when I'm there, I wish I was here
and when I'm here I want to be there
escape
escape from the one of you, you know needs sadness, to be the one that does not
the memory of the colour yellow is there anyway
sequences
We expect a structure from a sequence and if there is no apparent structure then we put one in place
We expect a function from a sequence and if there is no apparent function then we put one in place
We expect a narrative from a sequence and if there is no apparent narrative then we put one in place
Seeing is changing, nothing is real.
Meaning occurs
art theory
theories can only be about others' work or one's own in retrospect, or wishful thinking (Elizabeth Bishop)
cheap
I bought the dress because it was cheap.
I've never worn the dress because it was cheap (Zuli Stannard)
worst thing
I can't think of anything worse after a night of drinking than waking up next to someone and not being able to remember their name, or how you met, or why they are dead
self expression
sometimes when you have something really important to say, it's better to keep your mouth shut
three types of student
the ones that work with their coats on
the ones that work with their coats off
the ones that work with their shoes off
astonishing things
Santa Maria del Mar, Barcelona
little birds that can pronounce the word 'love'
Portrait of Bia The illegitimte daughter of Cosimo I de' Medici by Agnolo Bronzini.
Charlotte sometimes
La Vaporetta
'La Vaporetta' is remarkable in the context of the contemporary analysis of post-modern reflection on17th century values.
It was made by Cosimo Lippi and was commissioned as gift to the city of Venice by Paulo Maldini of Bologne, for the supply of drinking water at the time of the infamous drought in the summer of 1671.
It is evident that the form and Machiavellian structure suggest an autonomy of relationships or juxtapositions between aspects of two specific and heavily mediated dichotomies. The relocation of narrative in the context of a new and radical discourse of commodification, or of course a reaction against it, is both obvious and shocking.
When Baudrillard said, "Welcome to the desert of the real," he wasn't joking.
Laurenet L'Ager, 'The Art of Venice: A New Perspective and Critical Analysis'. Oxford Press (2002)
strategies
displace and relocate the narrative
present narrative and non-narrative together in the same place
explore the shifting in and out of authorship
explore the shifting in and out of intimacy
sabotage the logic of the list
drink some beer
relocation
As the renaissance mist cleared above the train station, the relocation of narrative became apparent
relationships
Our relationships with cities are like our relationships with people; both are discovered physically,
emotionally and psychologically. We explore each with our senses, our minds and with our hearts.
We try to understand the physical structure and the emotional territory that unfolds in our wanderings.
We are tourists.
We touch, taste, see, smell and listen. We navigate. We know. We get lost, we find ourselves at home.
History and circumstance colour our understanding, and we construct meaning and value from
what we experience. Only the city has a guidebook. Only the city has a map.
Things are complicated.
otherness
“To live with the other, with the foreigner, confronts us with the possibility ....of being an other.
It is not simply a matter - humanistically - of our aptitude for accepting the other, but of being
in his or her place, which amounts to thinking of oneself and making oneself other than oneself.”
Julia Kristeva Estrangers A Nous-Memes (1998).
