Ăž II
Research Journal
J a h n i c o Wa l c o t t - P a r k
Þ FMP RESEARCH JOURNAL
By JAHNICO WALCOTT-PARK
I LUDWIG WITTGENSTEIN Philosophical Investigations Review & Response
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eading through Wittgenstein’s writings on the philosophy of language, I found myself distarcted by the language he actually uses to write this book. Wittgenstein’s work looks to me as an attempt to answer the questions about language that the general public doesn’t really think about, nor particualary cares to know about.. Now when I first picked this book up, I thought this was a really interesting concept to read, making us question and think about language, something we all use everyday of our lives, but never question. The sad thing was that the journey through the book ended up being an extremely tedious and agitating activity to overcome. For someone trying to explain the meanings, and uses of language, Wittgenstein manages to use an unnecessary and irritating use of language to write the book itself. His points are valid and could make for endearing studies, but he explains them in such a long winded, and complicated way, using the most basic use of language. You find yourself drifting into thoughts of other things before you even get the end of a point he is making and I often found myself reading a paragraph or two on a single observations, and then summing the same point up in a single sentence, or I wasn’t taking in what I was reading and then when I realised I reached one small part of the point and I understood what was being conveyed without even needing to re-trace my steps. For someone writing about language, the book to me seems like a very endearing prospect but the approach to the way it is written I find to be extremely poor and without refinement. I will say though that within the unrefined writings lay some truly fascinating ideas and explorations, it’s too bad it’s so much of a hardwork to reach these points. The way Wittgenstein describes language wasn’t something I was looking to aid me in any way photographically but a few examples he used to describe his ideas visually did spark some ideas of how I could inform my practice at this given time. The first being his description when mentioning humanity as automata: “But can’t I imagine that the people around me are automata, lack consciousness, even though they behave in the same way as usual?—If I imagine it now—alone in my room—I see people with fixed looks (as in a trance) going about their business—the idea is perhaps a little uncanny. But just try to keep hold of this idea in the midst of your ordinary intercourse with others, in the street, say!” (WITTGENSTEIN:1968: 126e)
What I am currently planning to the explore is the narrative and to create single images that evoke certain narratives for my audiences to read and become immersed by. What this section of Philosophical Investigations forced me to consider is to approach my narratives in the ways I was already planning to but too have my models have trance-like expressions in a variety of situations that would normally provoke a reaction. What I’m thinking is that by treating my models as automata, where only the body reacts to a certain situation as we would expect it to, but the face stays emotionless and trance-like, I ciould explore the idea that we rely solely on facial expressions as a language when words are no-where to be found. The body isn’t enough, we understand the face, and to have that silent, would be to turn it foreign, into something we don’t quite understand. But this hints on the language of the individual, when that language is removed we have to rely on the surroundings to ground us into some understanding, this idea is touched upon further into the book:
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“When I look at a genre-picture, it ‘tells’ me something, even though I don’t believe (imagine) for a moment that the people I see in it really exist, or that there have really been people in that situation. But suppose I ask: “What does it tell me, then?”… it’s telling me something consists in the structure, in its own lines and colours… “After he had said this, he left her as he did the day before.”— Do I understand this sentence? Do I understand it just as I should if I heard it in the course of a narrative?… I could myself invent a context for it…What does it mean to understand a picture, a drawing?… Perhaps, however, I am acquainted with the objects, but in another sense do not understand the way they are arranged.” (WITTGENSTEIN: 1968: 142143e) The idea touched upon is that when we are looking at a picture it’s not the things within the picture that should initially be telling us something, but before that, it’s the picture itself. So when I mentioned the idea of removing the language of the face from a photograph, we then need to revert our eyes to the language of the actual photograph, and then you yourself can still find a reading by inventing a context for what you are viewing. What I might look at then is how this can be distorted, if I put what Wittgenstein said in words and translate it into a photograph, it becomes uncanny. If someone is acquainted with the areas, situations and people in this photograph, but it is then orchestrated in a way that they would not recognise, it creates something that they don’t quite understand. Thus the idea I could play with, which includes people as automata, is to have people enact my narratives in story-worlds or situations that you would not expect a person of some sort of character to be in or a part of, and then by having them react to events in ways our culture would not expect would be again a play on the way we use language as a verbal context, but related in a photographic sense. So the same way we wouldn’t initally understand a sentence if the words aren’t in an order that we recognise “punctual livelihoods unbeknownst to the hideous schemes like serendipity”, I can relate that visually through the arrangement and content of a photograph. We understand the objects, as we understand the words, but we do not make sense of or understand their order. I could work on only using the familiar to make something unfamiliar. Reading further through Philosophical Investigations I got to description of a situation that demonstrated another take on how we interpret language but this time, hinting at the idea of hidden elements: “I see a picture which represents a smiling face. What do I do if I take the smile now as a kind one, now as malicious?… I might supply the picture with the fancy that the smiler was smiling down on a child at play, or again on the suffering of an enemy. This is no way altered by the fact that I can also take the at first sight gracious situation and interpret it differently by putting it into a wider context.—If no special circumstances reverse my interpretation I shall conceive a particular smile as kind, call it a “kind” one, react correspondingly. ((Probability, frequency.))” (WITTGENSTEIN:1968: 145e)
So here again with a visual example of how language can be misinforming, and in context to an image it’s an extremely valid point. It comes back to the idea of portraying my models as automata, if they were not automata, they would convey emotions through their facial gestures and that would be how an audience would read it. We interpret language through facial expressions, and if we are unable to see what a person may be reacting to, we go to their faces and we make an assumption based on the probability of what someone for e.g. is smiling at, and the 4
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frequency in which we associate that thing to be something that would be smiled at. So when we play on this idea, and hide what is catching the attention of the people/person within an image, and then separately show what it is they are actually looking at, we can misinform our readers idea of familiarity and catch their logical assumptions out and subject them to something they did not expect. It’s interesting just how many links verbal and visual languages have, as if we were to change this scenario to a sentence we could say “she turned and something caught her eye, she gave a pleasant smile and continued to walk into the darkened streets”. We’d presume she saw something pleasant, but we do not know this person, and for all we know something the sight of something sinister could be what was bringing her joy. When we revert assumption, it’s useful knowledge to know we can then use this as a tool to shock an unwary viewers perception. Stepping away from imagery, another really interesting concept that comes up nearing the end of Wittgenstein’s writings is the relationship between memories and dreams: “People who on waking tell us certain incidents (that they have been in such-and-such places, etc.) Then we teach them the expressions “I dreamt”, which precedes the narrative… must I make some assumption about whether people are deceived by their memories or not; whether they really had these images while they slept, or whether it merely seems so to them on waking?… Does this mean that it is nonsense to raise the question whether dreams really take place during sleep, or are a memory phenomenon of the awakened?” (WITTGENSTEIN:1968: 184e)
It’s just really interesting to think about if dreams are a fantasy, or in fact memories of the awakened. This could relate to the buddhist principles of re-incarnation, possibly stating an idea that our dreams our the memories of our past lives. Or if we were to think about in a more universally accepted aspect, our memories are our dreams, but re-ordered into fantasy narratives. The construct of everything that makes our dreams; a building, a person, an animal, a place; are all created, combined and altered from the memories of things we have seen, but just like a story we are subconsciously using this information and changing the pieces of the jigsaw puzzle to create a whole new world from the basis of a world we are all well aware of. Although I found Wittgenstein’s writing frustrating, I’m glad they’re were examples and ideas that have forced some really interesting observations on the human mind.
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II JOSEF ALBERS Interaction of Color Review & Response
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lbers’ Interaction of Color is a really influencial and informative read. Being brought up in the typical school system, what Albers’ writings teach us are things about colour that we were not brought up to know; or at least I wasn’t anyway. With his approach to teach how teaching should be taught; practice influences theory; you find yourself learning a lot because you yourself are becoming a part of the writing. In terms of the capabilities of colours and how colour can effect our visual vocabulary, in misleading, and responsive ways, I found what I learnt fascinating. From a photographic perspectives they’re were bits I could pick out that could be of use in my practice, but fundamentally, this book is about teaching and demonstrating colour through the use coloured paper, not to be assigned to a certain art-field. But to understand and learn about colour as it’s actual thing; colour for colours sake.
“What counts here— first and last — is not so-called knowledge of so-calledfacts, but vision — seeing. Seeing here implies Schauen (as in Weltanschauung) and is coupled with fantasy, with imagination.” (ALBERS: 1963: 2) The way Albers describes and teaches colour is a truly inspiring way to approach the field of creativity. I find so many people dumbing there approaches and work down with solely their knowledge on the facts and theory and I have seen the repercussions of that in the visions of their work. Artists start work and explain their initial idea with such light and grandeur schemes, and you get excited about what they may soon create, then it comes to finally seeing the end product and they’ve concentrated so much on trying to theoretically get their approaches across that they have forgot the vision they once had when they started. All your left with then, is a piece that visually demonstrated the facts that they approached, but they’re vision aesthetically has suffered in the process. This is something that I have seen in myself recently and I am glad to have read this section of the book to bring me back to reality. I’ve been worrying so much about getting the theory across in my work, I just haven’t been creating, instead I’ve been thinking about how to change my vision to directly verbalise the theory. But before I can do that, I need to concentrate on the art of seeing; create, see, imagine and enhance. These is the advice and the steps that these simple sentences have given me. When reading through Interactions to Color a lot of photographic approaches came to mind from the texts I was reading and throughout the reading of this book I plan to note what idea’s come to mind. Firstly in the first section of his book he comments on the idea that if you were to say the name of one colour to 50 people they would all have a different variations of that colour in their minds (ALBERS: 1963: 3). Even if you were to show them a specific colour there would still be variation through colour deception and interaction. With this in mind it could be possible to create a interactive piece of photography or other art form that utilises it’s purpose when shown in a gallery context. The idea would be more of a consensus piece than of a artistic piece, where before people view your work they are told of a colour and asked to keep that exact colour in their minds.They then step into the room and a block of that said colour is shown,then must leave a message saying if that colour matched the colour they had in their minds. It would be a process of informing an audience of the multitude of colours that are actually out there, and be a way of possibly recording a common conception of red within the minds of a small handful of people. 7
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When reading further through the book Albers talks about a scenario in which you had 3 shapes of the same colour and they all looked equal, and how it wouldn’t be until you placed them atop of another larger piece of the same colour that you would see their differences, for example: some shapes may blend into the background while the others do not so easily (ALBERS:1963: 8) . This got me thinking about an attempt at making photographic piece where shooting happened in a desired locations and key props or costume are selected based on the colour of the environment, forcing key things to blend into their surroundings to demonstrate this understanding of colour. Or even still lives of a block coloured background which objects of the same, and slightly different hues, so as to make certain objects disappear without further inspection. “Our concern is the interaction of colour; that is, seeing what happens between colors.” (ALBERS:1963: 5) One thing that I really enjoyed about Albers book was the demonstration we are asked to do where a red and white circle are placed on black background with a black dot in their centres. By concentrating on the black dot in the red circle for approximately 60 seconds, when you finally look over at the white circle, it will turn blue/blue-green. This being because green is the complementary colour of red (ALBERS: 1963: 22). I thought this was fascinating, to learn that our sight can actyallu maniplate colour, and it does so in the same process as the colour wheels we are brought up to know. This got me thinking that I could maybe incorporate block colours into a studio fashion shoot into terms of outfits, ask an audience to concentrate solely on the clothes and it’s colour, then take a step back and watch the surrounding white area of the photograph transform in-front of their eyes. Just to add an almost theoretical layer to a fashion shot, in attempt to educate viewers by using images associated with fashion as a tool. These have influenced ideas that could be taken into numerous projects I could take on the future. I will be going over these again, to see how I may apply Albers’ colour theories to my current project in terms of colour disception.
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“Don’t take it as a matter of course, but as a remarkable fact, that pictures and fictitious narratives give us pleasure, occupy our minds.” (WITTGENSTEIN:1968: 142e)
III VEE SPEERS The Little Black Gallery Exhibition Review & Response
fig. 1 Vee Speers, Untitled #3 from The Birthday Party series, 2008
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he Little Black Gallery in Chelsea, is a new up and coming gallery to emerge in London and has recently been voted the No.1 emerging art gallery in London by Downtown Traveller magazine. So, obviously I saw this as a good place to start my day of exhibition visits. I was lucky enough that current series being shown was a beautiful series by the Australian photographer Vee Speers, under the name Bordello. I did not know much of this work before visiting the gallery but from what I looked up it seemed like a beautiful series to see for it’s aesthetic alone. As I walked into the gallery I was greeted warmly by the gentlemen at the service desk, and was briefly summed up about Vee Speers project on show, I was the told that her more recent project was downstairs. This being unknown to me I at first was not that interested, as I came to see this particualr series. On first inspection I was quite disappointed with the series, the black and white images seemed quite flat, and I found it all too erotic, where I had hoped intimacy would have played the primary role. But when as I turned the corner there hung two of Speers colour photographs, now these instantly caught my eye. It was these images that were capturing the intimacy I had hoped for the whole series, the colour palette looked almost hand-painted, soft and extremely delicate, and the woman being photographed caught in front of what looked like asian silk-screens were beautiful specimens of clean, smooth asian beauty (fig. 1). After seeing these images I was quite happy, and thought I may as well head downstairs to see her current work. As soon as I began to descend the stairs I was overwhelmed by the photographs in front of me. I had already forgot about the Bordello series because as I approached her series ‘The Birthday Party’ (fig. 2) I instantly fell in love with the work. Now these images were leaning on the edge of fantasy, they were making the idea of children’s birthday costumes hyperreal, and presenting children with costumes that had almost transformed them into surreal characters. Costume, hair, make-up, lighting, these had all contributed to removing the sense of innocence that we would recognise in children to whole new version of the word itself. It was an eerie innocence. They all seemed so much older than they were and there character’s were each individually so strong and over-powering. The way it was shot, was awe inspiring, the softness of a world desaturated to almost white has made for a truly endearing aesthetic. There are no punchy colours, everything is flat and pale, to the point of even the expressions on most of the children’s faces, and it’s just beautiful. One more very important thing to note, is that the way The Little Black gallery decided to light ‘The Birthday Party’ series was really interesting. Instead of having spot light’s illuminating the whole image, the images were lit from the room light, and then spot lights were added for extra light to small areas of each photograph. But it wasn’t just to the faces, some were, and the others were aimed at the sides of the children’s chests and to other subtle areas of the body, this made the uncanniness of the work even more charismatic, and is something of an idea I may plan to bring in with the presentation of my final year show. It was impressive curation. I’ve been a bit lost recently in my own work, and Speers’ series has really inspired me to fall down the route of something I’ve always been interested in, fantasy. It’s inspired me to make my work a bit more interesting and fun, with the use of costume to build on characters, that we don’t recognise. To create whole new personas. To enhance the art of story-telling. All the shoots that I have planned I still plan to shoot, but now I’m working on new scenario’s to fit with the characters I am going to be creating in a whole new world, outside of this one.
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“As narrative beings we long to be immersed. We long to merge and obliterate all sens of seperation and the enveloped in the mediated environment-the ‘story world’” (MURRAY:1997: 134)
IV MARTIN CREED Southbank Centre Exhibition Review & Response
fig. 3 Jahnico Walcott-Park, popped balloon collected and scanned from Ballons piece, 2014
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he Southbank Centre is known for doing some of best installation shows I’ve ever seen, so when I heard of their next show I had to drop by for a visit. Before visiting the show, I didn’t know much of Martin Creed’s work but I was familiar to the name because I had heard his name mentioned a number of times growing up. When I heard the title of the show was “What’s the point of it?”, I instinctively had the thought that this show would help me out of the rut I was finding myself in, that it was going to be work that seemed to be created out of the imagination of one man’s mind with not much more to it, than why not? I wanted to do it. When first stepping into the entrance of the show you are immediately confronted with an extremely large-scale rotating neon text spelling “MOTHERS”, and just after seeing this you are already aware that your going to like this show. Now this is where you feel the control of the order you view Creed’s work began to play a part. To the right were stripe walls and a large number of metronomes paved along the walls. Now as you followed the wall around you are confronted with smaller pieces on the walls, but what this particular room does best at is it’s audience distraction and maybe even it’s opponent concentration. The rotating neon word spins the circumference of the room, and it isn’t much higher than the average height of a man, (I presume numerous people must have been hit in the head a few times since the show started) and because of the number of metronomes there is a very distinctive and loud continuous sound. Since this was the case, what you would find yourself doing is admiring the work, at the same time being distracted and looking at the metronomes; which was hard enough to concentrate on just one because the one next to it would always force your eyes to follow; and at the same time wincing or cringing every time the rotating text flew over your head, and the funny thing was, it didn’t take away from the work at all. It is a really interesting viewing experience. Now the next room was full of a number of sculptural and hand-drawn/painted pieces that pretty much demonstrated the idea for of why? Because I want to. There were such simple and interesting and almost pointless pieces that just had a character that made you feel a connection with each piece. My favourite being ‘Vitrine’ which were like large nipples sticking out the room, as you approached them you realised that they both altered the perspective of the room, as one reflects a full white frame around the viewer with their faces centred in it’s tip. In the next room were more sculptures and filling an entire wall of the gallery was 1000 silhouette paintings of a single piece of broccoli. Now I really enjoyed this piece because I find OCD specific art pieces relaxing, I enjoy order, structure and repetitiveness, and this is what this piece demonstrated, a need to satisfy your obsessive compulsive behaviour. After short durations on this room, the lights turn off and a short clip would be projected on a different wall of two dogs walking across the screen and interacting at different times, and this piece just made for a really interesting, fun and quirky addition to the exhibition, that I did find humour in the way I believe Creed would have hoped. As you walked upstairs there were more pieces, one piece of tiles sticking out in each of the woman’s and men’s bathroom and other sculptural and painted pieces, but then on three occasions you were directed outside, and it was these 3 pieces that really inspired me to just stop thinking so much about what I’m creating and just make something. The first warned of adult content, and when you stepped outside you were just confronted with a large monitor of a penis, nothing more. The second was just a large brick wall, layered with different coloured/textured bricks and the third was a ford focus that at certain durations would automatically open all possible doors and lids of the car and start playing the radio. I found these pieces so settling to watch, 16
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and it really settled down my anxiety with creative rut I had found myself in. Now lastly, before returning to the exit, was a piece that me and the friend accompanying me had the most fun with that we have ever with an exhibition piece. A room full and brimming with balloons. Now this is where I actually asked without realising “What’s the point of it?”, and it didn’t matter, and if it was to or does not have a specific point, for me it was to subject people from the doom and gloom of every-day life, to finding a little fun in the most simplest things; running around, and drowning and being engulfed in balloons. I could only describe it as fun, as you lost the person in front of you as they only took a few steps ahead, to find them again with the hair being dragged in every direction by the static of the room, was just a heartening laugh. It could be claustrophobic for some people and maybe that could have been another point but for us, we found a spot, sat down surrounded and drowned by balloons and just chatted, and before we knew it we had been in there for a quite a long time. It was almost like escaping to another world, and we all know humanity is a sucker for escapism. Walking to the exit you are forced to step into one last room, which the exit door is situated in, and you are confronted with a long video of individuals shitting on the floor. Some people were extremely bothered by the piece and couldn’t watch and just walked out without a second glance. But it didn’t bother me that much, I just watched, and was thinking eh? Why on earth is this relevant? But when I later read what it was about, I was glad I sat and watched it, Creed says that “living is a matter of trying to come to terms with what comes out of you” (CREED: 2014), I guess I’m just unfazed and have come to terms with the produce of being alive. “Shit - the first solid that any of us makes - is sculpture” (2014). Now I see why they named a sculptural piece. I guess there was a point to it after all.
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V MARSHALL BOSWELL Understanding David Foster Wallace Review & Response
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efore attempting David Foster Wallace’s collection of novels I thought I would first read ‘Understanding David Foster Wallace’ to get more of a concentrated idea onto the author he was, the way he wrote, and what his novels were about and were trying to say. Throughout my reading I came across a number of influential ideas that sparked my interest in how I could further progress my own work. Throughout this essay I am going to pick out these key ideas and describe how they have influenced my own thought process. Firstly was the term ‘Dues ex machina’ which translates as “god from the machine, and refers to the moment in a play when an unanticipated agent intervenes in the plot” (BOSWELL 2003:23). This is the first time I had been introduced to this term, and it was an interesting idea to comprehend. It got me thinking and questioning ideas of how my narratives could maybe share a similar aspect, by bringing unanticipated characters into my single frames as predominant characters in a fabricated story. Thus making more questionable narratives within my photographs as viewers would be left with more of a need to work out the situations where such an unexpected character could be involved. “A word like pain only means what it does for me because of the way the community I’m part of has tacitly agreed to use pain” (WALLACE 1993:138). This was another interest idea that came up, explaining how certain words and their corresponding meanings can change and alter depending on the community you are a part of and how they choose to use the words themselves. It makes me imagine small communities outside of the general norm, who wouldn’t associate certain things the same way we do, for instance, they’re pain could be out intense joy and our sadness could be there relief. Maybe getting this world acted out by characters and recording unexpected reactions to certain developments and events in day to day life would be an interesting visual piece to gaze at and create. During the book it describes the aspects of Wallace’s novel ‘The Broom of the System, and talks about how one specific character tries to confine words to their objects in the hopes of controlling the objects themselves (BOSWELL: 2003:37), so that words no longer have meanings, but functions instead. So what he does is tell his lover made-up stories of their affair that he has fabricated as a tool to try and force his lover to see herself as the character he has created in the hopes of manipulating her. The idea seems like such a powerful narrative tool. To re-play the same story over and over to someone with different elements each time, it could cause someone to be confused with the validity of what actually happened, or how the story actually panned out the first time. This is just something for me note, to think about how I could maybe manipulate my audience in such a way to make them believe something, they originally did not, by binding words to their object, and in short objectifying the characters in play (BOSWELL: 2003:40). There was a small section of the book that sloe about the similarities between how Wallace and Pynchon use entropy in both go their novels, and the idea of using entropy myself seemed like quite a striking idea to think about. By creating a flowing entropic narrative, I could revert the process of story-telling normally used in imagery, by reversing the process. Rather than having one continuous story, where one image led to another, and could be read as a story, correlating between image to image. I could have this readability being the process in which my narratives start and then as the images continue have them become more and more entropic, so that the story still leads, but becomes a lot less predictable and ends as a gradual decline into disorder. A great quote about Weight Watchers which is said by a character in The Broom of the 19
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System is: “as a descriptive axiom the transparently true fact that for each of us the universe is deeply and sharply and completely divided into for example in my case, me, on one side, and everything else , on the other”, It convinced people “to have as much as Other around as possible, so that the relation is one of minimum Self to maximum Other” (WALLACE: 1987:90-91). This had less to do with an impact of my own work, and more on my view of the word. When thought about it is true, as a society we force people to be a certain way, to follow “the norm” and by doing so for a lot of people we are telling them that they must be as little as themselves as they can be, and only surround themselves with being the other that the world expects them to be. It’s truthful and unpleasant thought, that is so inflicted on this generation. “A story comes alive when there is a puncture in the closed system; this puncture creates disorder, which here might be understood as conflict or drama. The larger the implication is that the story gets transmitted to the reader, who is outside the story…. There are so many choices for interpretation, it is nevertheless the vital energising force they keeps the story alive. Interpretation is open and never complete, yet that is also the very source of its vitality” (BOSWELL: 2003:60-61) Here we see another useful description in the art of story-telling, which also extends my opinions of how strongly I feel about allowing audience interpretation. It’s similar to the whole idea of living in a neighbourhood where people keep they’re own secrets within their our households, and as soon the the secrets start to leak out and become incidents, they then become stories, through the interpretations that the surrounding member of the community create. This demonstrates a good resource point for ideas of the kind of narratives that could be approached, thinking about personal secrets/family secrets that are kept in enclosed walls, and projecting those visual ideas for an audience to interpret. What’s written in books and in text are words, are words are the only thing there that exist, any sort of visual you get outside of what is actually inside a book becomes a sort of dream world, and it a lot of cases that dream-world directly correlates to the world were actually living in, and yet we still choose to escape there: “Dreams prolong us as they are absorbed”, books “entertain the fantasy of escaping textuality… and rejects it simultaneously. In an elegant paradox, this final rejection preserves the integrity of the world outside of the text, where :something like living occurs”. (BOSWELL: 2003:74) It’s a overwhelming thought, that somewhere inside of us these worlds do exist. These worlds, that can directly mirror our own worlds exists, created from black ink on a white page. From that we have inspired life, and become absorbed in the entertainment of escaping reality to our minds lawful sub-reality. To end this note form making I’ll leave on the most concerning comment I read in this book which was, “the end result is not to escape from consciousness but a disconcerting self-consciousness of ones’s own despair, of one’s own cowardly desire for escape from self” (BOSWELL: 2003:165). Now I’ve always seen escapism as something to be celebrated, it good, healthy and as humans we craze to be immersed by the narrative, but it is actually a cowardly state, and it’s not 20
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on a small level. We are narrative beings, and therefore we are cowardly desiring to escape from self, and in this era, it’s a common trait embedded into every human being. The yearning to be not oneself. Don’t get me wrong I will always see escapism of one of the most enjoyable and glorious things we have, but now I will forever question it’s reflection of my own past, present and future.
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“...one of the main goals of art is simply to entertain, to give pleasure.� (WALLACE:1993: 130)
exwhyzine. 2014