i think this discussion--
it betrays too much anxiety
somehow to me is having too little faith in the work
maybe i am just getting to be old idiot anymore
i think the only questions with art are the practical ones
relations among the materials
how one works back and forth with them
and they with on
finding
not searching
the concrete --
ways the concrete opens
the materials in themselves already so vast dense fluid
so many so much and deep ongoing
"before one" be for one--"already here all the time"
rhythms forms letters shapes colors movements
energy made visible
plenty enough questions and materials to work with
(for example recent inspiring and useful, enlightening discussion
sharing methods of making transfers--
changing from lighter fluid to acetone and of the materials methods
the different kinds of papers to use--so many--and how changed
with time--
whole new worlds of possibilities!
and sharing of knowledges leaned through practice by different
makers, workers--
all this is practical
the rest becomes beside the point
art can be made with anything at anytime
learning from the anything leads to particular things
learning from anytime leads to learning discipline
learning things and time
forms and rhythms
i live in continual chaos
so what--from things and time arranngements are found among the
materials
rhythms and forms
"it is not the elements which are new, it is the order of their
arrangement"--Blaise Pascal
is always best to be simple, which means truly thinking with
materials, the concrete--and from these finding the complexities, the
openings, what it is that one may make with the materials
with the forms and rhythms
"with" them--together
i do think the rest becomes anxiety --
and is disruptive distracting and--discourse
there are no theories without practice
and with practice--is action, not "after the fact"
or "pre-determined"
not set limits
but limits one is among
which provoke,challenge, stimulate--
the things the moments the materials the rhythms the forms
light is simultanenously particle and wave
materials and work are particulars, discrete, concrete
--and wave, flowing in time--and with light, energy
-movements
working together
is "an exchange"--
as Don Cherry the jazz musician great trumpet player composer
player
of so many instruments reader of so many notations--
wd say:
"only a truly disciplined musician may play Free Jazz"
practice--and materials
the study of sidewalk cracks--leads to new
scripts--arrangements--scorings--improvisations--with practice
Mayakovsky in HOW ARE VERSES MADE noting how a poet
works continuously--and every occaision every street corner every sound
every word is material to be constantly worked with with the rhythms
the forms--
choice and "chance"--
out of chaos, noise--arises music
"the attention and the care"
actually in the early 1930s the great painter and ally with
Futurist poets Zaum poets ad worked with Mayakovsky on i think was 1912"
opera--
Malevich, Kasmir Malevich
wrote an essay on sloth
in a sense ironic as at the time so much emphasis on WORK and
SOCIALIST REALISM
--i.e.--the end in Russia of the great experimental arts and
poetries--
the 'SLOTH' of abstraction, imagination, etc--Transrational Zaum,
the end of Mayakovsky and so many others--literally--or their silence--
that subversive ability of the materials
simple as "white square on a white square"
to elude materialism
while being immensely practical
when being practised--
"Creation survives in fragments under the ruins of a world for
which we can no longer find expression>"
(W. Weidle, qtd Hans Richter, DADA ART AND ANTI-ART 214)
the fragments are the materials found
"laying about"-
from which arrangements of elements are made
with forms, rhythms--
ruins for which no longer expressions--made into something
other--presenting arrangements of lost expressions in "new found"
"orders'--"speaking--showing--telling--singing--dancing--living--to be
moved
among--
a great workshop is mail art--as has themes, sizes, deadlines--
and is non commercial non juried non returned--
working with different limits yet giving all away so not hanging on
is excellent continual open field to work in for learning
materials, what sizes may offer, bring--suggest, present--
the time dead lines--the themes--
not to mention is communication among artists, publics--
and keeps one working, finding--
and "being in touch" with persons one is finding--
practical also
the activity brings forms and rhythms and is concrete
learning with others, to and for
so many to thank!
and make things for-with attention and care
simplicity, like honesty, best policy
"you can't tear down the master's house with the master's tools"
may find though there are many ways to make all kinds of other
houses
for oneself and others and with them--
with care and attention with rhythms, forms, concrete materials
Alibaud, 1836,questioned as to his involvement in suspected by
paranoid of the masses police vast revolutionary
conspiracy in attempting to assassinate Louis-Phillipe:
"The chief of the conspiracy was my head; the accomplices are my
arms".
onwo/ards
dbc
