| 1. | a book of or for notes. |
| 2. | a book or binder of blank, often ruled, pages for recording notes, esp. one used by students in class. |
| 3. | a book in which promissory notes are entered, registered, recorded, etc. |
| 4. |
"the art of living..." (RED = where we want to be)
- a collaboration with Dale Robertson.
- sarahjane and dale are currently collecting obstructions and difficulties.
- they are engaged in a series of daily tasks and simple routines:Following them; tampering with them and documenting them, The findings will be presented in mixed media post September 2009.
- If you have any obstacles or daily rituals that you would like to share with them, they would be happy to take them off your hands.
- please contact either or both at: obstacleseeker@yahoo.com
a space for inspiration...
Justified Sinners
an archeology of Scottish counterculture (1960-2000)
FESTIVAL OF PLAGIARISM
A COLLECTIVE VISION
PLAGIARISM is the conscious manipulation of Pre-existing elements in the creation of 'aesthetic' works. Plagiarism is inherent in all 'artistic' activity, since both pictorial and literary 'arts' function with an inherited language; even when their practitioners aim at overthrowing this received syntax (as happened with modernism and post-modernism).
At the beginning of the twentieth century, the way in which pre-existing elements were used in 'artistic' productions underwent a quantitative leap with the 'discovery' of collage. This development was pre-figured in the 'writings' of Isidore Ducasse (1846-1870) who is better known by his pen name 'Lautreamont'. In his 'poems', Ducasse wrote: "Plagiarism is necessary. Progress implies it." This maxim summarizes the use to which plagiarism has been put ever since. Two, or more, divergent elements are brought together to create new meanings. The resulting sum is greater than the individual parts.
The lettristes, and later the situationists, called this process 'detournement' (diversion is a literal translation from the french), but the activity is still popularly known as plagiarism -the term that Lauteamont used.
Plagiarism enriches human language. It is a collective undertaking far removed from the post-modern 'theories' of appropriation. Plagiarism implies a sense of history and leads to progressive social transformation. In contrast, the 'appropriations' of post-modern ideologies are individualistic and alienated. Plagiarism is for life, post-modernism is fixated with death.
FROM ORIGINALITY TO ONTOLOGY
THE DECLINE OF THE TEXT
GLASGOW AUGUST 1989
an archeology of Scottish counterculture (1960-2000)
FESTIVAL OF PLAGIARISM
A COLLECTIVE VISION
PLAGIARISM is the conscious manipulation of Pre-existing elements in the creation of 'aesthetic' works. Plagiarism is inherent in all 'artistic' activity, since both pictorial and literary 'arts' function with an inherited language; even when their practitioners aim at overthrowing this received syntax (as happened with modernism and post-modernism).
At the beginning of the twentieth century, the way in which pre-existing elements were used in 'artistic' productions underwent a quantitative leap with the 'discovery' of collage. This development was pre-figured in the 'writings' of Isidore Ducasse (1846-1870) who is better known by his pen name 'Lautreamont'. In his 'poems', Ducasse wrote: "Plagiarism is necessary. Progress implies it." This maxim summarizes the use to which plagiarism has been put ever since. Two, or more, divergent elements are brought together to create new meanings. The resulting sum is greater than the individual parts.
The lettristes, and later the situationists, called this process 'detournement' (diversion is a literal translation from the french), but the activity is still popularly known as plagiarism -the term that Lauteamont used.
Plagiarism enriches human language. It is a collective undertaking far removed from the post-modern 'theories' of appropriation. Plagiarism implies a sense of history and leads to progressive social transformation. In contrast, the 'appropriations' of post-modern ideologies are individualistic and alienated. Plagiarism is for life, post-modernism is fixated with death.
FROM ORIGINALITY TO ONTOLOGY
THE DECLINE OF THE TEXT
GLASGOW AUGUST 1989