Tuesday, October 29, 2019

Up to Fluxus:


I think each time I have taught this class this way the post break material, though very useful, creates a kind of lull in the class. The Lyotard, PM architecture, intro to Fluxus is all a bit more about listening than doing or creating. I realize that it is at this point in the class where I want students to make connections to the material we developed in the first half of the term. One way of getting at that was having them write papers – yes a clearly academic exercise, but one that allows for a kind of synthesis of elements from the first half of the term as well as letting me gauge if everyone is getting this stuff. I should have gone with my instinct on this an pulled out a handful of statements that were beautiful in how they wrestled with postmodernism, but I didn’t. So the first half which seems very student driven gives way to the second half that seems more instructor driven. How to fix this? The information and conversations around these ideas have been fine, but ultimately feel a bit more like a traditional seminar. The antidote for this can be the Fluxus material. I typically rely on this activity as a way of regaining the momentum from the first half of the term and returning the class to the students.
I have often thought of having students write and share Fluxus event scores (sentences or instructions on index cards) somewhat fool-proof. I have seen this activity produce some really wonderful and beautiful work. And while on a limited scale it did so today, we never really reached that crescendo of activity that I have seen in the past. And I am trying to figure out why. The number of students – doing this with 15 as opposed to 20 or 25 gives us fewer cards to work with. The space? Here I thought about containing the students in the center of the space but didn’t – so they, naturally, gravitated toward the periphery. It is far too easy to perform from that space rather than take the space in the center. Some did, and some did try to raise the energy level, but we kept coming back to neutral.
That said, there were a number of really lovely pieces. Some simple, some complex. The pieces that spread out in time more seemed to be the most engaging. There is something about settling into time that has its own affect. What I like most about this activity is that it tends to frame all activity as if it is an answer to a Fluxus card. So, as one student drops his coffee, walks across the room to get paper towels, cleans up the spill it appears, even though he told us it wasn’t, as another activity to be watched. This part I think the students got. So while the activities never really reached that crescendo level the conversation about the pieces went well. Here, tiring of the expanse of space between students I gathered everyone in the center of the room. A valuable lesson. Too much space can be as dangerous as too little.

My hope is to change our relationship to space by bringing students to the library to look out the window and discuss Stein’s notion of theatre as landscape. That then listen to some Reich the following class and then on to the hypertext projects. I did ask them to look at everyday activities as if people were executing a Fluxus prompt – so perhaps a few more observations next class. We shall see.

Thursday, October 17, 2019

And then there is Lyotard:


So, today is one of those classes that I love. Lots of great input from the students, good questions, observations and connections. I had the same reaction the last time I taught the class. I hesitate to add the Lyotard to the readings since it is not a simple read. But for the handful of students who read it they always find fantastic points to make. This helps generate a really rich conversation around the idea of aesthetics and rules and taste. Grounding the conversation this time in the notion of liminality seemed to help. So, in looking at Malevich, Duchamp, and Cage the question is what happens when you probe for the end of the discipline? What happens next. Some great comments from the students about conservatory training as not offering rules of artmaking, but rules of commercial artmaking. This fit nicely with comments about what each of the disciples focuses on and where those boundaries are located. The real question is if you are coming after the modernists that pushed on all the rules and all the boundaries what can happen next. This sets them up well to discuss  architecture, performance, music, and theatre can take place in the wake of this disruption. So, yes, once again, despite its difficulty, I’m glad I had students read the Lyotard essay. I’m also glad that it was moved to right after fall break. A nice idea driven way to get back into the class and set the tone for the second half.
The one thing I still need to work on here is a good opening exercise. We listed three traditional elements of composition, then they had to create something to watch, see, or listen to breaking all three rules. The results, as I recall from last time, have a level of interest, but don’t really get at the rule breaking. Much of the work seems sort of everyday – which may be the point. But I suspect that there is a better set of instructions here. Maybe it is about disrupting a traditional work and taking something that follows the rules and then reconfigure it to break them. Hmmm – this requires more thought.