1- We discussed the surrealist manifesto. It was mentioned that the suggestive quality of surrealism is useful as a tool for revolutionary struggle but some other elements may not be. It was pointed out, for example, that perhaps the most famous surrealist, Salvador Dali, was anything but progressive. Maybe surrealism is so broad (or meaningless) that it can be used for ANY political purpose rather than for an exclusively revolutionary one. In other words, maybe it's too easy to recuperate, to be co-opted by the capitalistic imperative. Characteristics of surrealism such as collage, automatic writing, anti-literalism, anti-rationality, juxtaposition of extremes, and emphasis on dialogue may or may not be useful politically, depending on the presuppositions that go with them. It was mentioned also that the "disinterested play of thought" promoted by surrealism may not be a real possibility--that there isn't a pure center beyond influence. That concept seems a bit dated, almost a relic of Cartesian thought and the triumph of the purely subjective. It was also mentioned that the work produced by the surrealists is of high artistic quality, regardless of the faults of the manifesto or its practitioners. It was mentioned that surrealism has a kind of religious significance in that it attempts to open a space wherein new possibilities, new un-imposed realities, can be imagined and perhaps realized.
2-We talked about Ursula Guiin's story The Ones Who Walk Away From Omelas. We discussed how the writer involved the reader directly in the story, asking if the reader believes what's being said, etc.(an interesting political technique) The effect is that the reader, like the inhabitants of Omelas, can only believe in happiness if it is accompanied by a certain measure of suffering, represented by the imprisoned girl. The reader almost colludes in the girl's suffering. There seems to be a religious, ritualistic element to the viewing of the girl, perhaps linking the girl's imprisonment to ideas rooted in Christianity, or perhaps the opposite. At any rate, the girl seems to represent a scapegoat for embodying and exiling the evils of Omelas. Walking away seems to be a symbolic representation for questioning societal norms. What people do when they walk away (fight, flee, etc.) is unclear. That might be deliberate on the part of the writer to say that once you flee "imposed reality", you are on your own, in another world, the unknown.
(I realize that MUCH more was discussed and that my memory is biased towards my own interpretations of the readings, so please feel free to add details that I missed. For example, I know that much more was said about religion, but I've forgotten the details.)
3-We agreed to open the group to all artists, not just writers, and to change our name to Revolutionary Artists and Writers, or RAW. Feel free to invite visual artists, musicians, etc. to the group.
4-Several people decided they would like to meet twice a month rather than once. Those meetings can be announced via the blog and email.
5-The next meeting will be at 11:11 on Oct. 9. Kate and Craig will send out readings.
6-It was clarified that while we are in the explorative stage (reading and brainstorming what revolutionary art means), people are free to bring and discus their work to any meeting.
7-Elizabeth has a Zine for "radical" art. Her email is bethforpresident@gmail.com Feel free to send your submissions.
8-We also discussed the similarities and differences between Dadaism and Surrealism. Here's a link to the Dada manifesto for those interested: http://www.ralphmag.org/AR/dada.html
9-Please add Elisha's address to your email lists: elisha.davison@gmail.com
And, as always, feel free to add stuff I missed to the blog entry.
No comments:
Post a Comment