this socio-historical context will only be a partial analysis.

It is this shift in the very basis of ontological potentialities that alter the potentials for authentic action. Zay and I both seem to agree that the authentic exists within experience. In the final analysis we find there is nothing beyond experience. I am therefore I think, is a better way of looking at the situation. Thought is just an experience, it is not a mode of being. How one thinks is determined by ones mode of Being. Ones mode of Being then determines one’s experience.

However, the shift in the soil upon which and in which that experience is rooted determines how the experience is experienced. For authenticity is based in moments of direct unmediated experience. It is the action taken by that pre-linguistic self that knows and thus acts. This is highly separate from the inauthentic being who thinks and then acts based upon thought. ‘I think therefore I am’ may well have caused more damage to Western thought than the loss of the the library at Alexandria.

To base ones actions upon thought rather than raw experience is to place a filter on true understanding. In thought all the sensory world becomes like nothing as it slowly reduces to signs and signifiers falling further and further away in a sea of referents. To reclaim that original experience becomes an imperative. To reclaim that original experience is to reclaim the soul. That first breath of air or gush of wind. To find that place of action and understanding that we had before language made us forget. That is the path towards authenticity.

Language is an amazing technology. But too often and too easily do we become ensnared in its mesh and rather than determining the course of language, we allow language to determine our actions. Benjamin’s notion of the Authentic in light of Mechanical Reproduction begins down the path and then gets caught in the trap of its own linguistic structures. It becomes unable to see the very thing it critiques causes the entire field of reality to shift. The very basis upon which we act has shifted due to the rise of the photograph and the film and the many technologies that came after. We have undergone numerous paradigm shifts in the intervening years. And as a result we must be ready to look at the potentials of authentic action from within a wholly new conceptual framework.


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