Daniel bozhkov: Reversing or preventing production. Can one imagine other models or misbehaviors where this Biffo-semi capitalism, culturalism can be fulfilled?
Critchley- the artist is the exemplary worker. Emphasis on adaptability, and always being at work. The task of the artist or philosopher is to not produce a system of knowledge. The machine of expertise must be criticized and idled. Georges Batailles sovereignty is informing and denying a space. It is impossible, and implicates everyone. The task of the artist is to puncture holes in the name of truth. What are the collaborative forms of thinking, educating? One must always ignore questions of the future. The discipline of the left is refusing it to cultivate the past. What do students want? I owe, therefore I am. To be is to be in debt.
Strauss- apple, Amazon, Google own trillions of the marketplace and only employ the same amount of people as those who enter the marketplace each month. Susan Howe says
The story of America is complicity and redemption.what has changed since the 60s, is that people now look at more recent models rather than looking to the past. I like to use more distant models to prevent repetition.
Bourriard- the artist is the person that looks to the future. We must contemplate the wreckage of this information of our every day lives. Nobody can master knowledge anymore. There is an inflation of information. Batailles creates this science of wreckage. What is the strange material that is not fully assimilated. Omega is infinite plus one. The sum of all numbers plus one. That is art. The exceeded conditions is what produce art.
Huberman- Batailles notion of excess, pleasure and knowledge is always present in art and in the calculus of knowledge production. Art can be less domesticated in art school. What does a place of risk look like today?
Bourriard- the overproduction of knowledge is not only the accumulation, but a path or line of knowledge rather than objects. Build relationships between production and navigation. The connection to the past with memory facing the future. The proximity of the artwork is key. Organizing the school around the art center/ exhibitions.
Critchley- Bourriard says there is a change of time and space. appropriation and Documentation. Fluxus- work becomes a matrix or a score, it is a production of future forms and induces behavior on the side of the spectator. It is a network that produces future forms.
There is a relationship to spatial orientation rather than temporal orientation. Elements of the past produce maps. Activities that are not reducible to service or use. Pleasure and enjoyment has become a mode of utility.
Bourriard- Space and Time are accumulated in the same place. The world is a huge archive, and becomes Immaterialized. George Kugler- actuality is the darkness between two flashes of a lighthouse. The surface where all the signals from time crash.
Strauss- when I became a voracious reader, I always felt it was illicit. There is a danger and uncertainty in changing ones mind.
Consistency in artists production or practice materialistically is encouraged both in the institution and in the market. How can this notion of the illicit change, risk, be an endeavor for an artist formally and programmatically? Where does the line need to be drawn between capital and creativity given that the collapse of the two is so spectacular with digital media? How can you contribute to the reading of inconsistency in artiststic production? How can you as cultural translators interface with other levels of ideas consumers beyond the students taking on tremendous debt? Curating biennials? How do you access other forms of public who are not necessarily coming to you.
Discipline is a body of knowledge, an organization of ones body of knowledge.reorganization of pleasure.
Bozhkov- how can human time vs cyber time be articulated? How can we insert danger into Bourriards description?
Bourriard -Information is translate able but knowledge is not. The object we are trying to transmit must be translated.
Bozhkov- Language flow is being disturbed.
Critchley- the academy was was invented outside the city by one person who claims to know, but then is questioned by the person who claims not to know. Plato claims that education is the suspension of that moment, knowledge. I like institutions that are at a certain distance from the city. There are questions of retreat and secession. The humboldtian idea of the university with the director, administrative site is a bad way of organizing information bc of VERTICALITY.
Bourriard- artist placement group 1960s artist who wanted artists at every level of society.
Huberman- how can we deinstrumentalize the career of making art? What are the links between an artists practice and their role as an educator?
Bozhkov- beauty’s claimed his greatest work of art as teachingCritchley- the teacher student model is over. The submission to the professorial elite from the galleries is problematic. Gramshey believes in the organic intellectual. The leader that is drawn and cultivated by a specific condition like OWS. Teaching is always an experience of apology. It is always a responsibility to someone who you fail. The student believes in the organic intellectual
Strauss- beuys uniforms became too much.
Bourriard- the symmetrical relationship of the delivery of knowledge must be subverted. The multiplicity of sources avoids symmetry and exclusion. One should provide norms for what should change.
How does the debt of knowledge imagine a very specific future?
Critchley- Putting a wheel in the spoke of knowledge is a conservation of information.
Strauss- hell is stuck in the present. David Grabers book on debt.
The question of danger is also a question of safety, it is a feminist question. What is the ethic of the institution in this production of danger?
Bourriard- at the core of this cultural doubt.
Critchley- the assurance of access to public education is part of safety.
Bourriard- ideology is like a cup that you come across in the street.
Strauss- what works is the interdisciplinary program, one on one studio visits.
Critchley- The ethos of the institution is often eliminated. It is difficult to sustain them. The question of numbers is central.
Huberman- Don’t adjust yourself to someone else’s demands. Carolyn Kristof- the question of contemporary is how to navigate territories with love and celebration.