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The Performed Text

See also: [Performance Art] (art technique/thing) [Text as art material] [Dada] [Dadaism] (an art "ism") [Performance: Frank] [Performed Art] [The Performed Score] [The Performed UFO's] (and esp, etc) [ "PARTS ONE, TWO, THREE" ] [] [Interventionist Art] [(art) concepts] [Art MovementsStreet Art] [Fluxus] [Street Art]

The Performed Text

On this page: {Intro} {The Text performed; an alternate thought track} {Stuff} {Artist's Statement(s)} {The Usual Suspects} {Techniques} {Meta Text Processing} {So, is the price of the thing its meta-value in the market place as OBJECT'd'DESIRE?} ...

The Text performed; an alternate thought track

But, for a moment, let us turn this all around: Instead of the performed text (eg, a script, directions for mixing concrete, etc) consider the text as such performed. The performed text of an idea is the representation of that idea in concrete or expresible/realisable/perceivable form. For example, "still life with carp" a common theme among artists is (clearly i would say) a simple text but of course when actually performed (as with many of John Cage's minimalist scores for the performer which rather leave a large lee way of interpretation and hence performance) - lead a wide variety of ways that the text can be performed. The clearest and simplest example of this a simple sentence (eg, "He paid $12 for that.") where in turn, we emphasize different words in the sentence in different ways. We can also allow the sententce to be either a simple declatory sentence or a question, an exclamation, a plea for mercy, a cosmic question, etc. Thus, we (like Borge's infinitely expressed but finitely contained "Library of Babel") can take as read all *possible* readings of the sentence. In the limit of course we exhaust all of the possible ways that the given sentence can be expressed and then pick up the next sentence and proceed to exhaust all of those possibilities. And by analogy, we can "exhaust" all possible still lifes. We can as such form a sort of "Russsel's Complete Catalog of Still Lifes" (google: "Russell's Paradox"). But, we know that this to be a fiction as well. Just as every possible paintint is NOT every possible work of art on a subect (from 2d we jump to 3d, and then what of assemblage, or "dansing a picture", translation from visual to auditory art, etc?), we know that every supposed method for constructing all possible variations on *anything* is doomed when a new method or device is encountered. For example, it is all well and good that Bach's "Well tempered Clavier" explores all possible keys (here "tempered" is an archaic form of "tuned"), we know that these are *merely* tonic scales based on simple whole fractions and as such based (rather artitrarily) on "C" (something like 440 hz) and that too is based on a 70-30 mix of nitrogen / oxygen. Consider variations introduced: use the helium oxygen mixture which deep sea divers use atonal scales (western civilisation) alternate tonalities (eastern civ.) tibetian throat singing And these do not even take into things like, Stomp (eg, the "Blue Men" group), rap / slam and other modern poetry forms mixing music and or spoken rhthyms w/ and w/out rhyme (or going back to folk singing; eg, Jannis Joplin, Rick Springsteen, Shaker singing, Gregorian Chants, or esp Karl Orrf's re-rendering of "Carmina Burana" (songs of Burana), or even Raph Vaugh Williams "discovery" of simple folk tunes such as "Green Sleeves"). I take it as not being needed to be expanded further, that even simple concepts as "theme and variation" are indeed infinite and un-bounded; no matter how much the reactionary mind would like to dismiss so many things as 'well that's not really music, anyway". The same applies to art; and hence the present work. -- Share and enjoy, Frank. NOTE: The above text is extracted from a rather longer text -[
sol3-web: art-squeek.angelfire.com/ah/performed-text.html]-