tutor report: SYP 2 Resolution

My timetable has been fairly tight after assignment 2: generally 4-6 weeks between the assignments to fit into the standard course duration. So, as I am submitting SYP3, I am posting the report from the previous assignment. We had the tutorial shortly after my submission.

The overall summary is:

I am presenting a largely chronological account of the tutorial. It covers similar themes as before: 

Audience specificity; forms of engagement; the questions over archiving/site and how all these are being addressed in the concept of the PDFs A/Folder that is form in which I consider engagement to function:

The discussion as all preceding ones rich and nuanced. I record and compile and realise the benefit of this note-taking mechanism: how the reports are truly mine and my work/practice documents (I remember how early on I was missing the authoritative voice of telling me how well I was doing).

Much of the discussion concerns the details of the a/folder process and the specificity of audience, direction and control:

Instructions to follow and/or diverge:

SYP of following instructions and giving people instructions and the relationship of giving permission to be wild and lose as to what people do with the instructions that you are giving them. How do you test that, the language, the permissions, the openness of the instructions that you give. That is key to the engagement. 

Rachel mentions how people talk about Sol Lewitt’s instructions and there not being an alternative of how to follow them and that seems incredible as there is much in how they could have been interpreted differently.

This relates again to the Village Book; and the questions of distance: on how to do things differently, and what that means in terms of authority and control. This is where the crit group is really interesting: a couple are wary of my work as they fear getting lost; there is a threat of dissolution in it; at the same time they were adamant that I mustn’t instruct. Yet, my instructions aren’t instructions but you need to be calm enough to realise that there is no instruction. So there is a really careful negotiation of not free will but relational bind of what sits in that relation the work constructs with audiences. The literalness of my approach, and how it does employ the opposite at the same time. It is not anxiety over being a good student but: am I understanding the order of the world and how does this order affect me: do I get how this building functions and what effect does this function have on me? Rachel: this is where the pandemic comes back in, in relation to authority and being pushed/forced.

What is the return process? How do they get back to you? Is that specific enough?

  • Am I tearing a hole in this? Or am I using a new paper? Is this specific enough? How do you test it?
  • I sent verge/weed to three creative friends and various engagement process. But does this mean it is only for creative friends?
  • > what is the audience? What audience do I care for? 
  • < what is the entry level? Is this enough. 
  • Perhaps be more directive: this is my return address, send me something. 
  • Do you want knowing people or unknowing people? 
  • Different objects and instructions for different cohorts: testing relational bind and testing distance. It will teach me about looseness of contact. Different objects for different audiences: I will always have to presume or anticipate my audience.
  • Will I drop an instruction along the commute route? Doing something with the kids and their earlier engagement with the drawing machine but also the found notebook process.
  • Multitudes of routes how the work is encountered and how this can be tested and engaged with: the moments of nearness and distance in the work itself and these instructions as part of the networking. 
  • How to navigate the instruction, what needs to be clear and what is possible in the inbetweenness. 
  • My friends and the trees as my audience: maybe that is sufficient; because: what is the pay-off? Having good questions and processes.
  • Not to squander opportunities to ask 20 people to do something for me. But also, not everyone needs the same instructions, so I can have quite different processes and instructions, different routes and all this is testing distance. Different instructions to people within a group can be really interesting too to show differentiation in the world too: how we relate to authority? Inside? Outside?
  • What can be dropped where and perhaps returned? What can be sent out on social media and returned that way?

I reread now and note the action points:

  • What objects work for what audiences? Then sending these out and explore what comes back. First three months in the year to do this.
  • How to proceed with the workshop? Let me write through this: three sessions, towards the end of the course, in March. This is my comfort zone. Who would I like to invite for a panel? Perhaps some money for artist fees? If we meet for the next tutorial in mid-January we can discuss this further.


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