Haze out of time. Cargo Text Haze point - submit to tutors first as a way to de sensitise, /.
Writing thoughts: (master copy in my lessons from gold notes)
Gotta have starter brief, so just need crisis of clarity. Treatment and focus emerges. Methodology a project in itself.
Pre brief: Out of time is a hybrid project, involving artistic, curatorial, theoretical and philosophical treatments of its focus.
Karen: saying my style is elliptical Hybrid treatment: Haze point Out of time.
Sam: don’t parachute from nowhere make sure name key people in the field. So this is about thinking of your audience.
Sam: Careful about trying to argue for an objective change in subjective grounds
You can skip methodologies exposition. Don’t need social Science paradigm, can perform as long as it is clear without having to set it out, e.g. Veils/ Simon don’t get lost in structure
Simon: Don’t be to quick fire
Ghalya: compatibility. Not sure about this.
Ghalya: careful of brain dump
Irit: don’t write about what you hate, don’t write about consensus e.g spectacle
Irit: need your crisis/why it matters.
//
Art-5-types-sculpture/document-photo
plus
art-5-types-cura-sculpture (whole thing takes place accross my experimental cura device)
plus
art-5-types-cura-trad (curating research e.g books on space)
plus
theory: in internal Haze desirables.
Focus: on stepping out of time, so mixing this could be really good, as allows me to mix my own art and analysis, and can make exhibitions for it
“hi would you like to work on this art plus essay.
Can use air bnb night time story model
//
In this project I want to focus on an psychologically pleasing potential that’s connected to a a sense of stepping out of time.
To get us toward this, I want to first think of places or spaces in terms of activity in the world.
Let us take the example of a particular place, such as a sealed tomb. We may call this a place or a space, but we can describe in terms of activity. This may lead us to think, in these terms, we would have nothing, because would appear to be happening in the space of the tomb. However I want to use the term activity without necessary reference to what is immediately perceivable. At the smallest level, the solid stones would still be atomic events. And there would be atomic activity taking place in the air in the tomb’s voids. So in this sense we can describe the tomb as a cluster of interactions. The label “tomb” in this sense would be a shorthand for a given cluster with a certain amount of stability.
I say stability, because, at some point, should those interactions change enough, we would wish to find a different label for the space, given that label only applies to a certain form of interaction. If the form changed too much, we would change our label. A drastic example would be a case where the tomb is obliterated by an explosion.
Similarly we could describe an isolated village as a cluster of activity. By isolated, in terms of activity, we would be referring to a relatively low amount of activity between the village and other areas. In that sense, we would say that when the internet was first made available, even though in it would look the same in a visual senses, the village has, in terms of activity, become less isolated. Isolation here becomes a relative term, which like the name of a place refers to a kind of property of the activity. We could call the city less isolated still, based perhaps on the flow of people vehicles, ships and so on.
that is cut off, to some degree, from activity outside of itself. We can think of an isolated community for instance, or a tomb would be an especially extreme example here. In some senses the tomb wouldn’t be disconnected. There would be atmospheric molecular transmissions that would mark connections between the tomb and outside of itself. But in other ways it is relatively disconnected, in comparison to other spaces like cities for example. With certain understandings of time in mind, we can say that the tomb shares the same time as the rest of the earth. For example, we can say this under any understandings which would allow us to say that time is still flowing in the tomb, aside from the lack of activity inside the tomb.
But in other understandings of time it, we could say that if we were to enter the tomb we are stepping back in time. We can describe the tomb as temporally distinct to the world outside. Understandings which would allow this could be those which link the passing of time to certain kinds of motion we deem significant. We would note that certain aspects of tomb are, in many ways, as they would have been so many years ago.
Under such notions of time which involve activity which is significance to us, we can view life as replete with potential to shift around different times. Whether that be entering a hitherto sealed tomb, opening a box of personal belongings which have lain sealed for many years, or revisiting a river not visited since childhood.
For a different case, walking on a footpath recently where I live in London, the sound of children playing could be heard from the right hand side, coming from behind the trees somewhere. Perhaps the kind of activity taking place here can be connected to that which would come from a playground, 10, 30, 50, 100 years ago, at various locations. Even though in other senses time has passed in that events have occurred in the interim, if in some sense we decide that there is something unchanging, we can say there exists a kind of time of the playground.
But this is slightly different to the previous examples as they all centered on unique spaces. What allowed for a time travel was the fact that they were singular, and in some sense unchanging, allowing them to be temporally distinct from another space, with different activity.
In the example of the playground, there is still a threshold. The time of the play ground is differs from other time. But here what is foregrounded is that there are numerous dispersed sites of activity which play host to the time of the playground. Therefore the time of the playground can be encountered in many ways, of which hearing the sound of the playground while on a walk is only one.
In all these examples it is the activity which is key. This is the basis for saying there is such thing as “the time of the playground”
But we are also talking about events in a spatial way. The Tomb was defined by a certain array of events (or lack of of them to the extent it is unchanging. But the Tomb also has a spatial aspect to it, as we can think of the events as spatially situated.
This came to the fore when I talked about the time of the playground, the with time of the playground being dispersed in space. Well this only makes sense if we are thinking of events in a spatial as well as temporal way.
In a podcast interview on his project High Weirdness, Erik Davis talks about something similar to the playground example. The idea of situations that somehow challenge orderly conceptualisation, where we are unsure what if the situation is safe or dangerous, where we can’t exactly say what it is. As an example, he cites certain early nascent festivals. Just like the time of the playground, these situations crop up at certain locations and at certain times. But as with the playground, we note that different such situations share features. And on the basis of this we can also say there is this time of the festival. And just like the time of the playground we know that the time of the playground has a spatial dimension, and in this case it is spatially distributed. It’s the same thing going on. Someone who spent time in such situations periodically could be said to be re-encountering that time.
These examples illustrate how we can step in and out of time.
This weird time of the festival could be seen as resonant in many ways. I want to look at a general resonance, in that such situations confront us with emergence of something stirring that we do not know what it is.
Now I don’t want to suggest that stepping out of time is the only way to encounter this sense of enigmatic emergence, but just want to use it as an example here.
I also want to dwell now on that resonance per se. I don’t want to position it as some kind of platform with which to convey something else. You could make that argument, that there is a certain kind of bracing experiential quality we may find within a given artwork allows it to peprfuly communicate some kind of semantic content.
Instead I want to hold on to the experience of the enigmatic emergence per se.
For me at least, I think this is a positive experience I have with many artworks, or situations more generally.
But this positivity has to do with something that doesn’t exclusively need to be achieved through a stepping out of time.
Instead, stepping out of time is one way to achieve this kind of positivity.
There is something to say about this common denominator, which underpins this kind of positivity, whether achieved via a stepping out of time, or in some other way. This is that is an absence of signification in a straightforward way. We are left in a situation of confronting something enigmatic, and the extent that something happens in the experience we do have that sense of something coming into being that was not there before. Another way to put this is that the art work is doing non-propositionally.
However, a non-propositional function does not go far enough to define this common denominator that leads to a pleasure.
The common denominator is a particular kind of non-propositional occurrence: the sense of being in situation of something stirring, an enigmatic emergence is what I want to focus on here.
So my Tolia Van room article is about this but another way of getting it rather than stepping out of time. So do it as a separate article but refer it back.
Weave this in: https://www.moussemagazine.it/magazine/sanna-helena-berger-cecilie-norgaard-rinde-am-rhein-dusseldorf-2024