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Evan Washington Clarke Nabrit Lightening Lecture Series Delivered at ICA Philadelphia University of Pennsylvania March 28th, 2013
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ACCUMULATION, AGREEMENT & DISPLAY Evan Washington Clarke Nabrit Lightning Lecture Series Delivered at ICA Philadelphia University of Pennsylvania March 28th, 2013
Hello E
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I’m Eva share w been consiste questio
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Everyone,
an and tonight Iâ&#x20AC;&#x2122;d like to with you some of what I have calling rhetorical encies underling my oning this semester.
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That is to say, let’s identify certain issues that keep coming up, over and over, and seem to have a lot of overlap besides. And let’s name or fix these for tonight’s purposes, call them interests:
mulation, Display reement. In no particular order.
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'One simult exist.'
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All three can be located in the following utterance, paraphrased as follows:
cannot taneously create and '
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I found their idea was completely outrageous.
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I found this exchange between Hilton Als and Kara Walker, in a video online. (Originally the talk was given at the Hammer Museum.)
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And what about duration. Is it forever if we choose? I mean, how do we confirm or fix our existence - in the world, and in the minds of others ~ once the work is done?
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If one cannot do both ~ is there choice? Where.
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...all of which is besides any question of:
None of which answers: how to exist So, I’m concerned about this valence. I’m concerned about its transparency. How do we confirm for others ~ that we are existing. MMXIV
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how to create
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I donâ&#x20AC;&#x2122;t mean this in some far out metaphysical way. It is a political question having everything to do with status.
Nobody wants to be misclassified.
So, the first site for rhetorical consistency is located at display.
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The issue
Display keep It operates o studio decisi for ultimate work.
I havenâ&#x20AC;&#x2122;t res
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is display.
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ps coming up. on two levels. One is about ions ~ how does one account e display ~ when making a
solved this yet.
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So the question of how is it displayed is something I must confront in the studio.
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I like to work with materials in a way that is intuitive, and cumulative.
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And that is interesting.
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The other thought about display, is how it performs an agreement. Display offers a sort of pledge of consent, demonstrates a level of initiation.
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The s agre
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In my about interp also b questi agreem
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second issue is ement.
y outside elective we talked ways in which we are polated by language and by image. I am interested to ion the good faith of that ment.
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If I invent my own language, I am falling outside of the agreement. And that has real consequences. Namely, you will misunderstand.
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It looks as though I have made a choice to speak ‘good’ English, but really, what are the alternatives.
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Prof Silverman talks about how conceptual artists have used seriality and repetition to destabilize meaning at the level of signified.
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Sometimes as artists we donâ&#x20AC;&#x2122; t wish to be understood. Or perhaps, more likely, we wish to trouble what it is to understand.
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Or she says a mundane word, even, but repeatedly, that the symbol struggles and ultimately fails to maintain coherence.
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An example can be reduced to schoolyard level; a child repeats a tongue twister, 10 times fast.
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The t accumula ACCUMULATION< AGREEMENT & DISPLAY
I think give artists talk phenomeno can be pres of the sent isolated in making.
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third ation
issue
is
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en the context of the two king to one another about ological states and being, it sumed that the 'create' part tence does not refer to an nstance of spontaneous
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Rather these two are presumably racked by discrete periods of nonexistence, which accumulate over time. One way I have been working in the studio is through litteral and figurative accumulation.
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These rhetor throughout m semester. Th identify and s evening.
Regards
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rical consistencies have run my questioning this hank you for letting me share them with you this ACCUMULATION< AGREEMENT & DISPLAY
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ACCUMULATION, AGREEMENT & DISPLAY Evan Washington Clarke Nabrit Lightning Lecture Series Delivered at ICA Philadelphia University of Pennsylvania March 28th, 2013