Sunday, July 24, 2011

Three Versions Of The Self

Add caption


Bas Jan Ader, I'm too sad to tell you, 1970




"I go my lonely way along paths that no one has made for me."

                                                                              - Michelangelo


"Why have we kept our own names ? Out of habit, purely out
of habit. To make ourselves unrecognizable in turn. To render
imperceptible, not ourselves, but what makes us act, feel and think.
Also because its nice to talk like everybody else, to say the sun
rises, when everybody knows its only a manner of speaking.
To reach, not the point where one no longer says I, but the point
where it is no longer of any importance whether one says I. We are
no longer ourselves. Each will know his own. We have been aided,
inspired, multiplied.
                                                                          - Deleuze & Guattari


"This moral philosophy has tended to focus on what it is right to do
rather than on what it is good to be, on defining the content
of obligation rather than the nature of the good life; and it has
no conceptual place left for a notion of the good as the object
of our love or allegiance or, as Iris Murdoch portrayed it in her work,
as the privileged focus of attention or will."

                                                                            - Charles Taylor


It was inevitably the case, until very recently, that monographs took
a chronological or narrative form, tracking the development of
a body of work to the course of an artist's life. Change was
understood as occurring within a sense of self or oeuvre that
could be recognized across the changes.

Contemporary practice rejects such continuity as illusory and instead
works from a Deleuzean or post-modernist model of the multiple self,
different in all its moments. Don't expect work from one show to bear
any resemblance to work from the last show or the next. In this
version, ideas arrive (often fully developed) in the breaks in
self-recognition, out of a personal or professional ascesis, from
a prompting of the surrounding culture, or in answer to an impulse
of desire.

Neither of these models seems to fit artists who endlessly produce
the same. Perhaps for them the self is emergent: they will be the
person who will keep their promise, who will carry out a practice,
who will get the work done. In this case, the whole question of a self
may be postponed, in attention to a task at hand.