Edge 6: Nets

Pixelmator images from nets

Note: the ideas for this are from the Thursday, but in terms of narrative for the work as a whole, I decided to swap this section to come after The Wild Man. As an attempt to get out of entanglement – and towards the final Kunst Macht Frei.

Thursday 15th June

Still discussing Kensington fire. See pictures in the paper.
Hot morning so stayed in. Feeling tired. Then cloudy and windy. Starts to be sunny again about 3pm.

Remembering Kovats quote:
Read Kovats drawing water.

Drawing as a mechanism for exploration. Drawing as lines of discovery.
3D under the oceans

Preface quote from Salman Rushdie on Haroun and the Sea of Stories.

He looked into the water and saw that it was made up of a thousand thousand thousand and one different currents, each one a different colour, weaving in and out of each other like a liquid tapestry of breathtaking complexity; and Iff explained that these were the Streams of Story, that each coloured strand represented and contained a single tale.

Different parts of the Ocean contained different sorts of stories, and as all the stories that had ever been told and many others that were still in the process of being invented could be found here, the Ocean of the Streams of Story was in fact the biggest library in the universe. And because the stories were held here in fluid form, they retained the ability to change, to become new versions of themselves, to join up with other stories and so become yet other stories; so that unlike a library of books, the Ocean of the Streams of Story was much more like a storeroom of yarns. It was not dead but alive.

Salman Rushdie, Haroun and the Sea of Stories, 1990.p55.

William Kentridge. That which is not drawn.

  • Provisionality. Virtues of bastardy. Receiving the world. Reversing the world.
    To reveal that which is hidden. Excess of making.
    Making 3 things at once, the cat and the coffee pot. Chaos.
    Unwinding, unfurling, contradiction.
    Changing, shifting. Erasing.
    To make a huge fiction.
  • Sighs and traces. Always longing for meaning. Mystery associated with the trace.
  • Drawer and viewer. Filling in the gaps.
  • Wanting to hold, needing to let go.
  • Slow drawing. Meditative.
  • Man is a walking clock. Gathering seconds, gleaning frames.
  • P6 “the migration of images, which is connected with what I am calling the virtues of bastardy and the question of provisionality. That is linked to questions of imperfect translation and construction. I am thinking here of a bridge or a plank over the gap of what you don’t hear or don’t understand, or of what’s not in the narrative and requires the activity of the viewer. I think it’s all part of one topic, but we have to try and find out in what ways they are related. Another concerns that which is hidden….excavating dreams and constructing their sense. And erasure as construction.”
    P71″I suppose I’m interested in the traces of what prompts a reconstruction, not just the trace nor the unreconstructed state. What prods an imaginative leap? I am making a drawing for which you see a foundation or a ground. And the interest for me is not not only the foundation or the ground but also what it suggests. From all the different possible things that could come out of it, I am interested in the end, in arriving at one, even if it’s an incorrect one. So it’s not a matter if saying, ‘Here’s a phrase, which is unclear, because there are words missing, that I haven’t heard.’ That suggests many things; it’s the leap into that suggestion, which is, in away, a leap out of indeterminacy. So indeterminacy is there at the base, but for me the interest lies in the movement into a drawing, into a sequence of movement. Indeterminacy suggests paralysis if you stay there.”
  • Photographs have only one focal point. But when we look we rapidly flip between the two.