EXPERIMENT 8
I continued using the deletionist in an attempt to generate something rip related. As you can see that didnāt happen. But the more I think about it, the more I can grasp that it makes a lot of sense - the theme isĀ āthe ripā however the concept is the nonsense, the un-meaning...one of the works being completely void ofĀ āthe ripā is terribly fitting. Do we directly place meaning relating to the rip onto a work just because of the title of the exhibition? Perhaps this is what this questions (and Iām pretty sure the answer is yes).Ā
Bernsteinās direction for this one:
28. Write a poem in which you try to transcribe as accurately as you can your thoughts while you are writing. Ā Don't edit anything out. Write as fast as you can without planning what you are going to say. (Sometimes called "free writing. Try this with handwriting. Compare versions done by hand and on a computer.)
29. Autopilot: Trying as hard as you can not to think or consider what you are writing, write as much as you can as fast you can without any editing or concern for syntax, grammar, narrative, or logic. Try to keep this going for as long as possible: one hour, two hours, three hours: don't look back don't look up.
Thinking curation: At this point Iām thinking that my final three pieces will be the short story (exp. 2), the riptideĀ ārippedā lyric audio (exp. 4) and something along the lines of this experiment. I think they all in a textual sense explore the possibility of new meaning being derived from pieces of nonsense. I have successfully scrambled or reconstructed those three pieces and think they could work well together. In my mind the audio plays loudly in the exhibition, the short story is written across a whole wall and these deconstructed poems are framed and hanging on another wall in a set of three.Ā
