1.1.1 All those who visit a pebble beach are tempted by certain
pebbles - pick them up, take them home?
184.108.40.206 Why do certain objects call to us?
220.127.116.11.1 Why do I like this pebble and
you like that one?
18.104.22.168.2 Why in an ocean of similarity do certain things stand out?
22.214.171.124.3.1 In unchanging stimulation the brain will
create variation by itself
126.96.36.199 Yet as soon as you take take these pebbles home they loose their call
188.8.131.52.1 no longer look special
184.108.40.206.1.1 can't be as simple as not wet anymore (shiny)?
220.127.116.11.2 They loose their aesthetic call when taken out of the environment which imbued it?
18.104.22.168.2.1 Why isn't the nostalgia strong enough to hold that fascination?
22.214.171.124.2.1.1 Is that singular to pebbles from the beach?
Or true of all souvenirs?
126.96.36.199.188.8.131.52 Pebbles are more common? They exist in
your home environment anyway?
184.108.40.206.2.2 How important is the environment an object is in to its
aesthetic integration with us?
1.1.2 Selecting a natural object from amongst hundreds of
nearly identical natural objects (in its natural habitat) -
yet this particularly one feel special
220.127.116.11 'Basically, phenomenology studies the structure of various types of experience ranging from perception, thought, memory,
imagination, emotion, desire, and volition to bodily awareness, embodied action, and social activity, including linguistic
activity. The structure of these forms of experience typically involves what Husserl called “intentionality”, that is, the
directedness of experience toward things in the world, the property of consciousness that it is an awareness of or about
something. According to classical Husserlian phenomenology, our experience is directed toward — represents or “intends”
— things only through particular concepts, thoughts, ideas, images, etc. These make up the meaning or content of a given
experience, and are distinct from the things they present or mean.'
1.2 I am fascinated by this Fern. Entranced.
1.2.1 Can't really tell you why beyond: aesthetically pleasing...
18.104.22.168 Delicate, Fragile, Symmetrical patterns throughout
yet has quirks eat
1.3.1 When does an object become an artefact?
22.214.171.124 Metamorphosis through noticing?
126.96.36.199.1 The moment you notice it - you truly 'see' it.
188.8.131.52 At what stage - when you
select it rather than when
you decide it or
184.108.40.206.1 Michael Craig-Martin - An Oak Tree 1973
220.127.116.11.1.2 ARTISTS AS ALCHEMIST
18.104.22.168.1.2.1 They transform Objects in to
Artefacts/Art (rather than gold)
22.214.171.124.126.96.36.199 Audacity? Insight? Abstract mind of the artist - vital to conferring status?
188.8.131.52.2 Almost asking at what stage does it become art?
184.108.40.206.2.1 ' To see something as art requires something the eye cannot descry - an atmosphere of artistic theory, a
knowledge of history art: an art world.' Arthur Danto - taken from 'Art and the aesthetic : an institutional
analysis' - George Dickie.
2.1 Mere Things - e.g a stick (natural objects)
Equipment - e.g a glass (objects with use)
Works Of Art - e.g Painting (transcend use)
2.1.1 Mere Thing: A stick Equipment: Stick used
as a walking stick Works of Art: Lichen
220.127.116.11 Hierarchy of Sticks
18.104.22.168.1 Pierre Bordieau -
22.214.171.124.1.1.1 We naturally compare and contrast
things - classify them as preferable to
the other ect
126.96.36.199.1.2.1 Delicate combination of
subconscious elements which
lead to preferences
188.8.131.52.1.2.2 Matthew De Kersaint
Giraudeau (Bad Vibes
184.108.40.206.220.127.116.11 Makes self described 'ugly' sculptures
- in a room full of ugly sculptures
you'll like some more than others.
You will have a favourite ugly
18.104.22.168.2 Natural Objects (Sticks), which I have been collecting - as sticks have stood
out to me (which is a matter of taste and neuroaesthetics - the way a
phenomenological experience is created by the pleasure we experience due
to the aesthetically pleasing
22.214.171.124.2.1 Rather than pebbles on a beach sticks in a forest?
126.96.36.199.2.1.1 except never in the same
abundance - and usually the
sticks I select for the
collection are out of place - i.e.
a stick on the beach
188.8.131.52.2.2 Engaging with each natural
object (Stick) as a 'new'
object rather than just
184.108.40.206.2.2.1 Preventing the use of language, as a tool of reference/reality/classification,
from limiting what a stick is/could be
220.127.116.11.3 Playing with ideas of
value placed on objects
- I've decided this stick
is 'better' than that
one, with any validity?
2.2 Hermeneutic Circle
2.2.3 When - specifically - does
an object become an
3.1 Why do we collect?
18.104.22.168 'The souvenir seeks distance
(the exotic time and space), but
it does so in order to transform
and collapse distance into
proximity to, or approximation
with self. The souvenir
therefore contracts the world
in order to expand the
personal.' On Longing -
Narratives of the miniature, the
gigantic, the souvenir, the
collection. Susan Stewart
22.214.171.124 Andy Holden -
lectures with Dad
126.96.36.199.1 Allows the audience to
connect with the
objects/topics through the
3.2 Tacita Dean - Four
3.3 Collections made
3.3.1 Art Sticks
188.8.131.52 John Smith - My Dad's Stick
184.108.40.206 Rebecca Birch -
220.127.116.11 Jim Lambie - Phsychedelic Soul Stick
18.104.22.168 Gabriel Orozco - Roko Shutu
3.3.2 Photos of People
22.214.171.124 Images I don't want to forget - awaiting later
3.3.3 'Now the problem with a collection is realising that you’ve
started one. Recently I have begun, quite unintentionally, to
collect old postcards thematically. It started with finding an
attractive postcard of a frozen water fountain. On finding
the second frozen water fountain, I had begun a collection…'
Tacita Dean, writing about her collections of postcards and
of four, five, six, and seven leaf clovers. From Tacita Dean
(Barcelona: Museu d’Art Contemporani de Barcelona,
126.96.36.199 'I know people whose lives are dominated by their
collections, ceaselessly searching in flea markets,
auction houses and specialist book shops, never
resolving their quest. Whether you are collecting
versions of popular songs, postcards of lighthouses or
votive sculptures of Our Lady of Montserrat, your
collection will never let you be. You’ve started so you
must continue, and with most collections, there is no
end. Whether it is postcards of lighthouses or
four-leaf clovers, there can never be the definitive
collection. For what is more inert than a finished
188.8.131.52.1 Collections without the initial lure of later
utility are the most interesting - you keep the
first object due to aesthetic pleasure?
Phenomenological experience? But after that
you keep adding to the collection, because
you see things which fit in the collection?
Neuroaesthetics - joy from pattern and
184.108.40.206.1.1 So depressing that something so
magical and untouchable could have
such a scientifically quantifiable
3.3.4 I think subconscious collections are the most
interesting - there is a subtler underlying
connection between them. Noticing the a
collection is then more likely to occur in
installation (all in one draw in your house) rather
3.4 Performative - remake the
original association of an
object through collecting?
3.4.1 Stuart Edmundson -
to form between
220.127.116.11 Object orientated ontology
4.3 The process of selecting one object from
amongst many - conferring status onto
4.3.1 Selected for a) the aesthetic
appreciation of the object
18.104.22.168 or b) the association of
event,place, or person with
22.214.171.124.1 Association with a
for the collection?
Desire to add to the
5.1 'Installation - an end product, the work of art, a process
that embraces the praxis of installing' Right About Now -
Art Theory Since 1990
126.96.36.199 Susan Hiller
188.8.131.52 Mark Dion
184.108.40.206 Gabriel Orozco
like structure often
220.127.116.11.1 Objects which are installed often take on the role of
artefact - in the sense of being behind glass (literally or
figuratively). Untouchable, unrelatable? We are separated
18.104.22.168.1.1 The opposite of the personal home collection
22.214.171.124.1.1.1 This is due to the installation environment? Showing a collection to the
masses is impersonal - the beauty of collections is the nostalgia? The history
126.96.36.199 Tacita Dean -
188.8.131.52 Does physically distance from
the objects, but remove the
sense of the artefact being on a
pedestal/behind glass. Instead
makes you focus on the parts of
the object the artist highlights -
personal, sensitive details
184.108.40.206.2 John Smith -
220.127.116.11.3 Tacita Dean - Kodak
18.104.22.168.4 Laure Provost -
5.1.3 Installing a personal
with the objects
22.214.171.124 Contestations - In
that you privilege
certain items and
which they are
5.2 The arrangement of the collection - in a
draw or shelf or gallery space. How we
interact with these objects visually