Although I am finding it slightly difficult to read, I can understand what the authors are trying to say. I guess the final paragraph of the books sums it up quite nicely:
"By putting himself in a position of not knowing, of learning- and not of refusing to know- the artist treats the fragile conditions of 'initiation' and 'reception' together on the same level." Thus the dynamic, project, issues and subject of the deceptual work are to be found in this relation, and not only in a reception and response that occur after the event."
The book talks about the constant struggle of the contemporary artist to try and innovate - however reminds the artist to not forget about the very essence of art - communication with the audience - involvement and interaction of the audience. The audience will be of major importance, in fact, the focus of my project. I must avoid the very tempting trap of appearing to be an all-knowing artist, and instead involve my audience, show them I am still learning, and give them as much flexibility in the project as possible (yes, even if this involves more programming - it must be accomplished).
Today I have also started some research on Brion Gysin - I am almost embarrassed to say I have only started looking into his works today, as he was a huge influence on the Beat Generation (especially having created the Dream Machine). In an Interview for 'The Guardian' in 1997, William Burroughs said that Brion Gysin is "the only man that I've ever respected in my life. I've admired people, I've liked them, but he's the only man I've ever respected."
So now I have a copy of a 1982 RE/Search Magazine on William S.Burroughs, Brion Gysin and Throbbing Gristle.. and I'm going to try and read it all by the end of next week. Will post more reflections soon.
In the meantime my proposal has been shifting and changing. Evolving, I'd like to think.
