No one cares from an English speaking audience if your writing in your native language is captivating and emotional and creative because, they can only respond to what they see and what they hear from you, in English.
It's 6 o' clock in the afternoon and I am back in Athens for Christmas. Today is Tuesday, still not very confident writing in English. I suppose... I suppose it doesn't matter. So, what on earth could I write on such an abstract subject; 'Record in writing your experience of writing while writing'. If the first 'writing' was missing -for example if the brief was 'Record your experience of writing while writing'- I could elaborate and work on this project towards a different direction and I could work further on ideas such as creating a single-shot video or, a sound piece like Susan Stenger's 'Soundtrack for an exhibition'[2] or even, I could compose a musical piece which would reflect my own personal needs and experiences while writing -I could do that by setting a brief. Obviously, it must not interfere with the level of attention needed for someone in order to write; it should last for a very long time -without frequent transitions and rests. Anyway, the task is quoted though the brief in a very clear and coherent way; 'Record in writing'.
At this point, I am starting slowly to realize that, whatever this... text -I am not sure if it can be seen as one- is, at the end of the day, it is a reflection of my experience on writing; recorded in writing; definitely while writing. Having said that though, I am not sure if I have to make any corrections and further editing to this 'text'[3], if I am supposed to present it as a text, a written essay or as a deliberate raw-written text towards writing. I think the latter is more interesting to me -having reached to this point- because it connects better with the sound scape I mentioned before and therefore, with exciting potential interpretations of the task. It is more provocative to me since a text elaborating on my experience of writing would mean to write an essay on writing. I think that a very good name for such an essay could be 'Essay on writing'. Other titles also could be 'Towards the experience of writing' or 'Thoughts on writing'. But the problem still remains; 'what kind of writing?' Are we talking about an article or a novel? A research paper or a critique? A poem or a play? Well, I suppose the answer to this question would be 'your experience of writing'; my experience of writing. No, it is not clarified.
Definitely not. -My mom is preparing dinner in the kitchen, my father just came back home and he is having a short nap and I am writing. Right now I felt a little bit weird because, I was asking myself about what it is that the brief asks by saying 'writing' -and I just realized that I am actually doing it. Neither we talk about an article nor a story; even though i could publish a book having written a story like that. Neither we talk about a research paper nor a critique; even though in the beginning of the.. text I am gently criticizing the abstract nature of the brief. Last but not least, neither we talk about a poem nor a play; even though it could be a theatrical monologue, similar to those plays which have some roots regarding their concept, on the avant-gards.
I think I know what it is; it is a collection of notes towards writing. A brainstorming. It is a monologue but I am not sure if it is a pure reflection of my 'working process' because, I know this is a project that probably each one of us will present at the studio, in front of our peers. It is similar to a situation where someone is in front of a camera, making a statement. During an interview. Partly, you are yourself but you are acting as well. It is like you directing the whole scene -by placing yourself in it, in a specific way. You guide your moves, your expression, your attitude in a way -or towards a way- of creating a character which of course is yours, but at the same time it is not exactly you; sitting at your desk, at 6 o' clock in the afternoon while your mom is preparing dinner and your father -who probably just got back from work- is having a short nap. It is spectacle and it is fascinating. It's branding; you improve and you use the best and most powerful and potentially more popular characteristics of your personality by editing their sequence, choosing their order, isolating expressions to create tension and, employing techniques in order to create what, as well as how other people will think of you.
I think it's the same. Don't know really. Doesn't matter either. 'No prior knowledge of Flusser's work is necessary in order to participate.'[4] That is the best title.
PS: In my view, 'record in writing your experience of writing while writing' means: 'Record your thinking while writing'.
1. Vilém Flusser (May 12, 1920 – November 27, 1991) was a Czech-born cultural theorist and a media philosopher. His early work was marked by discussion of the thought of Martin Heidegger, and by the influence of existentialism and phenomenology.
2. 'For 96 days in 2006, a continuous musical work by composer Susan Stenger formed the major part of a show in Lyon's Musee d' art contemporain, curated by Mathieu Copeland and entitled 'Soundtrack for an exhibition'. The long duration of the piece resonated with the exhibition's exploration of temporariness and process.
3. -'I did'
4. In the 10th of November, 2011, Sandberg Institute -part of the Rietvelt Academy- in Amsterdam hosted an introductory workshop to the thought of Vilem Flusser, entitled 'From the technical image to technoimagination in the universe of Vilem Flusser'. The main objective of the workshop is to introduce the participants to some of the main concepts that run through the work of Vilém Flusser and it will be run as a reading group focusing on three essays. The workshop's notice was reading:
''Essays:
1. Imagination
2. The Photograph as Post-Industrial Object; An Essay on the Ontological Standing of Photographs
3. How Technoimagination Might Work (From Communicology)
No prior knowledge of Flusser's work is necessary in order to participate.
Thursday 10.11.2011 from 10-2, 3-5 p.m. Sandberg Instituut, Fred. Roeskestraat 98 1076 ED Amsterdam.''
Nikos Georgopoulos
Athens,
December 2011.
It's 6 o' clock in the afternoon and I am back in Athens for Christmas. Today is Tuesday, still not very confident writing in English. I suppose... I suppose it doesn't matter. So, what on earth could I write on such an abstract subject; 'Record in writing your experience of writing while writing'. If the first 'writing' was missing -for example if the brief was 'Record your experience of writing while writing'- I could elaborate and work on this project towards a different direction and I could work further on ideas such as creating a single-shot video or, a sound piece like Susan Stenger's 'Soundtrack for an exhibition'[2] or even, I could compose a musical piece which would reflect my own personal needs and experiences while writing -I could do that by setting a brief. Obviously, it must not interfere with the level of attention needed for someone in order to write; it should last for a very long time -without frequent transitions and rests. Anyway, the task is quoted though the brief in a very clear and coherent way; 'Record in writing'.
At this point, I am starting slowly to realize that, whatever this... text -I am not sure if it can be seen as one- is, at the end of the day, it is a reflection of my experience on writing; recorded in writing; definitely while writing. Having said that though, I am not sure if I have to make any corrections and further editing to this 'text'[3], if I am supposed to present it as a text, a written essay or as a deliberate raw-written text towards writing. I think the latter is more interesting to me -having reached to this point- because it connects better with the sound scape I mentioned before and therefore, with exciting potential interpretations of the task. It is more provocative to me since a text elaborating on my experience of writing would mean to write an essay on writing. I think that a very good name for such an essay could be 'Essay on writing'. Other titles also could be 'Towards the experience of writing' or 'Thoughts on writing'. But the problem still remains; 'what kind of writing?' Are we talking about an article or a novel? A research paper or a critique? A poem or a play? Well, I suppose the answer to this question would be 'your experience of writing'; my experience of writing. No, it is not clarified.
Definitely not. -My mom is preparing dinner in the kitchen, my father just came back home and he is having a short nap and I am writing. Right now I felt a little bit weird because, I was asking myself about what it is that the brief asks by saying 'writing' -and I just realized that I am actually doing it. Neither we talk about an article nor a story; even though i could publish a book having written a story like that. Neither we talk about a research paper nor a critique; even though in the beginning of the.. text I am gently criticizing the abstract nature of the brief. Last but not least, neither we talk about a poem nor a play; even though it could be a theatrical monologue, similar to those plays which have some roots regarding their concept, on the avant-gards.
I think I know what it is; it is a collection of notes towards writing. A brainstorming. It is a monologue but I am not sure if it is a pure reflection of my 'working process' because, I know this is a project that probably each one of us will present at the studio, in front of our peers. It is similar to a situation where someone is in front of a camera, making a statement. During an interview. Partly, you are yourself but you are acting as well. It is like you directing the whole scene -by placing yourself in it, in a specific way. You guide your moves, your expression, your attitude in a way -or towards a way- of creating a character which of course is yours, but at the same time it is not exactly you; sitting at your desk, at 6 o' clock in the afternoon while your mom is preparing dinner and your father -who probably just got back from work- is having a short nap. It is spectacle and it is fascinating. It's branding; you improve and you use the best and most powerful and potentially more popular characteristics of your personality by editing their sequence, choosing their order, isolating expressions to create tension and, employing techniques in order to create what, as well as how other people will think of you.
I think it's the same. Don't know really. Doesn't matter either. 'No prior knowledge of Flusser's work is necessary in order to participate.'[4] That is the best title.
PS: In my view, 'record in writing your experience of writing while writing' means: 'Record your thinking while writing'.
1. Vilém Flusser (May 12, 1920 – November 27, 1991) was a Czech-born cultural theorist and a media philosopher. His early work was marked by discussion of the thought of Martin Heidegger, and by the influence of existentialism and phenomenology.
2. 'For 96 days in 2006, a continuous musical work by composer Susan Stenger formed the major part of a show in Lyon's Musee d' art contemporain, curated by Mathieu Copeland and entitled 'Soundtrack for an exhibition'. The long duration of the piece resonated with the exhibition's exploration of temporariness and process.
3. -'I did'
4. In the 10th of November, 2011, Sandberg Institute -part of the Rietvelt Academy- in Amsterdam hosted an introductory workshop to the thought of Vilem Flusser, entitled 'From the technical image to technoimagination in the universe of Vilem Flusser'. The main objective of the workshop is to introduce the participants to some of the main concepts that run through the work of Vilém Flusser and it will be run as a reading group focusing on three essays. The workshop's notice was reading:
''Essays:
1. Imagination
2. The Photograph as Post-Industrial Object; An Essay on the Ontological Standing of Photographs
3. How Technoimagination Might Work (From Communicology)
No prior knowledge of Flusser's work is necessary in order to participate.
Thursday 10.11.2011 from 10-2, 3-5 p.m. Sandberg Instituut, Fred. Roeskestraat 98 1076 ED Amsterdam.''
Nikos Georgopoulos
Athens,
December 2011.
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