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Dorey, Ralph and Korner, Naomi. 2010 http://www.ralphdorey.co.uk
Citation preview
It b
egin
s w
ith a
sor
t of f
old
ing
and
div
idin
g ac
tion,
reac
hing
for a
sp
ecifi
c ar
ea, p
ullin
g to
alig
n ot
her fi
eld
s of
reso
nanc
e I. al
read
y in
pla
y w
hils
t at
the
sam
e tim
e ac
tivat
ing
seco
ndar
y sp
aces
of j
uxta
pos
ition
alo
ng t
hese
line
s of
ove
rlap
.
Goi
ng is
the
wor
d fo
r an
act o
f pro
gres
sion
, not
sim
ply
the
actio
n b
ut e
xist
ence
as
flux.
As
a p
hilo
sop
hy o
f Mod
erni
sm,
II.
and
als
o ec
hoin
g th
at a
tavi
stic
driv
e p
rese
nt in
exi
sten
ce, g
oing
see
ms
like
a go
od s
tart
. It
is c
erta
inly
not
eno
ugh
to fo
rtify
on
esel
f an
d s
tand
str
ong
as t
he w
orld
mov
es a
nd e
bb
s ar
ound
our
fee
t m
akin
g us
all
too
sick
to
look
dow
n at
the
sur
f, fo
r on
e m
ust
mov
e al
so. T
hat
is n
ot t
o sa
y on
e m
ust
mov
e in
par
alle
l, fo
r su
ch is
to
drif
t, h
owev
er m
ight
the
re b
e an
ont
olog
y of
less
res
ista
nce
that
mig
ht in
fac
t ac
cele
rate
one
s p
rogr
ess?
Is
this
tru
e in
her
os o
f hu
man
ity li
ke P
rom
ethe
us,
Goe
the,
Le
Cor
bus
ier
and
Elv
is?
Is
ther
e a
way
of
strik
ing
one’
s ow
n p
ath
that
(p
erha
ps
afte
r a
time)
ind
uces
thi
s w
ind
to
put
it’s
sh
ould
er t
o on
e’s
bac
k?
I b
elie
ve i
n an
art
of
hero
ism
. N
ot b
y d
efini
tion
a fu
lly fl
edge
d p
olar
ized
ext
rem
e of
the
whi
te k
nigh
t, b
ut w
ith h
ead
III
. p
oint
ed i
n th
is d
irect
ion
an a
uthe
ntic
att
emp
t at
find
ing
the
wha
le.
The
term
Qui
xotic
is
mis
used
as
a sy
nony
m o
f fo
lly,
doo
med
am
biti
on a
nd d
elus
ion.
Mig
ht it
not
mor
e cl
early
mea
n a
striv
ing
to r
end
er t
he w
orld
rea
l,per
hap
s le
ss t
o le
ad b
y ex
amp
le r
athe
r st
rike
out
in t
he d
irect
ion
that
is t
he t
rues
t, a
nd b
end
the
con
text
to
your
will
by
mea
ns o
f th
is v
ery
ener
gy
of p
assi
ng?
The
myt
h of
sta
tic r
esul
ts i
s p
erha
ps
less
im
por
tant
tha
n in
tent
ions
and
our
dev
elop
men
t. I
n ho
ldin
g on
to
mat
eria
lity
and
a d
elus
ion
of a
n et
erna
l for
m w
e p
riorit
ize
the
failu
re t
o tr
ansf
orm
the
rea
l ove
r th
e co
ntin
ual r
efine
men
t of
in
tent
ion
and
bel
ief.
So
alth
ough
Don
Qui
xote
is r
emem
ber
ed fo
r w
hat
he in
tend
ed a
nd b
elie
ved
, thi
s ha
s al
way
s b
een
arm
in
arm
with
tha
t w
hich
he
faile
d t
o d
o na
mel
y lo
cate
and
con
que
r th
e gi
ants
of h
is o
wn
time.
The
unre
liab
le n
arra
tor
is p
erha
ps
the
mos
t vi
able
of
all s
tory
telle
rs.
By
ackn
owle
dgi
ng t
heir
bia
s, t
heir
faili
ngs,
the
y IV
. m
ake
this
pre
sent
and
dis
pel
the
illu
sion
of
non-
par
tisan
ob
ject
ivity
tha
t sh
imm
ers
bef
ore
our
eyes
whe
n co
nfro
nted
by
so m
any
narr
ativ
es.
Bet
ter
to a
ccep
t on
es f
ailin
gs,
the
gap
s in
one
’s e
duc
atio
n an
d m
enta
l non
-seq
uitu
rs a
nd s
ee a
ll as
at
tach
ed t
o a
mom
ent
pas
sed
, (so
, on
the
24th
of A
pril
201
0 th
is is
cor
rect
) rat
her
than
glo
ss o
ver
issu
es w
ith v
agar
ies,
shy
fr
om t
houg
hts
lack
ing
adeq
uate
aca
dem
ic s
upp
ort
and
stic
k to
pro
clai
min
g a
mix
ture
of
amb
igui
ties
and
gen
eral
ities
in a
n au
thor
itativ
e an
d s
elf a
ssur
ed t
one.
So
per
hap
s sc
ulp
ture
mig
ht b
e th
e sh
adow
of p
assi
ng id
eas,
the
crus
t bro
ken
off a
s p
art o
f dev
elop
men
t. If
the
artis
t’s
V.
activ
ities
are
defi
ned
as
goin
g th
en t
he s
culp
ture
is t
he t
ree
bra
nch
held
bac
k to
allo
w p
assa
ge o
r th
e p
it d
ug t
o co
llect
d
rinki
ng w
ater
.
(A CHOIR IS HEARD SINGING IN THE BACKROUND)
KASPAR: THE CONGREGATION SOUNDS LIKE HOWLING AND WHEN THE CONGREGATION STOPS … THEN THE PREACHER STARTS TO HOWL.
“there is always some moron who will see satire as documentary” - Philippe Mora Not Quite Hollywood. Dir: Hartley, Mark. 2008
I am thinking about your suggestion of coming as the antithesis of going. I do argree with coming being like fate, I think it implies an arrival of something else to ones location, with the energy lying in that body, and therefor it is is not able to me stopped by us. It is inward but also very much about anticipation, we are at the point of arival and so it seems inevitable that that cap will be closed. With going the direction is outward, we view this from the point of departure rather than the point of arrival, going is all effort, we are very aware of how much energy it takes and its lack of focus on destination brings a focus on the journey itself whether whether that is a celebration or a trial.
I think the Dr John video is very much a celebration, but I am unsure about whether he is coming or going and you are centrainly correct that not knowing whether one is coming or going is bad as it would logically be an internal conflict regarding responsibility for action in setting out. Are you meant to be paddling or not?
The images I sent from Laurence of Arabia and from a film called Sorcerer. Both of these films are obsessed with journeying, with Sorcerer concerning a number of damned men attempting to drive unstable explosives through the jungle in trucks in an attempt to win their freedom, and the other film focusing on the traversing of legendarily intraversable arid places, and the relationships of men to these places.
I’ve been trying to work out the relationship between our idea of the jungle and our idea of the desert, the best I could figure is that the jungle is an extreme of information. An infinite of interconnecting line and systems and if you live there you are part of it and can see any movement or disturbance from a mile away by the way it effects your immediate surroundings.I think the desert is a great vacuum (do you remember the poster for the film Jarhead? with its tagline Welcome to the suck) pulling everything into it.
I thought perhaps that considering what this Other space was, was a good idea. what are the extremes of Other territory.
and my final thought is
isn’t it fascinating when people are acting and don’t remember why they are acting?
23rd April 2010
There is something here about intent, the same actions mimed for differing reasons, and how this is essentially replacing the core of something and how that can sometimes bring about disaster. so often (always) when we attempt to recapture a moment, an idea, a feeling, we fall short. and worse than that we getting a sickening taste of realising something artificial has entered when we were so expectant of not only the original but the original amplified by our lingering on it.on a side note perhaps this is also capable of being played backwards, the catharsis of returning to disaster, is that perhaps exorcism?
thats what comedy is, tragedy plus time Lenny Bruce
satire/parody/imitation
this plays on our reconfigured eye, what do we expect from an experience? what do we believe is the author’s intent? which layer of image are we going to focus on?of course fiction is just that, fiction, and cinema is shared conspiracy between the people making it and the people watching it. So when we sit down we assume a starting position. How many times have we sat down with one preconception only for the film to shift this by force? Not many perhaps, but it does happen and we have to concede that the director was more aware or less aware than we original thought.
There are examples of when this has been consciously played out, a good reliable example is Twin Peaks, the actors are directed in such a manner that the expected (and delilvered) awkwardness of American soap woodeness is merged with it’s physical cousins of disjointed human relationships, hallucination and hidden agendas. Bertolt Brecht’s Verfremdungseffekt saught to slap the audiance out of the slumber of contented viewing and indulgence and bring about an attentiveness and an active viewing. David Lynch’s audience wakes and is still unsure as to whether they still dream.
My uncle age 7 was riding his bike one morning up and down the street they lived on at the time and getting a little carried away he lost control of the bike and rode right off the edge of the pavement and down the stairs to a basement flat below. he had injured his left leg quite badly and limping back home he was greeted by a friend of the family who asked him what happened. He replied I’ll show you and took the friend to the bottom of the street backed up his bike and faithfully re enacting the incident rode the bike back down the stairs...resulting this time in a broken leg.
“IF YOU GO TO A PUNCH AND JUDY SHOW AND YOU’RE ONLY WATCHING THE WIRES… YOU’RE A FREAK.” Dean Learner Garth Marenghi’s Darkplace Dir: Ayoade, Richard. 2004.
I think its about spreading outStopping and spreading outCarryingDelivering somethingMoving it to its place of useBut having various protocols, - or even simply the ability to improvise - for potential situations, climates, circumstances.To stop and survey, to record.Topography.It is to be prepared, but to have a larger whole that contains dedicated agents, the demarcation of responsibility.Its being part of a team, to be words in a sentence.The etymology of the word team being traced back to expressions meaning to pull or to draw.So it leading something and supplying its motion, its energy.And I’m maybe interested in the jig that lets that happen with ease, with clarity and precision.Not just supplying to force but the reasoning.The application.Ultimately though its about moving forward.About progressing.But not about the end, not about completion which is stopping.A pausing on the road is not stopping.25th November 2009
On Going: The Thing and the Image of Itself Dorey, RalphKorner, Naomi2010
www.ralphdorey.co.uk
I had this idea for a story about a man on a train and how a train is a place that’s moving, a town you can’t leave. and another story about someone trying to put together a machine in the dark with the torch in their mouth. but these never got beyond the descriptions.2nd May 2010