'Creativity', Ed. P.E. Vernon

In response to Anna Lucas’ live film making activity on Wednesday 30.08.13, Day 1 of Autumn School 2013:

'There's an account of an experiment which is very like the activity on Monday afternoon, but treated as science, or at least social science Art students were put in two groups. The first group were shown two unrelated slides side by side, in traditional art lecture style. The second group were shown the same slides, but one projected on top of the other. They were asked to make a piece of work in response (it's not specified, but I assume they weren't given any instructions beyond that). The resulting work was then given to the Head of another Art College, to rate for creativity. The group who viewed the superimposed slides scored significantly higher.

I think this ‘experiment’ was being described to illustrate the limitations of such a subjective method, and perhaps by extension the difficulties inherent in any study of creativity (the book is a compilation of 27 psychology papers on the subject).’

Penguin Modern Psychology Readings, called ‘Creativity’, Ed. P.E. Vernon.

- Stephen Bush, Autumn School participant, 2013

New shot of the theatre, taken in the opposite direction (or almost), so that this time there is no question of seeing the stage. The photograph shows, head on, a group of listeners, including A, but the angles makes it impossible to see X; however, the field of vision does include a number of empty seats (on either side of A, in particular). This shot is very dim; only the faces emerge from the darkness: turned towards the stage and illuminated by the light from it. Motionless and attentive faces. But A’s face is quite different from the others, as though absorbed by something else: her eyes lowered, for instance, or fixed in space.

Alain Robbe-Grillet, Last Year at Marienbad, 1961, cine-novel

Autumn School Found Texts

How happy is the blameless vestal’s lot!

The world forgotten  by the world forgot

Eternal sunshine of the spotless mind!

Each pray’r accepted and each wish resign’d…

- Eloise to Abelard by Alexander Pope. Taken from the film, Eternal Sunshine of the Spotless Mind

In my father’s I remember a piano that nobody played.

A middle aged woman came up to him midway through the evening and asked why he was interested only in ugly things. ‘She really wanted to know,’ Rauschenberg recalls. ‘You could see that she wasn’t just being hostile. Well, I had to find out first of all what she meant by “ugly”, and so we talked about that for a while, and it seemed what bothered her was the materials I’d chosen to use and the way they were put together…’

- Ahead of the game, Four versions of Avant-guard, Calvin Tompkins

rolling

contours

lines

'The howling mansion.

The hyper-dimensional wood.’

- Lavinia Greenlaw, The Casual Perfect

 The room was cold and smelt of children

- Quote from a Scandinavian crime novel

The snow in the mountains was melting and Bunny has been dead for several weeks before we came to understand the gravity of our situation

- The Secret History, Donna Tartt

…every time a newspaper man makes fun of my writing and of my repetition he always has the same theme, always having the same theme, that is, if you like, repetition, that is if you like the  repeating  that is the same thing, but once started expressing this thing, expressing any thing there can be no repetition because the essence of that expression is insistence, and if you insist you must each time use emphasis and if you use emphasis it is not possible while any body is alive that they should use exactly the same emphasis. And so let us think seriously of the difference between repetition and insistence.

- Portraits and repetition, Gertrude Stein

THIS IS A REAL PHOTOGRAPH

- Postcard

A picnic. Picture a forest, a country road, a meadow. A car drives off the country road into the meadow carrying bottles, baskets of food, transistor radios, and cameras. They light fires, pitch tents, turn on the music. In the morning they leave. The animals, birds, and insects that watched in horror through the long night creep out from their hiding places. And what do they see? Gas and oil spilled on the grass. Old spark plugs and old filters strewn around. Rags, burnt-out bulbs, and monkey wrench left behind. Oil slicks on the pond. And of course, the usual mess – apple cores, candy wrappers, charred remains of the campfire, cans, bottles, somebody’s handkerchief, somebody’s penknife, torn newspapers, coins, faded flowers picked in another meadow.”

- Julian Baggini, The Pig That Wants To Be Eaten

The limitations of the sense organs and nervous system mean that many environmental events occur at rates too fast for us to follow, and we are reduced to sampling experience at best. When the signals reaching us are regular and repetitive, this sampling process can yield a fairly good representation of reality.

- Future Shock, Alvin Toffler

I stood in the dim, green lit clearing and above my head a silver paring of moon cradled the evening star. The birds had fallen silent. There was not the slightest stirring of the air. And as I stood I felt a small hand creep in to my right one, as if a child had taken hold of it.It felt cool and its fingers curled themselves trustingly into my palm and rested there, and the small thumb and forefinger tucked my own thumb between them. As a reflex, I bent over and we stood for a time which was out of time, my own man’s hand and the very small hand held as closely together as the hand of a father and his child.er.

- Susan Hill, The Small Hand

Frog Autumn

Summer grows old, cold-blooded mother.

The insects are scant, skinny.

In these palustral homes we only

Croak and wither.

Mornings dissipate in somnolence.

The sun brightens tardily

Among the pithless reeds. Flies fail us.

he fen sickens.

Frost drops even the spider. Clearly

The genius of plenitude

Houses himself elsewhere. Our folk thin

Lamentably.

- Sylvia Plath

Jan Jogodzinski, in his essay ‘The Highjack of Creativity’, says that there are currently two ways of ‘seeing’ creativity. One where creativity is seen as coming from ‘beyond’ - transcendentalism. And one where it is seen as coming from within - immanence. Deleuze is an exemplar of  immanence. Jogodzinski writes that ‘the one that grips capitalism is the transcendental notion of creativity’ and that ‘transcendentalism as a philosophy informs capitalism through desire as lack.’ Desire here as ‘to fulfil the lack of our being so that it coincides with a more fulfilling life….’ for Deleuze, ‘values are internal (immanent) standards. To live life creatively and well is to fully express the limits of one’s potential’ and he ‘looks for symbiotic ways to release life, to open up dimensions of psychic freedom with others’, with this kind of ‘becoming …theorised in terms of processes.’     

- Autumn School 2013, participants found texts (Day 2). 

Autumn School Tate collection references:

http://www.tate.org.uk/whats-on/tate-modern/display/artist-rooms-gerhard-richter-london

http://www.tate.org.uk/art/artworks/art—language-ian-burn-mirror-piece-p80072

- Autumn School 2013 (Day 1)

Take an object

Do something to it

Do something else to it

Do something else to that

Jasper Johns

- Autumn School 2013 

- Participant, Summer School 2012

- Participant, Summer School 2012

Day 3 - Crossing the ‘Do Not Cross’ line…

Day 3 - Crossing the ‘Do Not Cross’ line…

making time to not think

http://patthomson.wordpress.com/2013/02/25/making-time-to-not-think/

- Pat Thomson, Patter, http://patthomson.wordpress.com

Reading Gaba in the catalogue

When asked why his parade of ‘Tresses’ (fetishes) didn’t dance he said
"It’s a very quiet fetish - he (has) just come out (for the first time). Maybe when he come(s) out next time he can dance."
 
(Pg. 19)
 
- Liz Stirling, contributing artist, Summer School 2013