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Week 1 Monday Jan 7 Interview with Alan Kaprow: http://www.lichtensteiger.de/kaprow01.html http://www.jca-online.com/kaprow.html Focus: What kind of audience does the work constitute? Relations (and the problem of "presence"): "Empiricism is often defined as a doctrine according to which the intelligible 'comes' from the sensible, everything in the understanding comes from the senses. But that is the standpoint of the history of philosophy: they have the gift of stifling all life in seeking and in positing an abstract first principle. Whoever one believes in a great first principle, one can no longer produce anything but huge sterile dualisms. ...It is not the question 'Does the intelligible come from the sensible?' but a quite different question, that of relations. Relations are external to their terms.' Peter is smaller than Paul', 'The glass is on the table': relation is neither internal to one of the terms which would consequently be subject, nor two together. Moreover, a relation may change without the terms changing. One may object that the glass is perhaps altered when it is moved off the table, but that is not true. The ideas of the glass and the table which are the true terms of the relations, are not altered. RElations are in the middle and exist as such. This exteriority of relations is not a principle, it is a vital protest against principals...one must make relations the hallucination point of thought, an experimentation which does violence to thought. Empiricists are not theoreticians, they are experimenters; they never interpret, they have no principles... ..... This geography of relations is particularly important to the extent that philosophy, the history of philosophy, is encumbered with the problem of being, IS. ...one must make the encounter with relations penetrate and corrupt everything, undermine being, make it topple over. Substitute the AND for IS. A and B. ...Thinking with AND, instead of thinking IS, instead of thinking for IS: empiricism has never had another secret. Try it, it is a quite extraordinary thought, and yet it is life." 54-57 Gilles Deleuze, Claire Parnet, Dialogues II (1977) Wednesday Jan 9 Fluxus instructional performances
(you can't just click on this, you have to sign in to JSTOR through the library's database page, then search for it, or then click on it) 2. The Resistance to Theatricality, Marvin Carlson SubStance, Vol. 31, No. 2/3, Issue 98/99: Special Issue: Theatricality. (2002), pp. 238-250. Reading References: Erving Goffman: The Presentation of Self in Everyday Life , mimesis: philosophical definition, art example Ron Mueck , Mueck more. Viennese Actionists on Ubuweb: http://www.ubu.com/film/muehl.html Week 2 Monday Jan 14 Read and come prepared to discuss: Semiotics of Theatrical Performance, Umberto Eco, The Drama Review: TDR, Vol. 21, No. 1, Theatre and Social Action Issue. (Mar., 1977), pp. 107-117. Stable URL: http://links.jstor.org/sici?sici=0012-5962%28197703%2921%3A1%3C107%3ASOTP%3E2.0.CO%3B2-Q Reading References: J.L Austin's notion of The Speech Act/Performative Utterance, The Diminished Act, Harold Rosenberg (will be emailed out as a PDF)(POSTPONED) -come prepared to discuss your presentation with Judy Interesting Book of Fluxus Instructional Performances for Download Wednesday Jan 16 Present notes, sketches, video, sound observations on a "social" performance which you attended live (soccer match, beauty pageant, concert, demonstration, etc). Give your presentation a form, a compositional structure of some kind, even if you keep it as a simple presentation. This should be approx 5-10 mins long. The assignment presumes that you observe this "social performance" particularly in regard to its performative qualities. How would you describe it as a performance to someone? How would you make your description general enough so that it could become a description of performative elements that could be used to structure other performances? Defamiliarize what you are looking at, even if it is an everyday encounter, tune yourself to the action/interaction/performative elements. Some of these observations may be useful for you future work. For instance, if one observes a soccer game (as a kind of performance) one can see that there is a delineated playing area, only the players/participants can enter this area. The narrative structure (such as it is) emphasizes a contest between two groups. An object (in this case an inflated ball) is passed between the two groups and serves as a kind of mediating tool, the ball, when acted upon by a player from one side or the other signals the advancement of that team into new territory. It is the ball and the placement of the ball at any time which allows other actions to occur. The performance is rule based. The audience must stay off the field but nevertheless can be quite performative, they dress up, yell out comments, etc etc. Think of the time frame, the space of the performance, how are these delinated...what methods are used to mark the performers (costumes? uniforms? actions?) what is the code of conduct for the audience (is there an audience?), etc etc. You must also figure out how to bring this "report" to the class in an interesting, creative way. You can use spoken text, written text, drawings, actions, pictures, video re-enactment, or any combination. Week 3 Monday Jan 21 a) presentations on artists (list "A") 1-2 Presentation should include basic biographical info (age, nationality, education etc. but not too much) information about the artist's work, the development of their work, their work in relation to the history, art ideas of their times as well as other related artists. Outline key works and ideas in the artist's practice. Use slides, video, digital images, or re enactments to give the audience a sense of the artist's work. A point form handout that other students can use to follow along with is recommended. Presentations should be approx. 15-20 minutes and there will be a short question period. (ARTIST TALK LIDA ABDUL DURING CLASS TIME) Wednesday Jan 23 Jasmine presentation on observed performance. a)presentations on artists (list "A") 3-6 (15 mins each) b) present a "fragment" or "kernel" of an idea you are working on/with Students 11-14 (approx. 3-5 mins each if durational) Week 4 Monday Jan 28 a)presentations on artists (list "A") 7-10 (15 mins each) b) present a "fragment" or "kernel" of an idea you are working on/with Students 1-5 (approx. 3-5 mins each if durational) Wednesday Jan 30 a)presentations on artists (list "A") 11-14 b) present a "fragment" or "kernel" of an idea you are working on/with Students 6-10 (approx. 3-5 mins each if durational) Week 5 Monday Feb 4 Projects Students 1-5 Wednesday Feb 6 Projects Students 6-10 Week 6 Monday Feb 11 Read Independently selections from Relational Aesthetics, Nicolas Bourriaud & Marvin Carlson www.creativityandcognition.com/blogs/legart/wp-content/uploads/2006/07/Borriaud.pdf Wednesday Feb 13 Projects Students 11-14 Week 7 Monday Feb 18 Discuss the articles assigned Feb. 11 above Wednesday Feb 20 Western Front Field trip to look at Vancouver Performance documents, Western Front, 303 E. 8th Ave (just E. of Main and N. of Broadway, at Scotia and 8th Ave) 10 am. Week 8 Monday Feb 25 a) presentations on artists (list "B") 1-5 b) present a "fragment" or "kernel" of an idea you are working on/with Students 6-10 (approx. 3-5 mins each if durational)
Wednesday Feb 27 presentations on artists (list "B") 6-10 b) present a "fragment" or "kernel" of an idea you are working on/with Students 11-14 (approx. 3-5 mins each if durational) Week 9 Monday March 3 Field trip with Michael Barnholden considering the history of Downtown E. Vancouver. Read "Reading the Riot Act", chapter one The Anti Asiatic Riots, page 27 to 40 in preparation. downoad the reading from Sabine Bitter's class site, SCROLL DOWN TO MARCH 3 AT http://www.lot.at/sfu_268/syllabus.html
Wednesday March 5 presentations on artists (list "B") 11-14 b) present a "fragment" or "kernel" of an idea you are working on/with Students 1-5 (approx. 3-5 mins each if durational)
Week 10 Monday March 10 one on one meetings Wednesday March 12 one on one meetings Week 11 Monday March 17 Radul Presentation Wednesday March 19 Western Front Visit II Week 12 Monday March 24 :EASTER MONDAY no classes Wednesday March 26 Projects Students 6-10 Week 13 Monday March 31 Projects Students 1-5 Wednesday April 2 Projects Students 11-14 Week 14 Monday April 7 Final Class TBA
Artists for presentation. Choose one "List A (more historical) " and one "List B (more contemporary)" also you can suggest other artists, just check with me first before preparing a report on them.
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