Pencil based on Lydia Davis' story. Edition of 144. 

 

Foucault and Pencil 

 

Sat down to read Foucault with pencil in hand. Knocked over glass of water onto waiting-room floor. Put down Foucault and pencil, mopped up water, refilled glass. Sat down to read Foucault with pencil in hand. Stopped to write in notebook. Took up Foucault with pencil in hand. Counselor beckoned from doorway. Put away Foucault and pencil as well as notebook and pen. Sat with counselor discussing situation fraught with conflict taking form of many heated arguments. Counselor pointed to danger, raised red flag.

 

Left counselor, went to subway. Sat in subway car, took out Foucault and pencil but did not read, thought instead about situation fraught with conflict, red flag, recent argument concerning travel: argument itself became form of travel, each sentence carrying arguers on to next sentence, next sentence on to next, and in the end, arguers were not where they had started, were also tired from traveling and spending so long face-to-face in each other’s company. After several stations on subway thinking about argument, stopped thinking and opened Foucault.

 

Found Foucault, in French, hard to understand. Short sentences easier to understand than long ones. Certain long ones understandable part by part, but so long, forgot beginning before reaching end. Went back to beginning, understood beginning, read on, and again forgot beginning before reaching end. Read on without going back and without understanding, without remembering, and without learning, pencil idle in hand. Came to sentence that was clear, made pencil mark in margin. Mark indicated understanding, indicated forward progress in book. Lifted eyes from Foucault, looked at other passengers. Took out notebook and pen to make note about passengers, made accidental mark with pencil in margin of Foucault, put down notebook, erased mark.

 

Returned thoughts to argument. Argument not only like vehicle, carried arguers forward, but also like plant, grew like hedge, surrounding arguers at first thinly, some light coming through, then more thickly, keeping light out, or darkening light. By argument’s end, arguers could not leave hedge, could not leave each other, and light was dim. Thought of question to ask about argument, took out notebook and pen and wrote down. Put away notebook and returned to Foucault. Understood more clearly at which points Foucault harder to understand and at which points easier: harder to understand when sentence was long and noun identifying subject of sentence was left back at beginning, replaced by male or female pronoun, when forgot what noun pronoun replaced and had only pronoun for company traveling through sentence. Sometimes pronoun then giving way in mid-sentence to new noun, new noun in turn replaced by new pronoun which then continued on to end of sentence. Also harder to understand when subject of sentence was noun like thought, absence, law; easier to understand when subject was noun like beach, wave, sand, sanatorium, pension, door, hallway, or civil servant. Before and after sentence about sand, civil servant, or pension, however, came sentence about attraction, neglect, emptiness, absence, or law, so parts of book understood were separated by parts not understood.

 

Put down Foucault and pencil, took out notebook and made note of what was now at least understood about lack of understanding reading Foucault, looked up at other passengers, thought again about argument, made note of same question about argument as before though with stress on different word.

 

Moves 2: A Collaborative Project with Rochelle Goldberg

 

 

Procedure and Hypothesis

These objects contain the possibiltity of all situations.

Elected for their simple form and anonymity, they make up the substance of the activity.

The objects then combine in determinate and random ways to represent how the game is played.

Observation of Acts

On second thought games get boring.

Aimless maneuvering through round after round makes it clear that the game is futile— yet the pressure is still on for something to happen. So let’s take what we need, use what we like, and forget about the rest. 

Its OK to go nowhere. 

Documented Analysis

Through image and documentation we can understand our moves and can begin to liberate all action from any need to explain it to ourselves. Its just activity. The book becomes a picture of the facts, the way the game was and the way the game went. Finally the book is more than the proliferation of action, it is the redemption from endless play and uselessness. The objects exist and they don’t exist, we use them and then we don’t. When the game is secured as an abstract image it offers everything and nothing.

 

Moves 1: A Collaborative Project with Rochelle Goldberg

 

Procedure and Hypothesis

A game is established. Conditions are created. Rules build intuitively and cumulatively.

Strategic collisions of objects and ideas will re-orient artistic sensibilities.

Observation of Acts

Each act taken, when playing the game, is a simultaneous acceptance, denial, rejection and retrieval of regulation.

Order itself, during the creative pursuit, becomes the game played.

Rules are the rules made to doubt the game, to push it forward, both challenging and crippling it.

Order is only accepted when it can be teased, manipulated, ignored, annihilated, replaced, and when renewed, restored.

During this process the artists negotiate their limits of control over image, idea, and thought.

Ownership is sacrificed for thegame to advance. The game goes nowhere.

Documented Analysis 

The book, is both the resurrection and completion of the game.

In this final stage the artists are no longer concerned with each careful act of rebellion made while playing the game.

The recorded action is unleashed from the structure of the event when enabled to proliferate as image on a page.

Divergent artistic-sensibilities now suspended by the book are made fluid–documentation of each move flows from one to the next—the game is over.