[iDC] Re: "death of the artist"
alejo.duque at europeangraduateschool.net
Tue Feb 7 22:09:24 EST 2006
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On Feb 6, 2006, at 6:00 PM, idc-request at bbs.thing.net wrote:
> I introduced this excursion about the "death of the artist" into the
> context of the social event machine because it matters who is behind
> such initiatives. I am curious if my brief rant here resonates with
> of you, if you analyze the situation along similar lines or maybe
> not at
> But when I look into the eye of the event organizer I see writers,
> artists, engineers, and ... What do you see?
from the "death of the artist":
a text is made of multiple writings, drawn from many cultures and
entering into mutual relations of dialogue, parody, contestation, but
there is one place where this multiplicity is focused and that place
is the reader, not, as was hitherto said, the author. The reader is
the space on which all the quotations that make up a writing are
inscribed without any of them being lost; a text’s unity lies not in
its origin but in its destination. Yet this destination cannot any
longer be personal: the reader is without history, biography,
psychology; he is simply that someone who holds together in a single
field all the traces by which the written text is constituted. Which
is why it is derisory to condemn the new writing in the name of a
humanism hypocritically turned champion of the reader’s rights.
Classic criticism has never paid any attention to the reader; for it,
the writer is the only person in literature. We are now beginning to
let ourselves be fooled no longer by the arrogant antiphrastical
recriminations of good society in favour of the very thing it sets
aside, ignores, smothers, or destroys; we know that to give writing
its future, it is necessary to overthrow the myth: the birth of the
reader must be at the cost of the death of the Author.
that's barthes, and this is blanchot from "the infinite conversation":
How can one speak so that sppech is essentially plural? How can the
search for a plural speech be affirmed, a speech no longer founded
upon equality and inequality, no longer upon predominance and
subordination, nor upon a reciprocal mutuality, but upon dissymetry
and irreversibility so that, between two instances of speech, a
relation of infinity would always be involved as the movement of
signification itself? Or again, how can one write in such a way that
the continuity of the movement of writing might let interruption as
meaning, and rupture as form, intervene fundamentally?....
more than often this kind of reading leads to pretentious intelectual
projects like those of HUObrist whom i wonder why no one has
mentioned since they are more or less in the same bubget line of an
ISEA.. some of "his" (HUO) projects seem to go out of the museum in
the chase of the process in itself, to my understanding ending up in
the shape of fancy books "for history" that no one can ever dream
about touching/having...expensive designer shit for collectors of the
high art...a pathetic impasse para el discurso grandioso in times of
the computer networks....there was also a project called "parliament
of parliaments" at ZKM but again, not to much distributed access to
it, "ask google"...seems it suffered from the same malady of the
conferences and panels where a same group of people re-represents
themselves, examples everywhere last year at Banff this year
liverpool?...in september there's the upcoming Manifesta "School"
that one seems like a "model" seems to me in close relation to the
"black mountain" ghost..but sincerely, there's always a spot in
latinamerica, try to check it out avoiding eurocentric tourist
intellectualism..you will be surprised that wellfare is not a need
for a rich process that needs no catalog cuase the artist is death
(of hunger, or rave or fear..).
HUObrist went al ready to asia...like Colon did some centuries ago
something similar to curating...
anyone interested on bringing fancy new media festivals/congress/
sympo/wksp model to the tropics next year? haha
oke :/ , i go to sleep.
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