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nqpaofu.com 1998-2004 jouke kleerebezem Notes Quotes Provocations and Other Fair Use
notes, quotes, provocations and other fair use 2004
nqpaofu.com by jouke kleerebezem
issue 85
conversational drift
informatic license
exquisite enclaves
84
portal
history
86
WARNING this issue temporary contains
unfinished entries
1) content management and the artist estate
2) where do I live on this piece of paper
Ben bizart bazart little shop, via documentsdartistes
Liste des mots clés (mes soulignements) intitulés par les artistes à http://www.documentsdartistes.org
à, abécédaire, abstraction/figuration, abstraction, abstrait, abstrait/figuratif, accumulation, acier, action, actualité, affaires air, affaires privées, alchimie, aliment, allégories sociales, amateurisme, amateurismes, ambiguïté, amour, analogies, anamorphose, animal, anticipation, appareils-jouets, apparition, approximation soignée, arborescence, arbre, achitecture, argenté, art brut, art singulier, artificiel, arts premiers, assemblage, atomisation, attente, auto-formulationbarbie, baroque, base de données, BD, bestiaire, bi/tri -dimensionnalité, blanc, botanique, boucle
carcan, cartographie, catalogue, champ, charge corporelle, charge spirituelle, chaussette verte, chemin de vie, Chine, chorégraphie, circuit, circulation, classement, cliché, code de la photographie, coïncidences, coïtar is regular, collage, collection, collection/collectes/musée/cabinet de comédie humaine, commande, comportements, compulsion répétitive, con-con, conductivité, constellations variables, constellé, contacts, contamination, contexte, contradiction, convivialité, copular is popular, coquetterie, cornichon, corps absents, cosmétologie, cosmos, costume, couture à la main, crash, cryptage
damnation, débâcle, décalage, déconstruction/construction, décontextualisation, décoratif, décoration, découpage, Dendrite, dentelles, déplacement, dérision, dérive, déserts, design, désir, dessin, destruction, détournement, diaporama, disparition, dispersion, display, dodge dart 69, domesticité
eau, échelle (mesure de l'espace), échelle 1, économie, écriture, Ecume, édition, empreinte, emprunts, émulsion, encombrements, enculage(s) de(s) mouches(s), encyclopédie, encyclopédisme, enfance, enfermement, enfonçar is bonnar, engagement, entremetteur, entropie, environnement, éphémère, épure, Eros, érotisme et pornographie, errance, errances, espace - bâti, espace public, espace urbain, espaces de jointure, esthétique : n>, et, étanchéité, étendue, étrangeté, évolution, existence, expérience, Expositions, extensions, extrudé
facture, famille, fantaisie, feeding radiation, fellation addiction, femme, femmes, fenêtre, fiction, Fictions, fictions et utopies, figuration, figure, folie, fonctionnalité/forme, formalisme, forme(s), foule, foune for ever, fourrure, fractal, fragilité, franc-tireur, frontalité
géopolitique, glamour, glissements sémantiques, gravité, gravure, greffe, guetteur
habitat, hauts-parleurs, héraldique, hermétisme, histoire, histoire et mythologie, homme, huile, humain, humanité, humour, hybridation
identité, ignorance, illusion perspectiviste, image, images, imaginaire, impermanence, improvisation, in situ, inconnu, index, indispensable désir, individu, industrie lourde, infini, informe, insalubrité, installation, installation-empilement, interactivité, intérieur / extérieur, interruption, intime, intimité, invention, ironie, ivresse
jardin, jeu, jeux et jouets, jeux/jouets/armes, joli, jouet
l'esprit cabanon, l'histoire, l'homme et les lieux, la couleur, La densité, La fragilité, la syntaxe, la vie du temps, lambeaux, langage, latence, le, Le déséquilibre, Le morcellement, le paraître/la panoplie, Le souffle, mousse, bulle, gonfle, Le volume, lecture/performance, légèreté, leurre, liberté, liens, lieux/non-lieux, ligne, littérature, loisirs, ludique, luminosité
machine, manifeste, manipulation, marchandise, marche, marcher/traverser, marine, Marx, matérialisme critique, matière, matrice, mécanisme, membrane, mémoire, mémoire collective, mémoire individuelle, messianisme, milieu hospitalier, miniature, miroir, mise à plat de volumes, mise en abîme, mise en mix/remix/cocktail, mobilier, modèle, modèle (dans le sens monochrome), morcellement, morphologie, mort, mot, motif, moulage, mouvement, mouvement immobile, musique électronique, mutation, mystère
narration, narrations, nature de la peinture, nature morte, nécessité du corps, nécroculture, neige, neurosciences, noir, noir gris blanc, nomadisme, nombre, nombrilisme, nord sud est ouest, normal/pathologique, normalité, Nouveau Pictorialisme, nuages, nue
objet/signe, objets d'offrande, obsessionnel, oeil, onirique, optique, ordre/désordre, organique, originel, où, ouest américain
panoramique, parcours, parité, parodie, particule, patron, pattes de mouche, pauvreté conceptuelle, paysage, paysage urbain, paysages, peinture, peinture molle, perception de l'espace, perception/sensation, perdre/gagner, perpétuel, éternel, perplexité, personnage, perspective, perte, photographie, physique, piège, plaisance, plaisir, plan, plastique, pluridisciplinaire, point de vue, polarité, politique dans la cuisine, polychrome, portrait, poupée, poupées, pouvoirs, pratique de la pêche, présence, principe de réalité, processus, promenade, prophétie, protocoles, prototype, psy, psychique, psychosensorialité, public, puzzle
Quattrocento, questionnement
radicalité, rebut, psychologie/lumière/énergie, recyclé, régression, relation, remix, rencontre, répétition, représentation, représentation photographique, reproduction, réseaux, résistance, retenue, révolution (tous les sens), robe, rouge, route, routes, ruban adhésif, sacré, saga, saturation, science, sciences ) poésie-ambivalence-polysémie,
sculpture, séduction, sens, sensualité, séquences, service, sexualité, sidération, signes, silence, simulacre, simulation, social, société, sociologie, soleil, solve coagula, sons, souvenirs from the earth, spatialité, spéculatif, spiritualité, statistique, stéréotype, strate, stratification, structure, substance, subversion, surcodification, surface, surprise, surréalité, symptôme, systèmes idiotstableau, taché, tandem, technologie, tension, territoire, territoires, tourisme, trace, traces, trait, transformation, transsubstantiation, trash, traverser l'éther/les terres, trésor, tsigane
un, univers, urbanisme, utopie
vent, vêtement-sculpture, vibration, vide, vie quotidienne, ville, ville / nature, virginité, visage, visages, vision, volume
walk-about, white hangar, Witz.
Digital artistic content needs data management just like any other information — like any storage of ideas, concepts, material and objects and documents for that matter. Analog artistic content needs an inventory list, a data bank of locations and links, annotations and prime text, materia prima. Where would territories be without maps?
To wander an artist's maps leads you into conversation.
De Schoolmeester mill, second visit, paper upload 100 + 10
These notes are not a whole lot about people. Informed by other people they are very much however. Conversational drift is even in the more silent contacts. Moving around, for work and pleasure, finds you around people and their stories.
Fresh in at the Open magazine launch I talk to Jorinde Seydel, Willem van Weelden, Jan van Grunsven, Aya van Caspel, Debra Solomon, Willem Velthoven, later extensively with Joke, over dinner and drinks.
Next day early, off at the printer's it's Louis van der Linden, when we look at paper and recall previous print and politics, and their fruitful liaison, at the Raddraaier of course. My book will definitely be printed in the Netherlands. In Westzaan Arie Butterman, the Schoolmeester miller tells me about his father, because he steps by the mill when we talk, a retired fruit grower from the polder, his five sons. Arie hated the fruit picking and chose to go into paper making. Also meet Willem van Galen and his colleagues at the carriage location. His antiques wholesale business moves around many long cherished well polished objects and furniture pieces, containers each and every one of them. I still might buy that archetype bird cage. Rogério later shares a couple of De Konincks with me at the Amsterdam Wildeman bar. Our conversation touches on how to incorporate a third voice in the design decision making process, in addition and as a critical support of the commissioner and designer's communication. How such a third voice adds to go beyond conceived ideas of commissioned communication. Home to Marjolein and Joes for conversation over a stolen potato and on to Maastricht through the night, in monologue intérieur, repeating bits and pieces.
Friday brings a JvE parade of characters, some small talk and more discussion around Vinca Kruk's and Adriaan Melleger's recruitment campaign. In are Gert Staal, Felix Janssens and Goodwill, besides Daniel van der Velden and Filiep Tacq, among others. The discussion is about how to acknowledge non-traditional design skills, like textual or editorial, how as an institution to address research recruitment and evaluation, and learning strategies. If to design an object or the rules that will have objects emerging from their application — and if so, by whose action?
A longer conversation with Goodwill works like an introduction to a world very familiar, yet composed of different experiences in a different life and times, running against different objects and people. The next morning I remember ‘Kerr’ and ‘Japan’ keywords, which google Alex Kerr: Lost Japan, Dogs and Demons, and The Chiiori Project the ‘house of the flute’ that Will told me about, being Kerr's inspiration to stay in Japan. Do I hear enclave? Time capsule. Expat.
Nested conversations.
Will brought me a present. He had read my call for help. His Dialogue concerning the two chief world systems is a typographic rendering of a text for a possible play, including direction notes for its performance and staging, pacing diagrams and the like.
Upon rereading Kierkegaard I find that after years of neglecting him, while at times when sentimentally picking him up not being able to follow his reasoning, all of a sudden he is present again, and readable. Literally passages that I understood when I was 20, then did not have any access to when I was 35, are totally meaningful and a joy to read now when I am 50. I read the same text three times in 30 years and have three times a different understanding, two times what I read makes sense, one timed it doesn't. Just like an image that you can appreciate at some moment, the next you can't imagine at all anymore what you saw, in it.
It is especially the total contrast between the recognition of a text's or image's meaning, or its denial, which is intellectuallychallengingpuzzling.
Notre Dame de Réconfort statue
I visit Monceaux le Comte for its church, in search for Notre Dame de Réconfort. I've seen her on a b/w postcard. The key to the church I get at the Mairie through Honorine and Derk, who live around the corner. We find her in a rather dark niche and have no idea how to turn on some light. I use the opposite bench as support for the camera and take some pictures. The polychrome 15-16C stone sculpture is of great serenity. Notre Dame de Réconfort radiates a subtle irony. Her coat provides an exquisite abris, to popes and kings, monks and the rest of us sinners.
Niets verheffender want ontnuchterender dan af en toe of/of en stuk Kierkegaard te lezen. ‘Tot zelfonderzoek, mijn tijdgenoten aanbevolen.’ In plaats van OCR een en ander woord voor woord letter voor letter aan te slaan en op te slaan — voor meer en betere inzichten. De ironie, de zelfspot te verbinden aan een optimale enkelheid ten overstaan van het Eenmalige is onze bijzondere lezing en overschrijving waard. Jazeker.
Goed, en maar al te goed weet ik, hoe waar het is dat de wereld bedrogen wil worden. Daarom zou ik misschien bedenkingen kunnen hebben tegen het uitgeven van een boodschap als deze.
Waarom ik die niet heb? Omdat ik niets met de wereld te maken heb. Ik richt mij hier tot de enkeling, tot iedere enkeling of tot ieder als enkeling; moge God geven dat allen het lezen, maar dan ieder als enkeling.
Als elke enkeling doet wat ik heb gedaan toen ik dit shcreef, zijn deur sluit, leest voor zichzelf, er geheel van verzekerd — en dat is de waarheid — dat ik er in de verste verte niet aan gedacht heb om hem al te na te komen of over hem met anderen te praten, aangezien ik alleen maar aan mezelf heb gedacht; als hij zo, als enkeling, leest, zodat het ook bij hem op geen enkele wijze kan opkomen aan anderen in plaats van aan zichzelf te denken: dan behoef ik waarachtig niet te vrezen dat hij kwaad op mij zal worden naar aanleiding van deze boodschap.
Søren Kierkegaard, ‘Woord vooraf’ tot Oordeel zelf!, oorspronkelijke titel ‘Dommer Selv!’ Til Selvprovelse Samtiden anbefalet.
En elk woord Deens van deze denker doet me aan de Spaanse filosoof De Unamuno herinneren en aan zijn voorbeeldige drang naar kennis als hij zich de Deense taal eigen maakt om K. te lezen. Zo wil ik mijn kennis van het Italiaans al jaren verbeteren om Guido Morselli te lezen... Dissiopatio HG, Diario, Fede e critica... en Guido Morselli, immagini di una vita, maar daar zitten gelukkig ook immagini in.
Deep curriculum and vitam mining for private and professional long ago and/or almost forgotten interests, names, objects, places, sensations, desires, projects, encounters? Bringing these about toexposepresent them to a ‘radiant light’, to return to them for future experience. List nested lists. Again we are adrift in media, we dive into odd containers to scan them for contraband. We focus on minimal signs of change that never reached us, so it seems. J'ignore en tant et pour autant que je sais.
Il y a des personnages qui sentent que leurs sens les séparent du réel, de l'être. Ce sens en eux infecte leurs autres sens.
Ce que je vois m'aveugle. Ce que j'entends m'assourdit. Ce en quoi je sais, cela me rend ignorant. J'ignore en tant et pour autant que je sais. Cette illumination devant moi est un bandeau et recouvre ou une nuit ou une lumière plus... Plus quoi? Ici le cercle se ferme, de cet étrange renversement : la connaissance, comme un nuage sur l'être; le monde brillant, comme taie et opacité.
Otez toute chose que j'y voie.
Paul Valéry, Monsieur Teste, ‘Extraits du log-book’
We are organizing a Ubiscribe charme offensief at the JvE, Monday 17 May, 10:00 in the Auditorium. Claudia Hardi and myself will introduce, give a DEVONthink demonstration and hear (advising) researchers pitching their content management and publishing challenges.
This is the checklist I presented to the art, design and theory research communities, hesitant to niche-to-niche publishing:
Content Management
- How to contain abundant digital multi-media material: storage, review and organisation of image, text, sound?
- How to make which content available for which purpose: document, archive, research, presentation?
- How to make which content accessible for which audience: peer-to-peer, interest sharing, professional/lay public?
Authoring
- How to author abundant digital multi-media material: multiple authorship, collaboration, multi-disciplinary skills?
- How to edit for different publishing tracks: audience diversification, direct publishing?
- How to edit and represent time based content feed: real time, frequently updated, streaming, database driven?
Expanded Publishing
- Which format fits which publishing challenge: print, screen based media, fixed or live content, interactivity?
- Which format allows for which accessibility: read only, read/write, write?
- Which format follows which publishing strategy: exclusivity, interest sharing, publicity?
More synchronicity, again via wood s lot, Nick Piombino (owner of Fait Accompli) in a post called the ‘Unbearable lightness of b*’, especially this passage:
(...) words said aloud only leading to the implied occurance of the silent thoughts that precede, and surround the current moment of reading, the past moment of speaking, the future moment of thinking aloud, writing silently, reading again, saying again, again listening, again speaking to & with, again thinking within oneself.
To accommodate my restless day and night rhythm and limit its disturbing effects on the household I moved into the guest room at the Moulin. Right above the bureau and below God's Own Attic I find myself once more on the SE corner of the Moulin, first floor in an unknown room where normally only guests linger. Its sandwiched position between the bureau and GOA is reassuring, I can follow the sun in its trajectory. The view is slightly different, already being elevated and with an extra window compared to GOA, looking S. I only once or twice slept here, the first ever Moulin night, 30 March-1 April 1999 and at very few occasions since, when this outpost provided me a safe hiding place.
The room is an enclave in itself. Here are gathered all our books on the Netherlands and France in a sort of a Bibliothèque Francollandaise. It is the most French room of the house, wallpapered and furnished by the previous owner, with a chambre de toilette attached. Here I hope to gain momentum to go public in Almere this summer. No Internet distraction. Just papers, books, sketches, photos and Macedelica, the 01Book.
WHATWHERE-AND-WHEN ART IS
Art is where and when its image is disclosed. Performance mode post-institutional art explores new playgrounds, other rituals, a different presence, a different becoming. Never to be finished, never to be rested down, never to gather dust, art is alive with its artist and recipient. Or is it?
What are these anonymous objects and papers doing on my tables and chairs and bed, in my closets and suitcases and all over the studio and bureau and attics? Why am I so attached to them? Why do I always return to them?
Art is where and when you will return.
In comes... fresh from wood s lot, the best definition of art I can subscribe to today, by Mu Xin:
So finally, what is art?
Privacy exposed to radiant light.
With a link to Landscape of Memory: The Art of Mu Xin, from which this quote:
Whatever the sources and inspirations Mu Xin has used, the thirty-three paintings that comprise his “Tower within a Tower” share, as the art historian Jonathan Hay states, “a fluid atmosphere in which memory, history, and pure imagination flow in and out of each other, crystallizing through the sense of place.”
I finally use DEVONthink. Paul swears by it so much that since quite a while no content has been flowing to his online publication anymore. This might mean that he used Alamut primarily for content management — out in the open but firstly, ‘notes to self’: thinking aloud, from a public position ‘one site fits all’. But what a poor format a weblog is for the management of an artist's body of work, estate or what have you. At best the personal publication can become one's main publishing format, a key ‘piece’ within the oeuvre. Or a personal memory, a review of interests. Especially when these interests are researched on the Internet. It cannot however cover all the secret passages and intimate states of full grown artistry, certainly less so if that artistry has a history in the material world. Material rubbing can only be pointed at through whatever publication, be it on or off line. DEVONthink does not address this problem. It is one of the few problems it doesn't solve for media drifting artistry.
The management of multi-format content is largely uncovered terrain. With my return to the material world of art production I find all problems are still there. Nothing moved. I will try to get a grip on them here, if not in one go (I am preparing an exhibition after all), it'll have to be in fits and starts. Moreover as I can only hope for, Exquisite Enclave, installation cum website cum printed publication by itself will at least deal with some of the problems of many media content management and publication discussed here.
THE ‘C’ WORD
First of all ‘content management’ needs definition in the context of artistic production, in order not to get stuck as management in search of content. If one wants to reward a body of work's coherence over time, including different objects (including ‘documents’), their logistics and varying public and private states, one runs up against the big challenge of the private/public divide, which runs prominently through every artist's production, precisely because along that line his or her art works are defined, as different from preparatory notes, sketches, documentation. If we want to define content management for the artist, we will have to define content first.
Do we manage content to create content? Otherwise we call this activity documenting or archiving. Editing content can be in preparation of divers new content.
In order to consider content management for the arts already we will have to admit that only that artist will be interested in it who does not take content management simply as the way in which s/he expresses herself in a given disciplinary format. A painter would consider the conception and construction of a painting ‘content management’ — if ever s/he would accept such extra-curricular gibberish — a sculptor informs sculptures, and so on for every classical artistic discipline. Moreover: every work of art embodies content, rather than demonstrates one way or another to organize content exterior to it. Content management in the arts is the management of the oeuvre in all its conceptual stages and materializations.
Strictly disciplinary conventions will not get you very far when you try to reconsider the way artistic thought, ideas, conception, organisation and presentation work together in a precise way. Just as much as the material quality of paints structures the content management of a painting, so does e.g. the quality of software structure the content management of the information artist. Concept, tool and context work together to constitute content.
An ‘information artist’ is the lame qualification to pinpoint a core interest within a specific artistry, which appreciates the experience, perception, knowledge which informs its production, the experience which is generated with it and the memory that might be enhanced in it.
(order, expression, articulation, information, post-format fix objectification, ‘form management’)
(more to follow)
re: the post-curriculum artist?
re: the problem of articulation in abundance?
re: the question of publicity?
re: discipline, discipline... professional intervention?
early morning at Boterenbrood pond
To be yarded for intravagance means to find oneself in the middle of nowhere, at ease, release.
Intravagance, upon search, appears to be a mathematical term, an “enormously medium number”... close to a calculation of the middle of nowhere, I imagine.
We find God's Own Mill in a state of attention deprivation. Two weeks of separation did grow the grass, bloom the rhubarb and land the dust in its rooms. Either live with it or see it suffer. This first Sunday morning in May, the sun quickly burning off the vapors of its lands, unveils a site of unsurpassed beauty. I immediately touch down. Make a round, turn up the upstream shutter, open the small greenhouses and peer at the ducklings locked in the run — Bidi and Dibi having passed away before recognizing their names, we have no more gooselings, but 6 or 7 baby ducks.
Hm. What's to learn? The fantasy world mix of everyday and imaginary, in its most liveable enjoyable form, needs deep control, by close maintenance, to allow the release of its deliriums. Control and release, spoiling and cleaning, enveloping and disclosing — hide and tell, despair and exalt... are the merciful mechanisms of narrativia, for us to live life's vital dilemma's without a final goal whatsoever, to live the moral life of trying harder, carefully rooting progress in mistakes.
Today this mill breathes histories past, present an future. Like all imaginary universes.
Extra vagance! it depends on how you are yarded.
(Henri David Thoreau, Walden, chapter 18 ‘Conclusion’)
all dressed up at the occasion of the miller's birthday
Paper mill De Schoolmeester (‘the school master’) in Westzaan I visited a decade ago. It struck me then that the color of the paper followed the color of the shredded fabric which is used for it. These being sails e.g. of the bruine vloot (the ‘brown fleet’), sailing transport and fishing vessels with brown sails, would turn out milked down light coffee brownish, jeans turning the paper a faint indigo et cetera. At the time I imagined to mill my own wardrobe into a collection of intimately informed papers, hosting my full regalia.
Other names of the Zaan region mills are De Bonte Hen, De Zoeker, De Kat, De Gekroonde Poelenburg, De Huisman, Het Pink, De Bleeke Dood, De Ooievaar, De Koker, Het Prinsenhof.
(The Colourful Hen, The Seeker, The Cat, The Crowned Poelenburg, The Homemaker, The Yearling, The Pale Death, The Stork, The Chute, The Prince's Court).
mixing pulp at the Schoolmeester mill
A revisit buys me the mill's last sheets of dark grey paper mixed from a stock of WWII clothes which the current miller in 1972 found in its inventory, when he took the job. Samples of its current collection enter an ExE preparatory folder too. Today a fair wind turns the wooden massive beams at great speed, the entire structure shudders. Three knives loudly pound white shreds in a large turning cup. All is mechanical here, all turns CCW or CW in great harmony, the water and pulp stream from one basin down into another. This is how the simple world works the world over. Energy to turn matter into product, bringing change of composition and quality. A sign announces only the wind is for free. This giant Schoolmeester is run by one man. He turns out a ton of paper yearly, ‘only’, he says.
Willem Jouke Jouwersma and Mienke Koetzier
with my mother in their middle, around 1925
To develop your thoughts and operate your actions inside the curriculum vitae that you are thrown into, every time again adapting to new circumstances while at the same time constituting them, adopt and change, subsist and resist — never to act from preconceived ideas, yet weave contextual coherence into your presence. Deplete your talents, which are limited and precisely to be accepted in this or that form only, in what by that achievement be called a moral life.
When visiting my late mother's brother Cees in Strasbourg I copy from the family album while listening to his stories.
Even when I did not follow all of the printed from the website directions, Maastricht-Wasselonne, from 12:39 to 16:17 takes me exactly the ViaMichelin 3 hours 38 minutes calculated, before I halt in front of the Hostellerie de lÉtoile. The rather uninspiring but clean room number 7 window opens on the Alsace landscape and some building material, the N4 to Strasbourg in the background. The pharmacy around the corner is a deep blue stucco covered old house, with a flowering Wysteria climbing it. The temperature's climbing too. It reaches 30° C today. I phone Francine and Andrea and speak to the latter who is in a taxi on her way to the building site of her work in the Jardin des Deux Rives. She mutters about something with the water not being brought to the work, I have no clue what it is about. But we're happy to see each other in an hour. Francine soon replies my call.
I can't get my modem to connect through the hotel's switchboard. No email for three days and a half. Unless I try at Cees' or some other hotel room one of these days. Or find an Internet brasserie.
The drive to S. takes 20 minutes. I meet up with F. on the Place de la Bourse to join A.'s party later, over dinner. A gathering of the tribe.
(more to follow)
nqpaofu.com 1998-2004 jouke kleerebezem Notes Quotes Provocations and Other Fair Use