A-tisket a-tasket

Ride em Cowboy, 1942

Repose

Max Klinger
"Ein Handschuh", 1881

Christian's mockup

And Stian

Llamas

BUTCH CASSIDY AND THE SUNDANCE KID

Your sets are more real than real. There was a famous story about when George Roy Hill made the film BUTCH CASSIDY AND THE SUNDANCE KID in the late 60s, there is a moment in that when Butch and the Kid go to Bolivia and they arrive at the station in Bolivia and you know it is Bolivia because there are two llamas standing outside the station. And someone asked George Hill: ‘Don’t you realise, Mr Hill, that there aren’t any llamas in Bolivia?’ And he paused and said: ‘Well, there are now.’

Handkerchief -- confessions -- handkerchief!

Cravates: 1. Du soldat romain; 2. Au XVII* siècle; etc

Marcel Duchamp
Paysage Fautif (Wayward Landscape), 1946
Seminal Fluid on Astralon

1939: Magician Paul LePaul (L) shows actors Robert Young (1907-1998) and Florence Rice (1911-1974) a magic trick, which involves cutting a napkin with scissors, on the set of director Todd Browning's film, 'Miracles for Sale'.

Tina Girouard

Tina Girouard
Lie-No, 1973
Patterned linoleum
144 x 144 inches 365.8 x 365.8 cm

112 Greene st - Early Years (1970-1974)

Pythagorean Y

The neophyte must then choose whether he will take the left-hand path and, following the dictates of his lower nature, enter upon a span of folly and thoughtlessness which will inevitably result in his undoing, or whether he will take the right-hand road and through integrity, industry, and sincerity ultimately regain union with the immortals in the superior spheres.

Diogenes

Truth is latent in the mind/ Order is latent in the mind/ democracy is latent in the mind/ we all conserve/ are conservative

Maieutics (pronounced /meɪˈjuːtɪks/ or maɪˈjuːtɪks[1][2]) is a pedagogical method based on the idea that the truth is latent in the mind of every human being due to innate reason but has to be "given birth" by answering intelligently proposed questions (or problems). The word is derived from the Greek "μαιευτικός", pertaining to midwifery.

Maieutics and the Socratic method

This method is an evolution of the technical methods of Orphism. They were based on the idea of reminiscence and the practice of Catharsis especially developed by Pythagoras.

Maieutics consists in the belief that there is a stored knowledge in the conscience by tradition and the experience of past generations. Therefore, maieutics invites the individual to discover the true that is latent in him. Contrary to that, the Socratic method exposes the individual's erroneous conceptions. The Socratic method is meant for those who think they know but are actually ignorant, while maieutics is addressed to those who know, but do not know that they know.

anamnesis

In philosophy, anamnesis is a concept in Plato's epistemological and psychological theory that he develops in his dialogues Meno and Phaedo, and alludes to it in his Phaedrus.

In Meno, Plato's character (and old teacher) Socrates is challenged by Meno with what has become known as the sophistic paradox, or the paradox of knowledge:

Meno: And how are you going to search for [the nature of virtue] when you don't know at all what it is, Socrates? Which of all the things you don't know will you set up as target for your search? And even if you actually come across it, how will you know that it is that thing which you don't know?^[1]

In other words, if you don't know any of the attributes, properties, and/or other descriptive markers of any kind that help signify what something is (physical or otherwise), you won't recognize it, even if you actually come across it. And, as consequence, if the converse is true, and you do know the attributes, properties and/or other descriptive markers of this thing, then you shouldn't need to seek it out at all. The result of this line of thinking is that, in either instance, there is no point trying to gain that "something"; in the case of Plato's aforementioned work, there is no point in seeking knowledge.

Socrates' response is to develop his theory of anamnesis. He suggests that the soul is immortal, and repeatedly incarnated; knowledge is actually in the soul from eternity (86b), but each time the soul is incarnated its knowledge is forgotten in the shock of birth. What one perceives to be learning, then, is actually the recovery of what one has forgotten. (Once it has been brought back it is true belief, to be turned into genuine knowledge by understanding.) And thus Socrates (and Plato) sees himself, not as a teacher, but as a midwife, aiding with the birth of knowledge that was already there in the student.

The theory is illustrated by Socrates asking a slave boy questions about geometry. At first the boy gives the wrong answer; when this is pointed out to him, he is puzzled, but by asking questions Socrates is able to help him to reach the true answer. This is intended to show that, as the boy wasn't told the answer, he could only have reached the truth by recollecting what he had already known but forgotten.

Jimmy Robert

In Mousse

In frieze

Thea Djordjadze

these are some old 2d works from Thea, but we could ask if theres any new ones

Salome Machaidze artist to consider...

Salome Machaidze

Dirk Bell Artist to consider...

Dirk Bell

here is one really simplyfied sketch about what i have in my mind....

wow, very productiv. It all looks really good, but isnt it a little much with the vitrines and the structure together? I for example cant see myself there in the moment, means that I wonder how I could integrate in such a structure.

in the moment i only have ideas for the walls. Still think it could be nice to have david with vitrines in the space ( means somewhere on the floor/ground) and me just working on the walls.

Im thinking of sort of wallpaintings/ asamblages / collages. One on the right, one left, and one on the back. i have some loose sketches yet, i will post tomorrow, to give you an image.

thats also what I ment in my last mail.

talk tomorrow

tbone

Heres my proposal for a kind of semi-transparent wall. Idea is it will function in several ways:

- divide the space so as to provide a compromise between individual works (ie what we talked about does a group show highlight difference or things in common)
- Become a structure that can have works hung on it so parts of the backs of works can also be seen.
- be a another piece of architecture that actually fits inside the space (unlike the house at front) maybe I can even look at the floor plans of the house to help design it?
- Echo the semi transparency/ and half finished nature of my vitrine works
- develop suggested pathways for viewers whilst they are still able to cross ambiguous dividing points.

It would be made out of standard construction timber (pine). Parts of it may extend to the walls and be attached. It could be rotated abit too so its not square on. One 3m section would be made of lots of thinner piece of wood; exactly like my wall at home. (see earlier post) It would be 3metres high, long sections 5metres and the back section 4 metres high. It could also be quite improvised when we build it - so it retains a sculptural quality rather than being just a practical device that we define our space with. Maybe title of whole show could be from old work of mine living with abstraction? (which was a quote from sven luettigen.... or must look up again)

two Vitrine rope works

Hi again, Here's two full scale mockups of vitrine works. The ropes will be painted and shaped etc.
The first is a regular one, 200cm x 200cm x 65cm. the Second is the same except it's been opened out to turn it into a kind of see through wall.

I have not been able to stop thinking about this video of soldiers taking over the museum in cairo during the protests:

http://www.youtube.com/watch?v=wTOf0x-eGU0

I guess i'm interested in the way this and these vitrine works relate to a transparent kind of architecture we could create in the space. (see next post) also the way this transparency might relate to the process based work christian is talking about. Maybe this transparency hints at the failing of things, the degradation of rule when something is not fully stated using the entire language of conventions that we familiar with?

New Paintings from David

Hi all, here's a few of the new paintings I've been working on. I guess I loved the walls so much in the gallery that I felt like i needed to paint. I'm also going to be posting two other things today. So the paintings may relate to the final thing I post which will be a proposal for a wall like structure. I'm not saying yet that I want these in the show. But I think thier relation to other elements could be nice. The circles leaning by gravity in the nooks, develop on this relationship to gravity, that is in the rope works too. They also have a unfinished jigsaw puzzle quality, like fragments of abstract paintings that are unable to ride on some dogmatic wave of thought. -hope you like

Hi all, funny that you mentioned that i might like to design a wall (in your last email christian) becuas eover the last few days I've been thinking about the wall I built at home. I've always wanted to hang some works on it. It's semi transparency, means it's half screen, half wall. It divides, slices, chops, makes skinny shapes. I've been thinking it could be good to reproduce. kind of personal too- because its a wall I built for Aura (so she doesn't fall over the 2mtr drop below.

familiar architecture

Perhaps the greatest architect ever, Sir Ken Adam is little known compared to the images of his work.

Being the creator of the “war-room” scenography from Dr. Stranglove and virtually all James Bond sets from Dr. No up untill the late 70’s (including the pinacle of bond-villain-lairs in “The spy who loved me”) , his work has been and continues to be an awsome resource of inspiration for architectural creation all over the world.

Read an interview at:

http://www.berlinale-talentcampus.de/story/19/1519.html

and watch the flickr set at:

http://flickr.com/photos/blackbeltjones/sets/72157608760312212/