Tag Archives: Slavov Žižek

on Bataille

 { and other near-future writing project works }

39524828-GBataille

a week ago Carol, Maceo and i were out on Moody Street in Waltham, catching up on some amazing work out at The National Poster Retrospecticus at Lincoln Arts Project — just phenomenal visual design work in the tradition of the handmade rock poster, i highly recommend it

we sort of naturally wandered into the next store space which just so happened to be this cool, independent bookstore called Back Pages — a nice display on Steampunk artwork up at the front of the store, nice jazzy music in the backdrop — it was nice to find a real bookstore again, no nooks, no toys, just shelves and shelves of books with no promise of there being ‘everything under the sun’ in their inventory

anyhow, i picked up 2 books of interest — Slavov Žižek‘s ‘iraq: the borrowed kettle’ and the book ‘Georges Bataille’ by Michael Richardson

at first i thought, ‘huh, super hard to believe that Cosmo Kramer wrote a scholarly tome on this edgy, semi-Surrealist philosopher and fiction writer, really interesting’ but then i realized the author wasn’t Michael Richards, its Michael Richardson

anyhow, i think i want to write something about Georges Bataille eventually — this will be the preliminary research, this little book from Back Pages { thank you }, that and reading ‘Story of the Eye’ by Lord Auch about 5 times in the course of my lifetime — reading the introductory chapters to the Richardson examination of Bataille’s life, work and thought rings a lot of bells with similar thinking i’ve had over the last decade and a theme of ‘interdependence’ might be nice to elaborate on

according to Richardson, Bataille believed that ‘being can never be dissociated from social circumstance’ — in not so many words, that we all need to recognize and live within the greater cosmos, to realize our effect on the universe and likewise the effect of the universe on the individual

individual and the system — the system in this case being the universe, or the more social integration of the individual into the technohumanic ecosystem of other people and the environment, both the natural environment and the one we create for ourselves through development of: new tools; new thoughts and concepts; new self-reinventions of the individual and this cyberSurreal ‘system’ that keeps evovling

at this point in time i think we’ve lost all control — the ideas seem to invent themselves at times, right? or rather, once a new tool is created and released into the mediastream layer of existence the evolution of that tool is either implied or almost automagically invented and released

another topic that comes to mind, and perhaps this is an extension from my DMI thesis ‘confounded: future fetish design performance for human advocacy,’ would be to simply expound upon the concept merely implied by this rather confounding subtitle — i want to talk about using performance art, humor, user experience design and usbaility research practice as a form of activism, as, i guess, a means of social force to test and redesign a more optimal ‘experience’ of the world for real people — i never got to that point in my thesis book, at least i never got to clearly express this concept behind using persona play acting in an active way in real world settings as a way to discover areas of unintended usage in the found systems of the world — or if i clearly articulated on this concept, i don’t think i got to zoom in and focus on just this concept for all that long in the writing and project work

flying back from Valley Forge yesterday i bumped across this passage in ‘Storyteling for User Experience’ by Whitney Queensbury and Kevin Brooks:

‘Anthropologists talk about contextual observation as a way of making the familiar strange and the strange familiar’ 

i see a lot of these flip paradigms subconsciously surfacing in my work, and specifically in my more performative play investigations and in my curatorial endeavors — for instance, for ‘Provocative Objects: the extradition,’ the original call for work, as lifted directly from the website, says:

We are looking for pieces that instigate the viewer-participant-gallerygoer or blur the line and leave the audience wondering. Physical traditional art objects — dynamic prototypes — video, performative and conceptual work — we’re looking to collect an eclectic body of work to provoke viewer-participant exploration, thought, discussion and interaction. There will be a vaguely-defined ‘stageSpace’ for certain event-related ‘performances’ throughout the evening as well as numerous ‘objects’ or installations.

we made it seem like we were simply looking for ‘provocative work’ for the show, or at least that was the almost overt implication — but, i think my theory behind the show was to put together an amazing gallery exhibit that inclusively involved any and every mediatype — all the works you might find along the continuum of creative human expression — and to set up an eclectic body of work in a traditional ‘white box’ gallery space, mix the social factions together, these wonderful little cliques of musicians, artists, poets, performance artists and others, and sociologically see ‘what happens’

the exhibit-event was actually more about the artists and gallerygoers being the quote-unquote ‘provocative objects’

it is my belief that we are the most provocative and unpredicatable creative medium — flesh and blood and feeling — this is why, time and time again, i return to performance art as my primary form of personal expression — and this is why almost everything i do, as i have come to realize, comes from this fundamental core practice of using my own body, my own mind, my own movement and momentary experiential thought as the primary focus of my life’s work — this is how i empathically design through contextual consideration, through imagination, through performance or through imagining my own performance { as myself or as someone else } of a set of activities, tasks, goals, etcetera — it is how i participate and contribute to the world i live in and ultimately to the greater good of a collective conscious life in the world — life, our ultimate time-based medium