Just found this on Gerda Steiner and Jorg Lenzlinger's site, Soph and Chloe you might be interested.
Monday, May 31, 2010
Soph & Chloe
Just found this on Gerda Steiner and Jorg Lenzlinger's site, Soph and Chloe you might be interested.
Sunday, May 30, 2010
Friday, May 14, 2010
Hey guys, so I spent the whole day ringing and texting Alex's parents and for some reason they were not responding even though I had organised a time to see him this afternoon so I'm not really sure what to do. I am going to see my dad tonight so I thought I might go through the images with my sister Ruby who is also 9 as a back up and try and get hold of Alex's parents again tomorrow. Does anyone have any ideas about what I should do? It's pretty frustrating really.
Thursday, May 13, 2010
Hey guys!
Sorry haven't had much of a chance to get on the net but the layouts an things so far look good.
The Biennale is awesome!! Everyone should def head over to see it if they have the chance. There's so much to see an I still haven't seen it all yet but will fill ya in when I get back.
One thing I noticed though, is that on the inside fold out cover of the biennale catalogue there's a star map which maps all the artists in the exhibition. Interesting huh...
Anyways hope all is going well, let me know if there's anything I need to do.
I'll cya all Monday.
Rach
Wednesday, May 12, 2010
Title Pages
Here are the Title Pages as they stand thus far.
What are the thoughts and feelings on the line running through the Heading and sub-heading?
I wasn't sure how long or short to make it, instead kept it consistent right through.
For the title page named Plates (Artworks), are we satisfied with that name? I didn't have all
the artworks with we so I just included some to give us an idea of what it might look like.
The gutter for the title pages I made 30mm instead of the 20mm we had. Reason being when you page through the booklet you don't want the border to sit flush on the edge of the gutter in effect hiding it.
Tuesday, May 11, 2010
Black headed matches
Hi all, I was wondering if anyone knows where I might be able to get some black headed matches? Any ideas?
Monday, May 10, 2010
New text from Aditya
Myth, Meaning, Interpretation
Aditya Malik
What makes a particular story a myth? What is the meaning of a myth? How do we interpret myths? As a genre, myth belongs to a set of narrative types that include legends, epics, folk-tales, fables, riddles and so on. Invariably though, in the common imagination, myth is contrasted with narratives that have a historical content. Myth and history are two extremes of a binary spectrum that underlies the analysis of Judeo-Christian textual traditions, particularly biblical scripture. The need for this distinction arises from a particular anxiety to ascertain the ‘truth’ behind textual claims. ‘Truth’ and ‘fact’ are made identical in this context. History deals with ‘truth’ and ‘fact’ in the sense of ‘what really happened’. Myth, on the other hand, deals with the opposite spectrum of everything that is imaginative and fantastical. Not all cultures, however, draw such a clear demarcation between myth, history, legend etc. The boundaries between ‘fact’, ‘history’ and ‘imagination’ are blurred. In India, for example, the great Sanskrit epic called the Mahabharata is classified as belonging to the narrative genre of ‘itihasa’ which means ‘that which took place’. The epic, which is several times the length of the Greek Iliad and Odyssey put together, would, from a western perspective, be classified as myth or legend because of its predominantly imaginative fabric. But in the Indian context it is clearly ‘history’ as ‘that which took place’.
To call one story a myth and another history, therefore also involves the politics of labelling and representation. Who has the authority to claim this distinction when we examine and read narratives? Who has the authority to label narratives of other cultures as myth, history, legend or epic? For the sake of argument, even if we continue with the separation between myth and history, it is still not clear what myth is. Is there a specific quality to a story that makes it a myth? Do myths have a particular structure to them? Clearly, when we read certain stories we feel ourselves in the presence of something that has great depth and complexity. We feel convinced that these stories could not have been composed by a single individual or author, they seem to transcend individual authorship, speaking to a shared, collective experience of being human. These stories express our deepest dilemmas and fascinations through characters and images that we feel belong to us on some deeper level. From one perspective these stories need no interpretation – they communicate in a direct manner about the experience of being human that cannot or does not get articulated in our everyday lives. The stories that we call myths have the ability to touch us in deep ways by expressing something that accompanies us in our daily lives as a constant unarticulated, unspoken, almost silent presence. And, yet, from a scholarly perspective there is a need to understand and interpret those stories we call myths.
Claude Levi-Strauss approaches this question by posing a structural analysis to myth (Structural Anthropology, 1958). Myths according to Levi-Strauss can be laid out and understood in terms of sets of binary oppositions, for example, god-human, hunting-agriculture, wilderness-settlement, female-male, life-death, cold-hot etc. These binaries are embedded, so to speak, within the story and characters of a myth and transcend the particular context of a community, tribe or society. Levi-Strauss takes pains to understand myths on their own terms through their underlying structure rather than in sociological or psychological terms while looking for sets of universals that go beyond specific cultural or historical contexts. In other words, he is interested in a non-contextual interpretation to myth rather than looking at the meaning myths gain by being performed, for example, in rituals or by being told and transmitted in other cultural and social contexts within a particular community. Although his approach to myth is structural, Levi-Strauss develops the idea of the bricolage and bricoleur as a way of understanding how myths are created and recreated (The Savage Mind, 1962). A bricolage is an assembly of seemingly discontinuous, and, therefore, unstructured objects that are put together in an improvised but meaningful way. Someone who has the ability to put different objects into a coherent whole is a bricoleur. Levi-Strauss argues that ‘myth-makers’ are bricoleurs putting together disparate bits of meaning into a narrative whole that then provides a structure to a myth. Thus while the assembly of myth follows an improvisational sequence as opposed to a planned model, a particular myth itself coheres around a structure or pattern that is given by binary pairs.
The performance of myths and their shifting historical situatedness raises the important question of meaning and interpretation. In opposition to Levi-Strauss’s structural view that has the potential to ‘freeze’ the meaning of a myth, is the view that myth emerges in specific historical and social situations that allow its meaning to alter and transform. Older layers of meaning are, however, not lost in the new interpretation. As Hans-Georg Gadamer (Truth and Method, 1960), in his critically influential work on hermeneutics points out, there is a persistence of meaning through time by a process of what he calls ‘historically effected consciousness’ (‘wirkungsgeschichtliches Bewusstsein’). New readings of a text do not completely erase preceding interpretations of a text. New interpretations are, in fact, built on preceding ones. The meaning of a myth or for that matter other texts and narratives are embedded in layers or spirals of interpretation that move up and down through a funnel of time and place or Zeitgeist. Perhaps myths resist being pinned down precisely because of their tremendous depth and complexity, allowing for ever-expanding configurations of meaning and interpretation.
Aditya Malik
What makes a particular story a myth? What is the meaning of a myth? How do we interpret myths? As a genre, myth belongs to a set of narrative types that include legends, epics, folk-tales, fables, riddles and so on. Invariably though, in the common imagination, myth is contrasted with narratives that have a historical content. Myth and history are two extremes of a binary spectrum that underlies the analysis of Judeo-Christian textual traditions, particularly biblical scripture. The need for this distinction arises from a particular anxiety to ascertain the ‘truth’ behind textual claims. ‘Truth’ and ‘fact’ are made identical in this context. History deals with ‘truth’ and ‘fact’ in the sense of ‘what really happened’. Myth, on the other hand, deals with the opposite spectrum of everything that is imaginative and fantastical. Not all cultures, however, draw such a clear demarcation between myth, history, legend etc. The boundaries between ‘fact’, ‘history’ and ‘imagination’ are blurred. In India, for example, the great Sanskrit epic called the Mahabharata is classified as belonging to the narrative genre of ‘itihasa’ which means ‘that which took place’. The epic, which is several times the length of the Greek Iliad and Odyssey put together, would, from a western perspective, be classified as myth or legend because of its predominantly imaginative fabric. But in the Indian context it is clearly ‘history’ as ‘that which took place’.
To call one story a myth and another history, therefore also involves the politics of labelling and representation. Who has the authority to claim this distinction when we examine and read narratives? Who has the authority to label narratives of other cultures as myth, history, legend or epic? For the sake of argument, even if we continue with the separation between myth and history, it is still not clear what myth is. Is there a specific quality to a story that makes it a myth? Do myths have a particular structure to them? Clearly, when we read certain stories we feel ourselves in the presence of something that has great depth and complexity. We feel convinced that these stories could not have been composed by a single individual or author, they seem to transcend individual authorship, speaking to a shared, collective experience of being human. These stories express our deepest dilemmas and fascinations through characters and images that we feel belong to us on some deeper level. From one perspective these stories need no interpretation – they communicate in a direct manner about the experience of being human that cannot or does not get articulated in our everyday lives. The stories that we call myths have the ability to touch us in deep ways by expressing something that accompanies us in our daily lives as a constant unarticulated, unspoken, almost silent presence. And, yet, from a scholarly perspective there is a need to understand and interpret those stories we call myths.
Claude Levi-Strauss approaches this question by posing a structural analysis to myth (Structural Anthropology, 1958). Myths according to Levi-Strauss can be laid out and understood in terms of sets of binary oppositions, for example, god-human, hunting-agriculture, wilderness-settlement, female-male, life-death, cold-hot etc. These binaries are embedded, so to speak, within the story and characters of a myth and transcend the particular context of a community, tribe or society. Levi-Strauss takes pains to understand myths on their own terms through their underlying structure rather than in sociological or psychological terms while looking for sets of universals that go beyond specific cultural or historical contexts. In other words, he is interested in a non-contextual interpretation to myth rather than looking at the meaning myths gain by being performed, for example, in rituals or by being told and transmitted in other cultural and social contexts within a particular community. Although his approach to myth is structural, Levi-Strauss develops the idea of the bricolage and bricoleur as a way of understanding how myths are created and recreated (The Savage Mind, 1962). A bricolage is an assembly of seemingly discontinuous, and, therefore, unstructured objects that are put together in an improvised but meaningful way. Someone who has the ability to put different objects into a coherent whole is a bricoleur. Levi-Strauss argues that ‘myth-makers’ are bricoleurs putting together disparate bits of meaning into a narrative whole that then provides a structure to a myth. Thus while the assembly of myth follows an improvisational sequence as opposed to a planned model, a particular myth itself coheres around a structure or pattern that is given by binary pairs.
The performance of myths and their shifting historical situatedness raises the important question of meaning and interpretation. In opposition to Levi-Strauss’s structural view that has the potential to ‘freeze’ the meaning of a myth, is the view that myth emerges in specific historical and social situations that allow its meaning to alter and transform. Older layers of meaning are, however, not lost in the new interpretation. As Hans-Georg Gadamer (Truth and Method, 1960), in his critically influential work on hermeneutics points out, there is a persistence of meaning through time by a process of what he calls ‘historically effected consciousness’ (‘wirkungsgeschichtliches Bewusstsein’). New readings of a text do not completely erase preceding interpretations of a text. New interpretations are, in fact, built on preceding ones. The meaning of a myth or for that matter other texts and narratives are embedded in layers or spirals of interpretation that move up and down through a funnel of time and place or Zeitgeist. Perhaps myths resist being pinned down precisely because of their tremendous depth and complexity, allowing for ever-expanding configurations of meaning and interpretation.
Friday, May 7, 2010
Thoughts and feelings?
For those who weren't able to come to uni today some of us did a wee group design sesh and came up with this for the essay layout, obviously open for changes depending on the text we get etc. What does everyone think? Also I had to leave early, what happened with the title layouts?
Wednesday, May 5, 2010
Monday, May 3, 2010
Hey guys, here are the minutes for yesterday. Please check them as I'm not a 100% sure they are accurate.
Minutes for the 3 May 2010:
Exterior: (outside of French Wallet)
1. Investigate just using photographs (If possible use the landscape format) with Image credits. The image should creep over slightly on to the other page.
2. On the flip side still include the Bibliography of the artifact.
3. Pages should include page numbers to make the contents page relevant.
Interior:
4. Use Portrait format for the inside, a single narrow column. This should include pdf. information Tessa provided us and also an Artist Bibliography (Artist C.V.).
5. For the inside try different typefaces but it should be (mono spaced) and a point size of either 9 or 10.
The rest of the Catalogue
6. Title Page: use Bodoni typeface. - 8 or 10 pt
7. Heading: use Bodoni typeface.
8. Determine who has the most and least amount of writing and information, compare in order to establish the grid.
9.Writings/Essay - create a new grid for this to go over a spread (2pgs). Use place holder text of a 1000 words.
For Alex
10. We are going to show him images of the pdf. we were given. For the films we will try to show him as many stills as we possibly can.
Minutes for the 3 May 2010:
Exterior: (outside of French Wallet)
1. Investigate just using photographs (If possible use the landscape format) with Image credits. The image should creep over slightly on to the other page.
2. On the flip side still include the Bibliography of the artifact.
3. Pages should include page numbers to make the contents page relevant.
Interior:
4. Use Portrait format for the inside, a single narrow column. This should include pdf. information Tessa provided us and also an Artist Bibliography (Artist C.V.).
5. For the inside try different typefaces but it should be (mono spaced) and a point size of either 9 or 10.
The rest of the Catalogue
6. Title Page: use Bodoni typeface. - 8 or 10 pt
7. Heading: use Bodoni typeface.
8. Determine who has the most and least amount of writing and information, compare in order to establish the grid.
9.Writings/Essay - create a new grid for this to go over a spread (2pgs). Use place holder text of a 1000 words.
For Alex
10. We are going to show him images of the pdf. we were given. For the films we will try to show him as many stills as we possibly can.
Minutes for 3 May 2010
Hey guys, here are the minutes for yesterday. Please check them as I'm not a 100% sure they are accurate.
Minutes for the 3 May 2010:
Exterior: (outside of French Wallet)
1. Investigate just using photographs (If possible use the landscape format) with Image credits. The image should creep over slightly on to the other page.
2. On the flip side still include the Bibliography of the artifact.
3. Pages should include page numbers to make the contents page relevant.
Interior:
4. Use Portrait format for the inside, a single narrow column. This should include pdf. information Tessa provided us and also an Artist Bibliography (Artist C.V.).
5. For the inside try different typefaces but it should be (mono spaced) and a point size of either 9 or 10.
The rest of the Catalogue
6. Title Page: use Bodoni typeface. - 8 or 10 pt
7. Heading: use Bodoni typeface.
8. Determine who has the most and least amount of writing and information, compare in order to establish the grid.
9.Writings/Essay - create a new grid for this to go over a spread (2pgs). Use place holder text of a 1000 words.
For Alex
10. We are going to show him images of the pdf. we were given. For the films we will try to show him as many stills as we possibly can.
Minutes for 3 May 2010
Hey guys, here are the minutes for yesterday. Please check them as I'm not a 100% sure they are accurate.
Minutes for the 3 May 2010:
Exterior: (outside of French Wallet)
1. Investigate just using photographs (If possible use the landscape format) with Image credits. The image should creep over slightly on to the other page.
2. On the flip side still include the Bibliography of the artifact.
3. Pages should include page numbers to make the contents page relevant.
Interior:
4. Use Portrait format for the inside, a single narrow column. This should include pdf. information Tessa provided us and also an Artist Bibliography (Artist C.V.).
5. For the inside try different typefaces but it should be (mono spaced) and a point size of either 9 or 10.
The rest of the Catalogue
6. Title Page: use Bodoni typeface. - 8 or 10 pt
7. Heading: use Bodoni typeface.
8. Determine who has the most and least amount of writing and information, compare in order to establish the grid.
9.Writings/Essay - create a new grid for this to go over a spread (2pgs). Use place holder text of a 1000 words.
For Alex
10. We are going to show him images of the pdf. we were given. For the films we will try to show him as many stills as we possibly can.
Saturday, May 1, 2010
Atherton info
KEVIN ATHERTON ‘IN TWO MINDS’ A HISTORY OF A PIECE
1978 – Performed live at Project Arts Centre, Dublin.
1978 Performed live at Belfast Polytechnic, Fine Art Department.
1978 Performed live at Farnham College of Art, Surrey, England
1978 ‘In Two Minds- Installation Version’ selected by Stuart Brisley for a five person group show at The Serpentine Gallery, London.
1980 ‘In Two Minds – Final Version’ performed at a performance art festival at De Lantaren, Rotterdam, 1980.
2006 ‘In Two Minds – Past Version’ and ‘In Two Minds – Future Version’ performed at the ‘Soft Launch of ‘Rewind Research Project – British Artists Video from the 70s and 80s’ ‘Dundee Contemporary Art’
2006 ‘In Two Minds – Past Version’ performed at Tate Britain as a part of ‘Analogue Video’ research project.
2006 ‘In Two Minds – Past Version’, two-screen installation in-group show, ‘Embodied Time – Video Art 1970 – Present’, Lewis Glucksman Gallery, Cork
2007 Dundee ‘Lost and Found’, Dundee Contemporary Art, two screen original Serpentine piece projected at an evening screening.
2007 ‘In Two Minds – Past Version’ shown in ‘Bits and Pieces’ group show, Macroom, Co Cork. Ireland
2009 ‘In Two Minds – Past Version’ performed with Sarah Pierce as ‘A Conversation’ at ‘Four Gallery, Dublin.
2009, ‘In Two Minds – Past Version’ two screen installation as a part of five-person group show, ‘The Studio Sessions’, San Francisco Museum of Modern Art.
2009, ‘Two Minds – Past Version’ performed at ‘Stills Gallery’, Edinburgh as a part of ‘Rewind – Lost and Found’.
2009 ‘Two Minds – Past Version’ performed as a part of a ‘Conversation’ with Sarah Pierce at the Van Abbe Museum, The Netherlands as a part of ‘If You Can’t Dance, You can’t Join the Revolution’.
2009 -2010 ‘Golden Thread Gallery, Belfast – ‘In Two Minds x 3’, all three versions installed as a six screen installation.
2010 ‘In Two Minds- Original Serpentine Version shown as split screen projection at Tate Britain, as a part of ‘Rewind and Play’ Artists Film and Video. May-June 2010
New Zealand. ‘In Two Minds – Future Version’, shown in group show.
1978 – Performed live at Project Arts Centre, Dublin.
1978 Performed live at Belfast Polytechnic, Fine Art Department.
1978 Performed live at Farnham College of Art, Surrey, England
1978 ‘In Two Minds- Installation Version’ selected by Stuart Brisley for a five person group show at The Serpentine Gallery, London.
1980 ‘In Two Minds – Final Version’ performed at a performance art festival at De Lantaren, Rotterdam, 1980.
2006 ‘In Two Minds – Past Version’ and ‘In Two Minds – Future Version’ performed at the ‘Soft Launch of ‘Rewind Research Project – British Artists Video from the 70s and 80s’ ‘Dundee Contemporary Art’
2006 ‘In Two Minds – Past Version’ performed at Tate Britain as a part of ‘Analogue Video’ research project.
2006 ‘In Two Minds – Past Version’, two-screen installation in-group show, ‘Embodied Time – Video Art 1970 – Present’, Lewis Glucksman Gallery, Cork
2007 Dundee ‘Lost and Found’, Dundee Contemporary Art, two screen original Serpentine piece projected at an evening screening.
2007 ‘In Two Minds – Past Version’ shown in ‘Bits and Pieces’ group show, Macroom, Co Cork. Ireland
2009 ‘In Two Minds – Past Version’ performed with Sarah Pierce as ‘A Conversation’ at ‘Four Gallery, Dublin.
2009, ‘In Two Minds – Past Version’ two screen installation as a part of five-person group show, ‘The Studio Sessions’, San Francisco Museum of Modern Art.
2009, ‘Two Minds – Past Version’ performed at ‘Stills Gallery’, Edinburgh as a part of ‘Rewind – Lost and Found’.
2009 ‘Two Minds – Past Version’ performed as a part of a ‘Conversation’ with Sarah Pierce at the Van Abbe Museum, The Netherlands as a part of ‘If You Can’t Dance, You can’t Join the Revolution’.
2009 -2010 ‘Golden Thread Gallery, Belfast – ‘In Two Minds x 3’, all three versions installed as a six screen installation.
2010 ‘In Two Minds- Original Serpentine Version shown as split screen projection at Tate Britain, as a part of ‘Rewind and Play’ Artists Film and Video. May-June 2010
New Zealand. ‘In Two Minds – Future Version’, shown in group show.
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