Contents

Part 1

Enlightenment

– Barthes, Milner, Foucault                                                                         Pages 2 – 5

Part 2

Kester                                                                                                             Page 3

Part 3

Ephemeral                                                                                                    Pages 3 – 5

Part 4

Radical                                                                                                          Pages 4 – 6

Part 5

My Family                                                                                                      Pages 7 – 12

Part 6

Have you seen this person                                                                                    Page 13

Part 7

www.reproductions.org.uk                                                                         Page 14
 

Its a new year, its a new place our heads our in as with the death of the author and Barthes.............

The way in which I see the images moving in terms of the 'death of the author' is used to address the way in which reconstructions have taken place in postmodern art practice in terms of different female artistic subjects, even though yours touches on this I still think that as an a relationship between self, aesthetics and politics, seemed to crop up alot but more importantly those of more specifically are of between artistic identity, art practices and feminism.

What are your views on feminism?

After reading the essay 'Death of the Author' ( Roland Barthes, 1968) I have found that Barthes linked that, - the question of authorship and artistic origin- a self who is expressed through the work of art- to the critique of the individual as the source of thought and action. As he put it : " The author is a modern figure, a product of our society in so far as, emerging from the Middle Ages with English empiricism, French rationlism and the personal faith of the Reformation, it discovered the prestige of the individual, of, as, it is more nobly put, the 'human person'. ( Barthes 1977:142-3).

With you not having complete authorship on your work as you give credit to those who have collaborated with you, would you agree with the way in which Barthes then argues against the enlightenment by saying; " Against this Enlightenment subject, Barthes argued for an authorial position constructed through language which ' writes' he writer. Language itself is seen as constructing and imaginary coherence of the self which achieves its unity only in the act of being read; authorship gives way to writing in 'a theory and practice of textuality.' ( Miller 1986:104)

But the way in which this was later challenged by that of Micheal Foucault, of the dismisal of an author and questioned what is an author, I see that now perhaps you would have a very simular approach to your own work.

Even though you our the author of the work, I suppose if it had not been for all the others collaborating with you it would not of been something to consider.

Anonymous

Now your work has disappeared from your space would you see it as an Ephemeral process taken place ?

Anonymous

Hi Annonymous, I have two emails to respond to, I have not forgotten, please be patient as I am currently submerged in my thesis writing, give me a week

and we can resume...

'...The moment that passes between posing a question and receiving a reply

is marked by both risk and possibility. The risk of doubt and uncertainty, and

the possibility of an opening out to the other...' (Kester,2003).

If risk is possible, would one say that duration is unforgiveable.

As the longer it is left unsaid the more we may think, with the website emergining I find it hard to believe that these images were the begining of all of this and the possibilty that others can read these dialogues, makes ones own assumptions more clear and at times I feel they could be radical.

Anonymous

That is fine, I am sure something interesting will emerge from your writing, What are you writing about in your thesis is, it anything relevant to what we have discussed already?

Anonymous

I’m back, thanks for waiting….

I’m going to address each of the last three emails respectively:

‘…What are your views on feminism?’

This is an ambiguous question, we did touch on all that ‘gaze’ stuff earlier. For me, feminism is important in its practical application. Feminist practice as a communicative process engenders mutual learning. There is always the risk of power imbalances through discourse, adopting feminist values as a working method seeks to challenge this imbalance. Communicating laterally with others aids the generative (and unpredictable) processes of the work. As I have previously stated, this does not need to be at the risk of dissolving artistic value. I am an artist who wants to work with people; this doesn’t automatically make everyone an artist. Perhaps author is best replaced by ‘mediator’, someone has to keep a handle on the varying things going on at once.

‘...has an Ephemeral process taken place?’

Yes and no. It is ephemeral inasmuch as it is processed based, however as I write this sentence it becomes documentation.

‘…If risk is possible, would one say that duration is unforgivable’.

I’m not sure why allowing time to pass requires forgiveness, this is not a confessional. Risk and failure are possibilities to embrace; they can be an equally important part of the work. I’m pleased you ‘…find it hard to believe…’ how things have moved on. It is through the meandering course of duration which plays between possibility and failure, believing and non-believing. For my part I am agnostic.

 I have a question for you. In your last email you said ‘…these dialogues, makes ones own assumptions more clear and at times I feel they could be radical’. How are you defining radical, in what context? How do you see dialogue as radical?


Apologises for the delay, I've been travelling!

I suppose I use the term radical rather loosely, and that perhaps I meant to suggest that the context of the dialogues, could be seen in this way. As they are not linear, in the way they unfold.

Anyway, "submerged in my thesis writing", I wondered if perhaps this would be a new starting point. As you have not yet unravelled the content of your thesis to me,and I wonder that if perhaps it had any parallels to that of your practical work.

How is your practical work evolving lately as I could not access those photos you sent me last, or your e-mail address. Which I would be interested in viewing. Perhaps I could analyse it for you?

Hi, theory and practice are reciprocal but it is preferable to consider transdisciplinary approached to my research. The content of any written work I may produce is already embedded within the work.

www.reproductions.org.uk