nightschool
Seminar 3: Liam Gillick
Three one-hour lectures. The outline of a possible text. Five parts will be tested and developed quickly.
Thursday, March 27, 7:30 p.m.: The night before closure of an experimental factory.
Friday, March 28, 7:30 p.m.: Redundancy following the promise of infinite flexibility.
Saturday, March 29, 3 p.m.: Reoccupation, recuperation and pointless renovation.
A QUESTION OF WHERE TO COMMENCE NEW STRUCTURES IN LIGHT OF SOME RETURNS AND EMERGENCES:
THE POSTWAR AS A FINISHED MOMENT: IN THE EUROPEAN CONTEXT AND GLOBAL CONTEXT VIA COLD-WAR INDENTIFICATIONS (E.G. ILLUSION OF IDEOLOGICAL VICTORY OF THE RIGHT…)
THE INABILITY OF THE ART CONTEXT TO IDENTIFY WITH THE NEW CONDITIONS.
COALESCENCE OF INDUSTRIAL LABOUR IN CHINA (AMONG OTHER THINGS). THE FRAGMENTATION OF LABOUR IN DETAIL. SPECIFICALLY IN LIGHT OF VARIED SO-CALLED FREE-TRADE AGREEMENTS.
THE NECESSITY TO POSIT A NEW FRAMEWORK OF ACTION THAT CAN ACCOUNT FOR THESE LOSSES AND GAINS AND PREVENT THE MOST DYNAMIC WORK FROM BEING UNDERSTOOD AS OPERATING WITHIN AN INSTRUMENTALIZED TERRAIN. (THAT MAY OR MAY NOT ONLY BE CONNECTED TO THE NOTION OF “POST-WAR” SOCIAL DEMOCRACY)
THE BOOK (THE TEXT AS OBJECT VERSUS THE FILE TO BE EXCHANGED.)
IMMATERIAL LABOUR (CULTURAL CONTEXT OF THE COMMODITY)
ANALOGOUS MAPPING (WHERE DO THE DISCURSIVE MODELS EMERGE FROM IN A HEAVILY INSTRUMENTALISED CULTURAL ENVIRONMENT)
CULTURAL ECHOES (WHAT ARE THE DANGEROUS ECHOES OR PARALLEL MODELS: THE JIM JONES EFFECT?)
SITES OF PRODUCTION (THE SITES OF PRODUCTION STILL REQUIRE WORK. THIS IS THE REASON FOR MISUNDERSTANDINGS AND HIERARCHIES WITHIN EVEN THE MOST DYNAMIC DISCURSIVE MODELS)
AGENCY IN RELATION TO ECO-POLITICS (CARBON EXCHANGE: THE LUKACS QUALITY OF ECO-SELF-CONSCIOUSNESS. THE OVER-RIDING OF THE POLITICSISZED DISCOURSE)
COALESCENCE/RETURN OF CLASSICAL RELATIONS OF PRODUCTION (+ THEIR ERASURE IN A DEVELOPED SENSE – DE-UNIONISZM ETC.)
CONSENSUS MODELS AS A PHANTOM PARALLEL (MODEL OF SOCIALLY RESPONSIBLE BUSINESS – AMELIORATED WORKING ENVIRONMENT…)
DETAILED WORK IN THE CULTURAL FRAME (WHO IS DOING IT? WHERE IS THE CONTEMPORARAY DYNAMIC LOCATED? ART CURATING THEORETICAL FOCUS)
Thursday, March 27, 7:30 p.m.: The night before closure of an experimental factory.
Friday, March 28, 7:30 p.m.: Redundancy following the promise of infinite flexibility.
Saturday, March 29, 3 p.m.: Reoccupation, recuperation and pointless renovation.
A QUESTION OF WHERE TO COMMENCE NEW STRUCTURES IN LIGHT OF SOME RETURNS AND EMERGENCES:
THE POSTWAR AS A FINISHED MOMENT: IN THE EUROPEAN CONTEXT AND GLOBAL CONTEXT VIA COLD-WAR INDENTIFICATIONS (E.G. ILLUSION OF IDEOLOGICAL VICTORY OF THE RIGHT…)
THE INABILITY OF THE ART CONTEXT TO IDENTIFY WITH THE NEW CONDITIONS.
COALESCENCE OF INDUSTRIAL LABOUR IN CHINA (AMONG OTHER THINGS). THE FRAGMENTATION OF LABOUR IN DETAIL. SPECIFICALLY IN LIGHT OF VARIED SO-CALLED FREE-TRADE AGREEMENTS.
THE NECESSITY TO POSIT A NEW FRAMEWORK OF ACTION THAT CAN ACCOUNT FOR THESE LOSSES AND GAINS AND PREVENT THE MOST DYNAMIC WORK FROM BEING UNDERSTOOD AS OPERATING WITHIN AN INSTRUMENTALIZED TERRAIN. (THAT MAY OR MAY NOT ONLY BE CONNECTED TO THE NOTION OF “POST-WAR” SOCIAL DEMOCRACY)
THE BOOK (THE TEXT AS OBJECT VERSUS THE FILE TO BE EXCHANGED.)
IMMATERIAL LABOUR (CULTURAL CONTEXT OF THE COMMODITY)
ANALOGOUS MAPPING (WHERE DO THE DISCURSIVE MODELS EMERGE FROM IN A HEAVILY INSTRUMENTALISED CULTURAL ENVIRONMENT)
CULTURAL ECHOES (WHAT ARE THE DANGEROUS ECHOES OR PARALLEL MODELS: THE JIM JONES EFFECT?)
SITES OF PRODUCTION (THE SITES OF PRODUCTION STILL REQUIRE WORK. THIS IS THE REASON FOR MISUNDERSTANDINGS AND HIERARCHIES WITHIN EVEN THE MOST DYNAMIC DISCURSIVE MODELS)
AGENCY IN RELATION TO ECO-POLITICS (CARBON EXCHANGE: THE LUKACS QUALITY OF ECO-SELF-CONSCIOUSNESS. THE OVER-RIDING OF THE POLITICSISZED DISCOURSE)
COALESCENCE/RETURN OF CLASSICAL RELATIONS OF PRODUCTION (+ THEIR ERASURE IN A DEVELOPED SENSE – DE-UNIONISZM ETC.)
CONSENSUS MODELS AS A PHANTOM PARALLEL (MODEL OF SOCIALLY RESPONSIBLE BUSINESS – AMELIORATED WORKING ENVIRONMENT…)
DETAILED WORK IN THE CULTURAL FRAME (WHO IS DOING IT? WHERE IS THE CONTEMPORARAY DYNAMIC LOCATED? ART CURATING THEORETICAL FOCUS)