IN
"The difference between the present, and what memory imposes on, us appeals to me." "Do you mean that memories seriously affect our ability to judge?" "Or that the character of a judgement is based on the difference between past and present?" "I wouldn't go that far." "The present is so diffuse, it's all too tempting to fall back on the past to get a grip." "That sounds a bit cliché." "No, it's more a case of despair." "Is the present really as diffuse as you suggest? I don't think so. Actually, the present - the here and now - is constantly moving, a light-hearted Spacewalk." "It's only diffuse if you don't take part." "Those on the Spacewalk understand the joy and fun of moving." "Do you have any statistics?" "No, but few let go. Many ignore the past, even more use it to avoid facing the present." "That's a bit vague." "I'll give you an example: every day readers separate themselves from the real world with a newspaper. They seem up to date, but in fact they have no concept of the present. Floating in a timeless dimension, that we know as reality." "A two month-old newspaper is just as interesting as tomorrow's." "Exactly." "So is the result that the reader no longer notices the various misrepresentations?" "Then becomes entangled?" "It's easier to consume experience and knowledge than to digest it, something can be labelled 'new' easily." "One experience forgotten even before you've started the next." "Apparently everyone has an opinion, everyone informed, everyone a critic." "The law of mediocrity." "All equal, all the same."
TE
"The world has never been so dense." "What did you say? Dense?" "All the same, everything full, everywhere." "Are you referring to the way Western civilisation has penetrated even the smallest village in the jungle?" "No. I mean the confusing way events rapidly succeed each other, leaving everything diffuse and complex." "The centre of multiplicity - completely different events, occurring within a very short span of time?" "Not in so many words. I mean the impossibility of disentangling events, without any sense of precision." "Like a bad call by a referee, played back in slow-mo, for all to see?" "Exactly." "So is this about the impotence of analysis?" "And its consequences - everything is brought back into line." "On the sole basis of form, or content as well?" "It starts with form, but I wouldn't be surprised if - eventually - differences in content will fade as well." "Libersting us from the urge to stand out, or will there be a fly in the ointment? Not everyone is a fan of conformity." "That's a tough one. Most original ideas are usually appropriated." "Resulting in instant accessibility." "However, I do believe that it's intrinsically human to want to compare on the basis of quality." "True enough, but it's pretty difficult to spot quality, when everyone tows the same line." "The law of mediocrity?" "Afraid so." "All the same, all equal."
RN
"Can the process of bringing everything into line be stopped?" "I think so. Change - in every sense of the word - begins here." "I trust you're not referring to distinguishing on the basis of a simple contrast?" "No, no, no. Although it's amusing to see people bending over backwards." "Looking for what we all need, but aren't even aware of?" "The niche in the market." "Mass-production versus the hand-made, black against white, square against circle." "Except that with the first example things are more complex. The hand-made is a recurring theme. It's generally connected to authenticity." "The hand-made as the only genuine article?" "Back to basics. A return to the rural. Getting your hands dirty." "Once again the artist in search of the primitive." "Yes, using his bare hands to depict the basic essence of mankind for the umpteenth time." "That's not only redundant, that's an over-simplification." "Don't get me wrong. Physicality is legitimate, provided that one is aware of the past." "So, are the concepts 'hand-made', 'authenticity', and 'human body' the same?" "No, you have to be more specific. Hand-made is too often a contrived attempt to look authentic. Authenticity is necessary, and the human body is a subject, nothing more." "So, does this confusion come from associating the manual to the authentic?" "That's what I think. Having said that - what's left of the concept of authenticity." "The confusion comes from the fear of the modern?" "It wouldn't make any difference if everyone was a modernist." "In other words, towing the line." "All the same, all equal."
AL
"Bringing everything into line comes from our urge to stand out." "Does this need stem from the desire for real change?" "Unfortunately not. Standing out is simply a matter of rejecting the past." "All you have to do is shift your direction, and your different?" "A vicious circle. Round, and around, and around, and around..." "Like a dog chasing its tail." "Grey is taboo, geometry has been and gone, mass production back to the hand-made." "The hand-made seems to be a recurring theme." "Obviously." "A different skill, only because of its individual nature." "So, the individual signature doesn't guarantee any distinction at all?" "That's right. You can't stick your head in the sand." "As if Michelangelo never existed." "Or Courbet, or Broodthaers." "Yeah, but I still see the human touch as a source of inspiration." "Granted. It can still be interesting, but only if you acknowledge the past and the present." "Why so cynical?" "There's a difference between the action of the individual artist and the physical touch as a source." "Don't you ever get bored with the expression of the individual, negating history?" "That type is nothing more than an obvious attempt to appear authentic." "Whereas the principle of personal expression plays up to the all consuming quest to discover 'the genius'." "Alone, locked in his attic, safe from the art world." "Guaranteeing authenticity?" "Well, it's a simple, naive attempt at being unique." "The result?" "All the same, all equal."