Im Rahmen unserer Aktionswoche formulierten wir drei unterschiedliche Analyseschritte. Anhand dieser soll der Einfluss des Mobiltelefons auf unseren Alltag untersucht werden.

Im folgenden Text soll das Telefonprotokoll erläutert werden.

Täglich kommunizieren wir unter zur hlifenahme von Telefonaten und Kurzmitteilungen. Auch verwenden einige unter uns die Erinnerungsfunktion ihres mobilen Telefons. Um Veränderungen unseres Verhaltens gegenüber unserer Umwelt, die sich in diesem Fall aus dem Körper/ dem Raum/ der Zeit und der Technik konstituiert zu entschlüsseln werden alle sechs Gruppenmitglieder einen Tag lang jedes Gespräch protokollieren und alle Textnachrichten archivieren.

Fragen wie: Wann und wie lange Telefonieren wir? Welche räumliche Entkopplung findet durch die mobile Telefonie statt? Führt die Nutzung des Handys stets schneller zur Erlangung von Informationen als ein direktes Aufsuchen des Gesprächpartners? Welche Priorität erhält ein Klingelndes Handy in unterschiedlichen Alltagssituationen? und Wie wirkt sich die ständige Erreichbarkeit auf unser Verhalten im Raum aus?, stellen ein zentrales Interesse der Telefonprotokolle dar.

In Vier Abschnitten werden Informationen zu unseren vier Hauptbegriffen gesammelt. Der Körper spiegelt sich in den Gesprächsteilnehmern wieder. Es gilt herauszufinden wie sehr der Körper sich durch ein vom Handy ausgehendes Signal von seiner Alltagsstruktur abbringen lässt. So sieht das Protokoll die Punkte der gefühlten Dringlichkeit und der Stimmung bei einem Anruf vor. Die gefühlte Dringlichkeit zielt auf die Frage nach der Priorität des Handys im Alltag ab. Die Stimmungslage soll zeigen ob wir erfreut, genervt, gespannt oder in einer anderen Verfassung zum Hörer greifen.

Der Begriff des Raumes findet sich in den Punkten, eigener Standort, eventueller Standort des Gesprächspartners und soziale Situation wieder. Um dies zu vierbildlichen sieht das Protokoll eine Fotographie vor die vom Protokollanten zu tätigen ist. Die soziale Situation beschreibt das Umfeld des Protokollanten während dem Gespräch. Hier ist interessant zu sehen ob und welche Auswirkungen das Telefonat/ das Klingelnde Gerät auf die Menschen die sich in direkter Nähe aufhalten hat. Geht zum Beispiel ein Anruf während der Gruppenarbeit ein so ist der Teilnehmer, im Falle der Annahme, abgelenkt und muss über die Diskussion im Anschluss des Gespräches informiert werden. Dies kostet die Zeit aller anderen Gruppenmitglieder.

Der Begriff der Zeit wird mit der Uhrzeit und der Gesprächsdauer ermittelt. Aber auch die Frage nach der “Effektivität” der mobilen Telefonie interessiert uns. So wollen wir anhand des Gesamtprotokoll versuchen herauszufinden ob und wie man ohne, dass mobile Gerät zum gleichen Ziel gekommen wäre. Dies kann jedoch erst zu einem späteren Zeitpunkt in einer Einzelbetrachtung ermittelt werden.

Der Begriff der Technik umfasst die Informationen zu eingehender oder ausgehender Anruf. Auch soll erfasst werden ob man direkt einen Körper erreicht oder bei einer Maschine in Form eines Anrufbeantworters oder Mailbox landet.

Um den Begriff der Kontrolle zu klären ist es zunächst wichtig, sich das Umfeld des Begriffes anzuschauen. In der Herleitung unserer Matrix ist uns bereits aufgefallen, dass sich die Begrifflichkeit bzw. die einzelnen Topologieen wahrscheinlich gegenseitig bedingen. Während der Textrecherche in Foucault, Deleuze und Mike Davis kristallisierte sich ebenfalls ein Zusammenspiel aus Machtbeziehungen, Ökonomie, Disziplin und Kontrolle heraus. Es ist also für die Definition und Klärung der Semantik des Begriffes “Kontrolle” unabdingbar sich die Struktur, in die dieser Begriff eingebettet ist, ebenfalls näher anzuschauen.
Deleuze schreibt in seinem Aufsatz Postskriptum über die Kontrollgesellschaft: “Die Kontrollgesellschaften sind dabei, die Disziplinargesellschaften abzulösen.”1
Was genau meint also Deleuze damit, wenn er sagt, dass eine Gesellschaft der Kontrolle die Gesellschaft der Disziplin ablöst? Er schreibt hier über den Text von Foucault “Überwachen und Strafen”. Foucault fängt in seinem dritten Kapitel “Disziplin” über die gelehrigen Körper mit der Beschreibung einer Idealfigur an, die des einfachen Soldaten. Er schlägt von dem Soldaten ein Bogen über die Disziplinierung des Körpers, Macht, Ökonomie und Kontrolle.
Am Anfang des dritten Kapitels spricht er von den Zeichen der Rhetorik, also einer Art Schrift des Soldaten, die eine bestimmte Form, die Maschine, produziert.
“Er trägt Zeichen: die natürlichen Zeichen seiner Kraft und seines Mutes und seines Stolzes; sein Körper ist das seiner Stärke und seiner Tapferkeit.”2 “In der zweiten Hälfte des 18. Jahrhunderts ist der Soldat etwas geworden, was man fabriziert. Aus einem formlosen Teig, aus einem untauglichen Körper macht man die Maschine, deren man bedarf, Schritt für Schritt hat man die Haltung zurechtgerichtet, bis ein kalkulierter Zwang jeden Körperteil durchzieht und bemeistert, den gesamten Körper zusammenhält und verfügbar macht und sich insgeheim bis in die Automatik der Gewohnheiten durchsetzt.“3
Hier erhält man einen ersten Hinweis darauf, dass es um die Nutzbarmachung des Körpers geht. Das ein Zwang ausgeübt wird, den Automatismus über geht und diesen zu jeder Zeit verfügbar machen kann. Nach der Beschreibung der Disziplinierung des Körpers des einfachen Soldaten kommt Foucault zu der Aussage, dass der Körper als Gegenstand und Zielscheibe der Macht, immer mehr Aufmerksamkeit erfahren habe und sich hierfür leicht die Zeichen finden ließen.4
Der Mensch als Maschine wurde auf zwei Ebenen manifestiert, auf der anatomisch-metaphysischen und auf der technisch-politischen. Die technisch-politische Ebene verfolgte Kontrolle bzw. die Korrektur des Körpers und seiner Tätigkeiten. “Die Aufmerksamkeit galt dem Körper, den man manipuliert, formiert und dressiert, der gehorcht und antwortet, gewandt wird und dessen Kräfte sich mehren.5
Es geht hier um die Unterwerfung und Nutzbarmachung und um die Funktionen des Körpers und um Erklärungen. Also dem Körper und seine Funktionsweisen besser zu verstehen um aus Ihnen eine besser funktionierende und produktivere Maschinen zu machen.
Doch was ist nun das besondere an dieser Erkenntnis? In jeder Gesellschaft, ob im 19. Jahrhundert, wird der Körper, der Mensch von Mächten vereinnahmt, die ihm Zwänge oder Verbote auferlegen, ihn kontrollieren. Foucault kommt nun zum Begriff der Kontrollen, die in diesem Bezug eine gewichtigere Größenordnung einnimmt. Nun mehr geht es nicht mehr darum, den Körper in der Masse per se zu bearbeiten, sondern im Detail. Frei nachdem Motto: Jeder Mensch ist anders und bedürfe daher eine unterschiedliche Disziplinierung.6
[...] die Zugriffe auf der Ebene der Mechanik ins Kleinste gehen zu lassen: Bewegungen, Gesten, Haltungen, Schnelligkeit. Eine infinitesimale Gewalt über den tätigen Körper.“7 Der Begriff der Kontrolle ist nun nicht einfach eine Veränderung der Sprache des Körpers, sondern es geht zunehmend um die Ökonomie der Effizienz der Bewegungen. Die Kontrolle zielt nun nicht mehr auf die Zeichen des Körpers, sondern auf seine Kräfte ab. “Diese Methoden, welche die peinliche Kontrolle der Körpertätigkeiten und die dauerhafte Unterwerfung ihrer Kräfte ermöglichen und sie gelehrig/nützlich machen, kann man die “Disziplinen” nennen.8 Es herrscht also eine Politik des Zwanges, damals wie heute. Foucault schreibt hier, dass der menschliche Körper von der Machtmaschinerie zergliedert, durchdrungen und wieder zusammengesetzt wird. Diese Mechanik der Macht definiert, wie man die Körper der anderen in seine Gewalt bringen kann, nicht nur, um sie machen zu lassen wie man will, sondern auf diese Weise geübte und gefüge Körper für die Ökonomie zu produzieren.9
Es geht also ganz klar um die ökonomische Ausbeutung der Arbeitskraft des menschlichen Körpers, die durch eine Mikrophysik der Macht den Körper diszipliniert. von dieser politischen Anatomie ausgehend, bleibt dennoch die Frage relativ offen, wo genau hier die Kontrolle anzusiedeln ist.
Hier kommen wir zu Deleuzes Aufsatz über die Kontrollgesellschaften. Er beschreibt, wie der Prozess der Kontrolle abläuft. In der Kontrollgesellschaft tritt an Stelle der Fabrik das Unternehmen in der hauptsächlich der Lohn nach Verdient herrscht, permanente Weiterbildung löst die Schule ab und die Examen werden durch permanente Kontrolle abgelöst. Die Schule als temporär begrenzte Kontrollform wird in ein lebenslanges Kontrollinstrument verwandelt, welches sich hinter den Gewand der “permanenten Weiterbildung” versteckt. Dies impliziert, das sich der Mensch weiterbilden muss um höchstmöglichen Status zu erhalten. Doch selbst dies ist kein Garant dafür da er immer wieder Ausleseverfahren durchlaufen und sich der Konkurrenz stellen muss.10
Hier findet die Kontrolle des Menschen durch die Leistungsüberwachung statt. “In den Disziplinargesellschaften hörte man nie auf, anzufangen [...], während man in den Kontrollgesellschaften nie mit irgend etwas fertig wird [...]11
Will er uns damit darauf hinweisen, dass der Mensch an sich vor der Kontrolle
keine Angst hat, sondern vor dem Verlust ein Teil des gesellschaftlichen
Systems zu sein? Geht es darum Teil der Warenströme und des Geldflusses zu
sein? Wenn in der Disziplinargesellschaft die Strafe darin bestand, räumlich
nicht teilzunehmen (Gefängnis), scheint es bei der Kontrollgesellschaft darum zu gehen, dass man die Teilhabe am Gesellschaften, also am sozialen System
verlieren kann. “Die numerische Sprache der Kontrolle besteht aus Chiffren, die den Zugang zur Information kennzeichnen bzw. die Abweisung. Die Individuen sind “dividuell” geworden, und die Massen Stichproben, Daten, Märkte oder Banken. 12 Hier liegt unserer Meinung nach die Ursache der gesellschaftlichen Segregation verankert, die es erst ermöglicht, sich diesem Druck zu fügen. Steigt ein Körper, ein Mensch aus diesem kontrollierten System aus, entzieht er sich zumeist der Produktion und somit dem Lohn für seine Arbeitskraft. Die Folge dessen ist die schleichende Ausgrenzung, Segregation dieses Menschen, da er keine Zugänge mehr findet. Um diese Menschen zu kontrollieren, dienen sie als Projektionsfläche für Negationen.

Diese Projektionsfläche deutet sich nicht nur in Gesellschaftlichen Zwängen und in segregierenden Prozessen an, sondern wird auch in der gebauten Umwelt sichtbar. In der Architektur werden die im vorangegangenen Text erläuterten Beziehungen der Kontrolle und ihrem Umfeld sichtbar. So verwendet Mike Davis in seinem Text einen Straßennomaden als Projektionsfläche der Negation.
“Wenn sich einmal ein mittelloser Straßennomade in die Broadway Plaza oder vor das Museum of Contemporary Art verirrt, löst er eine leichte Panik aus: die Videokameras rotieren auf ihren Sockeln, und die Wachschützer rücken ihre Gürtel gerade.“13
Auf die Hintergründe des Straßennomaden, sei es ein Aussteiger, ein von Geburt an benachteiligter Mensch oder ein Rebell geht Davis nicht ein. Hier spielt keine Rolle, ob sich das Individuum aus eigener Motivation oder durch äußere Einflüsse (Behinderung, mangelnde Bildung) aus dem Produktion entzieht.
Interessanter ist die Tatsache, das dass erscheinen eines Körpers das Zielen unterschiedlicher Kameras auslösen kann. Seine Wahrnehmung anderer Zivilisten wird durch das Kreisen der Kameras, sowie durch die verstärkte Aufmerksamkeit der Polizei noch verstärkt. Zugleich bekommen diese im Unterbewusstsein die Botschaft, dass sie nicht zur Spezies der Straßennomaden gehören wollen.

Der Mensch muss sich nach Deleuze weiterbilden um den höchstmöglichen Status zu erhalten. Eine Weiterbildung erfährt auch die physischen Ebene der Kontrolle. So kommt es zu einer stetigen Verbesserung der Verhinderungsarchitektur: “[...] , begreifen auch Zentren außerhalb der inner city-Viertel Sicherheitsvorkehrungen inzwischen als integralen Teil der Planungs- und Managementstrategie.” 14 Oder: “An den Eingängen und im gesamten Einkaufszentrum sind mit Bewegungsmeldern ausgerüstete Videokameras angebracht. Das gesamte Zentrum einschließlich der Parkplätze lässt sich auf Knopfdruck in 40 Lux helles licht tauchen.”15
Eine stetig wachsende Nachfrage in den Bereichen Überwachungskameras, Zäune, Wachpersonal, Bewegungsmelder, Scheinwerfer und fehlende öffentliche Toiletten sowie fehlendes Sitzmobiliar im öffentlichen Raum zeigt die Verunsicherung der Individuen.

Die Branche boomt: “Brain Weintock, ein führender Developer aus dem Valley, prahlt, daß er über hundert Viertel frisch eingezäunt habe und die Nachfrage nach mehr Sicherheit unstillbar sei. “Das erste was sie [die Käufer] einen fragen, ist ob der Stadtteil einen Zaun hat. Bei eingezäunten Stadtteilen haben wir eine dreimal höhere Nachfrage als bei nicht eingezäunten.”

1 Vgl.: Deleuze, L’autre journal, Nr. I, Mai 1990, Postskriptum über die Kontrollgesellschaften
2 Vgl.: Michel Foucault, Die Hauptwerke, Überwachen und Strafen, III Disziplin, I. Die gelehrigen Körper, Suhrkamp Verlag 2008, S. 837
3 Vgl.: ebd. S. 837
4 Vgl.: Michel Foucault, Die Hauptwerke, Überwachen und Strafen, III Disziplin, I. Die gelehrigen Körper, Suhrkamp Verlag 2008, S. 838
5 Vgl.: ebd. S. 837
6 Vgl.: ebd. S. 839
7 Vgl.: ebd. S. 839
8 Vgl.: ebd. S. 839
9 Vgl.: ebd. S. 83910 Vgl.: Deleuze, L’autre journal, Nr. I, Mai 1990, Postskriptum über die Kontrollgesellschaften
11 Vgl.: ebd.
12 Vgl.: ebd.
13 Vgl.: Mike Davis, City of Quartz, Ausgrabungen der Zukunft in Los Angeles, Festung L.A. die verbotene Stadt S.225
14 Vgl.: ebd., S. 236
15 Vgl.: ebd., S. 235

It’s the Holiday Season. Days go by and I’m not actively working on a painting that waits for my attention. Instead, I go shopping for butter and sugar for the impending cookie marathon.  For years, I have sent off fruitcake and gingerbread men and decorated lemon sugar cookies. (yeah, I actually make damned good fruitcake!) and the baking must begin!

I have also spent hours checking the names of art consultants/designers on a mailing list I bought last year…. and weeded out about 2/3 who were not really worth my time to contact (really a small frame shop, out of business, etc..) also attended a seminar about e-mail marketing.  Which to my mind has little to do with being an artist, but seems like it has become a necessary evil to be “successful.” I do know that I have to reach a wider audience than I now have.

And saw a play about a blind thief who constructed his reality by “translating” all the objects and distances in a room of the apartment he was planning to rob. Through the course of several visits to the same apartment, he encounters the owner, a woman who needs to dull her life with alcohol. She begins to romanticize the qualities that the blind thief seems to embody. She believes he will take her away in some sense from what she cannot truly confront in her own life. And by the end,  she realizes she has been totally blind to the needs of her terminally ill husband, and her step daughter.

Often, when I work on a larger painting, process holds sway…. trying to gradually see what the painting will become – not knowing before I start. Not presuming what a final state should be.  Like trying to see in the dark.

This is why I must have shifted my attention away from painting the real tangible world, to a world that I must totally “translate” if you will.

There is more challenge, and more necessity to adapt to the fictional world, as it is gradually  revealed. Way slower to turn out paintings this way.  In fact, lately, a lot of them seem to start out very dense with content and then gradually get pared away to some sort of essence.  It sometimes pains me to think about all the parts I actually cover up or obscure as this continues.

Bill Moyers was having a conversation with Jane Goodall, and I was struck again by how calm and eloquent she seemed. When looking for more information about her, I discovered she and her sister both have some neurological condition that results in an inability to recognize faces!

So then, I wondered if she was somehow very well suited to spend years in the jungle, around very few people, making and recording her observations about bits and pieces of behavior and interactions.  What would it feel like to be walking towards someone and not really be able to read their face?  When she was sitting across from Bill Moyers, what was she seeing?  We’ll never know what the world looks like through someone else’s eyes, only our own.



DERIVATION

Camera Surveillance is a high controversial and actual topic in our contemporary society. On the one hand they shell spend security in our daily grind, on the other hand they constitute an instrument of power and control. The last one reaches more and more in the foreground of perception. We are not only confronted with this tool of supervision in the real public space, but also in the virtual space, where we announce our data in networks, e.g. Facebook, Studi.vz, Linked.in, etc. Inside the internet we are able to control ourselves and are faced with another form of surveillance. Both the real and the virtual space have one thing in common: the body, which produces the space by interacting with other bodies or/and objects. Without interaction the body also constitutes a space, because of the time. During the body doesn’t move, for all that he changes the whole time by interacting with the time. (cf. Löw. 2001)
Above all the three categories: body, space and time are combined under supervision/control, because the body controls the spaces and itself, e.g. in the internet in both terms, camera surveillance. All categories in relation to supervision/control are evaluated in a negative way. To reverse this attitude, you have to look for a solution, how to evaluate supervision/control positive by visualizing it and the following generating behavior. For achieving this aim, the aspect of hybridization is very important which combines all the three categories in different ways. How they can look like is one is the first big steps for achieving the aim.

Arbeitsstand: 29.11.09 – Text schreben Basti und Kai am Montachmorjen

hi folks,

i digitalized our working process from the morning and attached it!!!!

@vitor: i know everything is now planned but maybe i can explain you the whole process via skype!!! i’m in there this evening!!!!

@felix: we didn’t continue doing our matrix by the game “set” and playing with the categories. it was at the end more complicated then we thought, so that we first eliminated categories and repeated order them. after a short excursion to henry levebvre, who divided the production of space into three categories (spatial practice, presentation of space, space of presentation). after using this we noticed, that we don’t have to use the virtual space of its own. that was the danger, leo told us yesterday!! the virtual and the real space have one important thing in common: the bod, who produces the room, in interacting with other bodies or/and objects = room. without interaction the body also constitutes a room, because of the time. he changes the whole time doing nothing, but this is also some kind of interaction with time )) ok now it’ll become too deep, but maybe understable.

above all this, we combined the three categories under control, because under this the body controls the space and itself, e.g. in the internet and the space, e.g. camera surveillance, internet the body. everything, that is associated with control is evaluated negativ. then we talked about a possible aim: how to evaluate control positive by visualize the control and following behaviour. to achieve this aim, we needed the other steps, involving the aspect of hybrids, which we found between the three categories. how they can look like is one of the next steps. after getting ideas and concepts how to realize these hybrids in smaller groups or everybody by himself, we want to filter them and come together (step will be finished after christmas holidays).

but before we start with this whole process, we have to define following terms: control (the whole group is searching for it) literature, e.g. Gilles Deleuze “Foucault”, Michel Foucault “Wachen und Strafen” (@Basti: was that the right title??), Martina Löw (Stadt- und Raumsoziologie, theres a text about surveillance, space and criminality), Mike Davis “City of Quartz”

the term body: tabea wants to define it with the help of literature by anke hagemann
the term space: nicole has to start defining it by literature, e.g. Martina Löw “Stadt- und Raumsoziologie”, Georg Simmel, Dieter Läpple, H.P. Bahrdt, Henri Levebvre, gabriele sturm
the term time: anne wants to define it with the help of literature by martina löw “Stadt- und Raumsoziologie”

the term hybrid: basti started to define it in the last semester and wants to work again on it

@felix, vitor and kai: where do you want to join????

our timetable: next little working session: thursday 26.11. 16-18 (AV, room 367); presentation pre-work: tuesday 01.12. 9 o’clock (AV, room 367) –> all definitions have to be clarified, so that we can join them in the presentation on thursday 03.12.

the derivation to this prozess is written by nicole!!!

see ya
nicole
actual working structure

The other day, I arrived at the studio, with several things in hand to unload.  One of the casement windows  had been open for a couple days, but the weather had turned a bit colder, so I thought, “I should shut that.”  Then, in the corner of the room, I heard a small shuffling sound, and out popped a finch who promptly tried to make a run for one of the closed windows!

She could see there was an “outside”, but how to get to it?    The golden leaves of the trees are just outside, since I am about 30 feet above the street level, and birds often perch on my wide stone windowsills.  After trying to gently usher the poor confused thing in the general direction of the now two open windows, I decided to go down to the car for another load of stuff, leave the windows open as much as I could, and hope for the best.

When I returned a few minutes later, it seemed that nothing was skittering around behind the racks anymore, so fingers crossed, I assumed it had gone home, and cranked the windows closed again.

Well that explained the bird poop spots on my floor!

When not chasing wildlife around my work environment, I have started two new pieces, shown below.  It’s interesting that I got comments about the blue one when it was in an even sketchier preliminary state, that it looked “finished.”

I’m not sure what that means to some casual viewers… perhaps that it is lively and fresh?  they they can see a picture or image and that is sufficient?  not sure – should have asked.  My response was that it didn’t have nearly enough density or history yet to feel substantial, and that may or may not make sense to someone wandering around on a First Friday. The concept of “thin” has many connotations in painting, like the literal layers of paint, a prematurely short conversation with problems suggested by the painting…

I also keep lots of different drawings, worked over photocopies, and sometimes notes to myself on the walls to keep me on track about what intrigued me enough to begin something.

and now that it is getting cold – the city has turned off the water in the spitting fountains outside, and the squealing crowds have also left, which makes concentrating a tad easier.

well, if you have tried to click on the artists register link, you know that it is not operating at the moment.  I got an email notice not too long ago, apparently my subscription had expired without me knowing.

So, now I decide if it’s worth the $75 a year to basically repeat what I have here.

I guess I’ll go ahead and do it, but it takes a week or so to go live after putting things up for “review.”

I also just finished straightening up my resume in the document form at least, in preparation for getting the aforementioned promo packets together.

One of the coolest things I finally learned how to do, not that it was that complicated, was to print CD labels with a full color image background and type on them.

They look rather spiffy and professional.

Which is the idea.

Also trying to keep up with this site, although I understand that it takes a while to drive traffic this way- but hopefully more folks will come and visit.

For fun- just took my daughter’s cruiser bike out for a spin.

She just moved home for a month or so, before getting her own place, and it was interesting to merge her small household into ours again somewhat.

Let’s just say there are lots of boxes and bags of stuff in our basement now!

And there wasn’t even that much furniture involved this time!

It made me remember the days when my husband and I were rather nomadic and big proponents of Victor Papanek’s ideas on nomadic furniture. I remember things made out of corregated cardboard, and constructed so they either came apart or would compact, or you could make more in a new location…

Occasionally I like to work with  my door open. Either by a few inches, to help the air circulate to keep the fumes down, or all the way, so I can sit in a chair opposite, and look in at my painting on the wall.  I’m not one of those painters who loves an audience though… so the best days to do this are when the building is closed to the public.

The other day, while scrubbing away on a piece, I felt the presence of someone outside the studio, and turned around to see a kid starting to slide a piece of paper under my door.  I poked my head out, said “hi”, and he told me he had drawn this and wondered if I would like to make a painting of it.  I’m not certain if this was some unusual way of trying to commission a painting, or he just wanted to give me a new and different challenge. Either way, I was totally charmed. As we talked, I found out he loved to draw, and wanted to try painting sometime.  My guess is he was about 9 or 10, and appeared to be walking around the building by himself, just because he wanted to look at the art! So, here is my assignment … should I choose to accept it….

"could you paint or draw something simalar to this?"

I was impressed by the way the image was a balance of intricate little parts and larger shapes, and the great cloud of steam coming out the top having volume as a results of his overlapping the curving lines.  A very carefully observed, robust train engine!  . . .

Today, another wanderer came through, even though the exhibits are closed on Mondays.  She was visiting town as part of a giant gathering of religious types at our local university.  After chatting for a while, she began to pull something out of her purse, and I was thinking “oh no, here it comes, the pamphlet promising me ‘eternal life’ or something similar.” Fortunately, we didn’t go there, and instead she pulled out a business card for one of her husband’s films, called Magdalena- Released from Shame. Something about how women in the middle east are oppressed. Haven’t checked it out, so can’t say what the real message is.

Anyway, you never know who’s going to find their way back to my little corner of the world!

I used to keep a studio journal – sort of a running compendium of comments about work in progress,  mental detritus from former teaching jobs, thoughts about what I saw in the paintings, technical ideas… (“move this over, make that more light, open up that area”…).

‘just occurred to me that since I no longer do that, I can always refer back to some of these entries as a substitute. Heck, even if no other living soul ever reads it, that’s good enough reason.  It should, theoretically, exist somewhat permanently here.

As I mentioned once, I often like to listen to podcasts of Speaking of Faith, or the broadcast on Sundays.  It’s become my version of attending church-  or really attending to the spiritual/ethical ideas that are most interesting to me.

Recently, I was listening to an intriguing program with Dr. Stuart Brown, who founded The Institute for Play. He studied many deviant/criminal types and found overwhelmingly that the one thing missing from their early lives was the opportunity to play.  I can’t fathom a life so grim or joyless.

Brown explained how kids learn and take into later life lessons in problem solving, empathy and conflict resolution- from dealing with each other in play situations, and having a fantasy life, and being free to explore. It made perfect sense.  As artists, we try and allow that sense of wonder and non-productive play to stay in our lives, because it allows for discovery, innovation, and the unexpected gift of being outside of time.  It’s a very easy thing to lose as an adult.

My studio overlooks a public plaza that has, as one of its main attractions, a system of water streamers and sprouters that shoot out of the ground and disappear into these lovely dark rock whirlpool sculptures. During the summer months, it’s a major distraction, but also a fascination to watch the toddlers and how they interact with these pieces.  It also encourages me to sit at my table with sketchbooks, ink, and other drawing materials and just play with ideas for the paintings of the future.

When I taught drawing, I occasionally read from several authors while my class was working. When we started using color, I chose Diane Ackerman’s book, A Natural History of the Senses, because she talks about color and how we describe what we see in such evocative ways.  Turns out, she also wrote a book, Deep Play. Here’s what she says about poetry, but I think you could easily substitute the word painting.

“There is nothing like poetry to throw light into the dark corners of existence and make life’s runaway locomotive slow down for a moment so that it can be enjoyed” … “Poetry offers truth based on intuition… we ask the poet to teach us a way of seeing, lest one spend a lifetime on this planet without noticing how green light sometimes flares up as the setting sun rolls under.”

so … enjoy the sunsets, and the toddlers

This has absolutely nothing to do with painting or art… but when I was leaving the studio today, I felt so happy to hear my husband was going to whip up some pizza from scratch – including the crust he makes. Sometimes, it’s the little things. At the time, we had just had a whopping rainstorm move across town, and apparently there was a tornado warning too. Good thing I work in a turn-of-the-century former post office that is built like a fortress!
Almost finished with the brown painting. For some reason, I felt the need to begin to open it up with more light areas, but then the whole point of having the focus in the middle, swirling around got kind of lost. So, that meant, going back into the areas around the edges again, and putting leaves and stems back in. Frankly this is a summary description of how my paintings usually go. Put it in, take it out, sand it down, rethink, paint over it, and finally noodle around. Repeat several times.
My favorite days to paint are Sunday and Monday. The building is closed, and I can leave the door to the studio open, just hang out in a chair outside and look at what I’ve been doing from more of a distance. Plus, Sunday, I love listening the Speaking of Faith and the Splendid Table on public radio. This has always been the case, that I work better listening to talk sometimes, rather than music. Used to be Diane Rhem in D.C., now, it’s things like the above programs, or podcasts of The Moth- really cool stories people tell in front of alive audience without notes.
p.s. – just had dinner- yum

will post new work and reorganize pages soon – promise!

Lots going on- including bringing home another finished painting, which I will post soon.  Actually, I want to reorganize the pages with work on them so they are in categories that make more sense, rather than doing it by year.

While I procrastinate about doing that,

pulled out some canvasses to see about starting something new… and realized they were wonky and out of square- hey who did these, oh yeah, I did but obviously wasn’t being careful enough.  We’re not talking major parallelogram but off by a half inch or so on a big one, but I could see it really easily. So ripped a couple off the stretchers and started over. Also did another half dozen of other dimensions while I am at it.   I think if I am going to show up for First Friday, I will spend the time slapping gesso on these.  It always seems like such a time suck to hang out and watch people look at my studio for a few hours, so it feels better to be getting something accomplished while I socialize.

Here you can see just what I get myself into – the brown painting, that has no name yet, looks like this now. 30 x 28, and has a lot going on.  I love to torture myself this way!  No actually, it is a series of very engaging problems to figure out. The result feels circular in composition and has a lot more movement, which I like.

I obviously wanted to create more density and layers and find my way through the piece.

(here it is in a beginning state)

Here is the painting I posted an image of earlier, only a bit farther along.
Actually, this was before I began working on it today, so it is beyond this point now. I don’t normally take pics when in the process of working on something, but it can be pretty instructive to look back later, and track the decisions and turns that make a painting move thither and yon. As seems to be the case with the recent ones, this one is now in the process of being opened up, and I am finding or threading my way through the various layers, and deciding what comes out, is light, recedes, is dark, is sharper/fuzzier, etc. In general, I seem to like the light coming from behind things, even in the previous landscape series, it was always a kind of twilight, metaphorically or visually.

There are now four paintings in various stages of being close to resolved.  I often like going in to work on a Sunday or Monday- both days when the museum where my studio is located is closed – it lets me open the door, take a seat in the room opposite mine and get a better sense of what should go or change.

Now that I am trying to work from more coherent studies, I began another painting that takes off on the same theme, only perhaps a bit more close up than some have been.  Right now it’s the mostly brown painting-  about 28 x 24 ... and will no doubt give me fits before it’s done – but hey that’s what keeps me coming back.    I like looking right into the confusion and ambiguity.

In fact, this reminds me of the time I was taking an early watercolor class, and had the lovely Ralph Baker for a teacher at the University of Oregon. It was a drizzly day, (no surprise there) and I was sitting on a curb out back of the art building, and had painted part of a hedge looking flat at it.  Well, Ralph came around and checking in with me said that I “may not understand now why that is a good painting, but some day you will” or other zen-like words to that effect.  You always go back to something when you make art, and maybe I’m going back to that day.

Watching an interview with Charlie Rose the other night, I realized that my previous connection between writing fiction and making a painting was somewhat flawed.  Sure, there are some strong similarities with the writing life and process….I have been a somewhat slow painter, because of all the reworking and rethinking that might go on, and I always likened this to letting your characters tell you who they were, etc.

Grisham writes about a book a year, seems intent on the storytelling, more so than great characterization, and has a pretty efficient system. . .but when asked about how he spends his time, getting ready to write, Grisham pointedly said he spent a lot of time outlining.  The times he has short-changed it, he writes himself “into a corner.”

A light went on in my head.  Since a new theme emerged a couple years back, I hadn’t really gotten back into the habit of  committing to the preparatory sketch/composition.  I used to do monotypes for this purpose.

In the crunch of time- deadlines etc., I went with a beginning that seemed pretty interesting, only to paint myself into lots of corners.

Now this is not the same as declaring that I want to know exactly what a piece will look like even before I begin- far from it.   Only that the arrangement, color, and idea the painting serves, when thought out in the beginning, gives me more to stand on. ( I’ve stopped painting from observation, so things get kind of fictional anyway.)

Now, as a pleasurable activity, I enjoy sitting and doing little watercolor/pencil/conte/xerox, “whatever” studies.  It calms me down,  and is hopefully giving me an inventory of solid potential larger paintings later.

New Year’s Resolution #1-  Be Prepared

New Year’s Resolution #2 – Concentrate on the Larger ones

New Year’s Resolution #3 – remember to pack a lunch (see #1)

I often think of Richard Schecner’s statement that the theater in the 21st century will be only one type of performance such as, for example, the string quartet was in the 20th century in the wide field of music. A relatively obsolete, quite insignificant minority medium among different types of performances. But at the same time, I also see the theater as a polygon in which all types of power are distributed, redistributed and questioned incessantly. That is why when I initiate a project, I usually have a firm concept, and I primarily view the theater and its production mechanisms as a space for its realization.
In the past several years I was most intrigued by the potential of the (interactive) political theater, which I use for breaking through to reality. Opposite representation, I wish to emphasize action in the real. I am interested in the theater as a micro-social laboratory in which we don’t necessarily function within the limits of the politically correct. I am interested in real impact. I don’t think theater is automatically political when it deals with, for example, terrorism (in T-formance), the political concept of the Empire or press titles (in „The Theater You Deserve“) or America (in the play „Timbuktu“), but only when it raises the question of distribution and circulation of power in the wider social-political context. The key determinant of the theater is that it happens here and now, and that it implies some sort of interaction, whether empathic or literal.
A theatrical performance attracts me in just that manner; as interactive, risky and highly problematic practice, as a research of what the theater is and what it could be. I wanted and still want to communicate not only with theatrical connoisseurs or those who professionally, as a job, go to the theater, but also with theatrical illiterates. Hence, I am not interested in the hermetic avant-garde nobody understands. The important difference is that before becoming DasArts participant I was interested in giving the theater exactly what I think it deserves, while today I am rather interested to give the theater that which by convention doesn’t belong to it. The idea of a play in which the stage is emptied for dogs seems pretty radical compared to my earlier work, certainly more radical than my pieces from the 1990s, which primarily dealt with the body and its limits. Back then it was a relatively conventional theatrical representation. Certainly, dogs were put on stages before (just remember Wim T. Schippers), but it remains a strategy for questioning what is possible in the theater today.
The beginning of the Timbuktu project is very personal. I wanted to dedicate the play to my 13-year old Labrador Max with whom, according to the logic of all things on this Earth, I will have to part in the foreseeable future. Auster’s novel about a dog looking for a new master seemed as an ideal template, mostly its extraordinary emotional and political charge. Just like Auster never wanted to write a novel about dogs, I never wanted to do a play about animals. The play primarily deals with contemporary sensitive issues; about abandonment, about the rights and needs of those living close and near us, but who are not dear to us, about social exclusion and the role of responsibility. In so doing, it was a special challenge to approach the young with this issue, creating an engaged theater capable of pointing outright to certain problems of the society they live in, especially when the media and the public seem to rather practice a collective denial and silence.
My final project at DasArts – Timbuktu – was realized in the period from January to October 2008 with 11 performances played. It premiered on the World Animal Protection Day, October 4, and the October 17th performance marked the International Day for the Eradication of Poverty. A total of 1.529 people saw Timbuktu (45% of the audience was aged from 10 to 25). The context of the performances is definitely not irrelevant; Timbuktu was played in the new theater hall of the Zagreb Puppet Theater in Travno, as the first premier made exclusively for the space. Up until then the completely unused hall, mostly in charge for hosting outside productions of a smaller scale, came successfully into life and noted a record in visits with this project. Since Timbuktu was in part seen by the local population from New Zagreb, usually unaccustomed to attending cultural events or continually visiting the theater, this project has the significance of community art.
In the organizational sense, several months of engagement in successful mobilization and coordination of a number of institutions, associations, partner organizations and volunteers was necessary. Even though it was a demanding implementation task, it was my extreme pleasure to cooperate every day with 45 persons of different age, professions and lifestyles, most of whom have no professional experience with the theater. Working at an almost volunteer base, with shared enthusiasm, an enviable level of cohesion and solidarity was created between the participants, which contributed to the success of the entire project.
The dogs on stage were certainly attractive bait, but the play aroused a strong interest of the public and media mostly due to its pronounced social activism and an innovative inscenation of the story. Timbuktu was announced as an unusual love story between a homeless man and his dog, which might not have a classic happy end, but still offers a possibility of a completely new happy ending. One of the slogans used in the campaign was „the only play that gives you your money back if you adopt an actor”. Along with the announcement reports and critical reception, most media continued to track the aftereffects of the play with interest. More than 50 larger features were published in different Croatian press and electronic media, primarily with national range (HTV 1 and 2, Croatian Radio, daily and weekly press). Also, France Presse, an international news agency, reported about the project, and the news was transmitted by foreign media and leading world news portals. Timbuktu was represented as a unique theatrical event and an extraordinary play, which raises awareness about homeless humans and abandoned animals in an affirmative and touching way. Thirteen reviews were written and they are all extremely positively intoned.
The project was for the most part enabled by means from the city budget, but due to its peculiar topic, „Timbuktu“ was financially aided by three city offices: Office for Education, Culture and Sports, Office for Agriculture and Forestry and Office for Work, Healthcare, Social Care and War Veterans. However, the amount of the allocated funds was sufficient for only a fourth of the total budget, considering this was an organizationally complex project with many participants. This was the reason that many excellent collaborators entered the project out of enthusiasm, prepared for pro bono work. During the preparatory phase (the period from February to July 2008), the project was applied to approximately fifteen competitions by large Croatian companies. In doing so, each application required additional effort in individualizing it and adjusting it to particular competition propositions. Due to its innovative character, the project fit in easily into different categories; education of youth, culture and extra-institutional theatrical activity, promotion of social awareness and local community care. Even though we met all the conditions and values the corporations declared they were asking for, we were rejected at each competition, mostly without additional explanation.
Also, we took care to choose the companies into whose future sponsorship plans we might fit, but the result was mostly negative, at least as far as actual financial support is concerned. Even the companies that might have directly benefited from participating in the marketing of this project, like the producers of dog food or large distributive chains for pets, never showed a greater interest. One of the answers we unofficially received was that their brand has no intention of participating in this pity fest, or supporting mutts. As we found out later, the reason we had so many problems finding sponsors was that corporate capital primarily doesn’t want to „identify“ itself with the homeless. This excruciatingly difficult production experience is confirmation enough that Croatia is firmly living in a neo-liberal regime, whose symbolically most pronounced exponent is America.
Even though Timbuktu was not conceived as a humanitarian project, it pleads for humanity and is filled with love. I wanted the play to be linked with the possibility of adopting a dog, that is, for fiction to perform certain effects in reality. The play actually ends when people adopt the dogs from the Dumovec dog shelter that show up on stage, after the performance cycle. The chosen dogs are already accustomed to people and are worth giving another chance in life. Dogs are extremely cultivated beings, on the cusp between nature and man. They are too dependent on us to be able to do without us, as Auster masterfully portrays in his novel. A new home was found for three protagonists of the play for now. Truthfully, I had hoped all 12 dogs would be adopted, although I believe that it also pay to work on the popularization of the idea that it is not only cool to buy a dog, but to adopt it as well.
In the announcement campaign that proceeded, Timbuktu was introduced as a completely unusual love story about a homeless person and his dog. What motivated a large number of people included in the work on the play was their faith in the possibility of a happy ending, of adopting at least some canine part of our numerous cast. For me personally, the greatest value of this project is exactly this phenomenon of a completely tangible influence of theater in life, the most literal discontinuation of illusion which causes us to call the theater theater, and life life. There have been attempts to activate the concept of a passive viewer for years, but even when a viewer is stimulated to act, the activity doesn’t go outside of the framework of a particular project, its one or two hours of duration. Timbuktu expanded the concept of the viewer’s responsibility outside of the theater, calling upon the everyday civil responsibility of every individual in the audience.
However, Timbuktu does not end by making the problem of animal protection visible, it primarily intends to protect all kinds of „otherness“, of all those who are in a way dependent. And while stray dogs will always receive their share of media attention, homelessness is a topic odious to us all, the one the media and the public will be happy to ignore. I can’t back the thesis that „these people’s existence is their own fault“, because we live in a system that allows for that to happen to anyone. Even though Auster’s narrative offers a dramaturgical excuse, the presence of homeless people within the performance space faced me with numerous ethical dilemmas. Am I subjecting them to shameless manipulation? Does their silence in the auditorium reiterate the usual gestures of the society toward them? I certainly did not wish to emphasize the banal parallel between homeless animals and people without a permanent address, although identification processes of that sort cannot be completely avoided. It was easy to fall into a trap such as „Let’s have homeless walk behind the iron fence“ or, for example, radicalize the performance by having them imitating dog barks while entering the auditorium. I tried to offer a model of their political visibility, however fragile or short-lived it may be. That is why they stand in the auditorium silently, and a well-known actor stands as their PR or ringleader. Every other solution had numerous insurmountable and undesirable implications.
Significant difficulties arose when searching for the adequate labeling in the play’s announcements, as well as the manner of their presentation in promotional materials. Finally, a decision was made to call all the participants with a smaller part in the play “guests” and to avoid a potential undesirable hierarchy by listing names in an alphabetical order. The engagement of the homeless people turned out to be an extremely sensitive task. During the long-lasting preparation a situation of trust was slowly established, through a mutual upholding of the terms of cooperation set up in the beginning (the exact time of arrival and a regular payment of their fees). Since they were offered a dignified way of participating and a framework of context they easily identified with (during the preparations the play was performed twice just for them at their own request), they demonstrated a high level of initiative and autonomy, so much so that they even started to oversee the organizational demands of the play. Timbuktu definitely achieved success because the homeless worked with enthusiasm and were full of positive energy. Testimony to this is the fact that they all expressed their satisfaction with the cooperation, as well as a wish for it to continue. Aside from that, the internal communication and the goings-on in the backstage are a play in and of itself, the main protagonists of which are the homeless men. During the 11 performances they were filmed by students of the Drama Academy, and the intention is to create a documentary from the material gathered.
The future of a project such as Timbuktu is very questionable when it comes to guest performances, and it is doubtful whether anyone will „adopt“ this play in Zagreb after the initial block of performances; can we keep extending visibility to this issue or will it all be reduced to a few forgettable performances in which not even all the dogs were successfully adopted? Who needs such a project? Timbuktu is primarily a „model-play“ which, along with the main actor and the trained dog, can look for its other key participants in another community. In every larger city there are 12, 120 or 1200 homeless dogs, and even more homeless humans… The future of the „Timbuktu“ project depends on the interest of the potential partners, not only of theater producers, but also the city authorities as well as non-governmental organizations that can engage their volunteer networks.
The strategies I used to their outermost limits in the „Timbuktu“ project were previously tested, although with different starting premises, in interactive projects such as „The Theater You Deserve“ or „T-formance“. The purpose of the mentioned works was to emphasize the potential activity in the real as opposed to (the conventional theatrical) representation. The basis of my directing procedure was the production of events through a careful organization of unexpected breeches of reality. This is not about the unquestionable need for introducing direct interaction (T-formance) or new media (like the mobile phone in „The Theater You Deserve“) into the performing arts, but about the way their use might influence the change of perception of the contemporary viewer. These issues are not only esthetic; they are also ethical and political. I am interested in performances conceived or organized around the theatrical production outgrowing the theatrical medium, expanding into other media (like the internet), starting before coming and continuing after leaving the space of the theater (for example, by adopting the dogs from the play „Timbuktu“). I also believe that plays like „T-formance“, „The Theater You Deserve“ and „Timbuktu“ question and raise awareness about the (structure and function of the) theater in our environment.
To expect of theater to truly change something in the society is illusive, but what I find important is that the theater functions in relation to the local community, that it creates for the needs of particular interest groups. Even though I wouldn’t dare declare myself to be an activist, it doesn’t mean that in the plays, or events, that I create I don’t wish to contribute to things I believe in. Art must be established as a type of resistance in the system we work in, and attempt to change some of its parameters. Even though the fact that via the play Timbuktu only three dogs were adopted should be discouraging and defeating, only a small distance is sufficient that even the possibility that something like this is finally possible in the theater is reason enough to believe in its power. Because, less we forget, the theater, just like artistic performances in general, is one of those silly things such as religion or terrorism, which only make sense if deeply believed in.

Borut Šeparović

 
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feature นั้นก็เป็นเพียงส้วมในโชว์รูมโฮมโปร ที่ไม่สามารถใช้งานได้จริง
(แต่ส้วมเขายังบอกนะ ว่ามันใช้งานไม่ได้ อะแฮ่ม…)
ไม่มีใครรู้ว่า พอกดปุ่ม submit หรือ send ที่หน้านั้นแล้ว
มันจะไปที่ไหน มันไปที่อีเมล์ หรือว่า Back Office
หรือว่ามันเป็นแค่ปุ่มกดเฉยๆ จริงๆแล้วมันไม่ได้ส่งไปไหนเลย ก็เป็นไปได้
นัยว่า ให้ผู้ติดต่อ ระบายอารมณ์เล่นๆ แค่นั้น

ลองคิดดูคร่าวๆเล่นๆว่า
จากเหตุการณ์นี้ เราน่าจะมี perception กับขสมก.อย่างไร
ก. ไม่มีความจริงใจในในรับรู้ปัญหาของผู้โดยสาร
ข. มีปัญหาเรื่องการทำงานภายใน
ค. แอ๊บไฮเทค แต่จริงๆแอบโลว์เทค
ง. ถูกทุกข้อ

 
การที่เรารู้จัก User มันทำให้เราเห็นว่า สิ่งที่เราออกแบบพัฒนาไปนั้น
User จะได้ใช้หรือไม่ น่าจะตอบสนองความต้องการของ User ได้หรือไม่
แต่ในอีกขาหนึ่ง เราก็ต้องรู้จัก Business เพื่อให้เห็นได้ว่า
สิ่งที่จะทำขึ้นมาสนองความต้องการของ User นั้น
ทาง Business สามารถดูแลได้หรือไม่ ทำตามนั้นได้หรือไม่

อย่างเคสหนึ่งที่เคยทำ
ลูกค้ามีคลัง content มหาศาล
พอเราออกแบบ Rich Internet Application ชิ้นหนึ่ง
ก็กะจะให้เขาดึง content ที่มีมาใช้ประโยชน์อย่างเต็มที่
แต่เหตุการณ์ที่ค้นพบก็คือ ด้วยความที่เป็นบริษัทใหญ่
การนำ content ออกมาใช้ ต้องทำขั้นตอนการขอใช้
ซึ่งกลายเป็นว่า ไม่สามารถดึงออกมาใช้ได้ตามใจนึก
เพราะ Business Logic ที่เป็นในบริษัท มันไม่อำนวย

หรืออีกเคสหนึ่ง
ลูกค้าต้องการเว็บไซต์ Community ที่มี content มากๆ
แต่ใน Business Logic ปัจจุบัน เขาไม่มีทีมทำ
แต่เมื่อมีคำถามกลับไปว่า จะมีการตั้งทีมสร้าง content มารองรับหรือไม่
ก็ได้เปลี่ยนเป็นการซื้อหรือเป็น Partner กับผู้สร้าง Content รายอื่นๆแทน
แต่ไปๆมาๆ ก็ได้พบว่า Business Logic กับความเป็นสมาชิกของบริษัทลูกค้านั้น
ยังไม่ได้ปรับให้มีส่วนสนับสนุนการมี Community เลยด้วยซ้ำ
อย่าว่าแต่ online เลย
กลายเป็นเรื่องใหญ่ที่นอกเหนือการมีเว็บไซต์หนึ่งไปเสียแล้ว

 
บางคนอาจจะอึดอัดที่ต้องไปเข้าใจธุรกิจ หรือเรื่องราวของลูกค้า
ซึ่งเป็นสิ่งที่ไม่สนใจ
เพราะต้องการที่จะทำของให้อย่างเดียว ต้องการทำซอฟต์แวร์ ไม่ต้องการอะไรมากกว่านั้น
ในหลายๆกรณี ลูกค้าก็ต้องการแค่นั้นจริงๆ คือต้องการให้เราทำของให้เหมือนคนอื่นๆ
แต่อย่างไรก็ตาม สำหรับลูกค้าที่มีความหวังที่จะได้สิ่งที่ดีจากเรา
การเข้าใจการทำงาน สถานการณ์ของลูกค้า
จะช่วยให้เรามีโอกาสทำของที่มีการใช้งานจริง
ไม่ใช่เพียงทำเสร็จแล้วก็แล้วกัน
ทำให้ของนั้นทำออกมาแล้วได้ประโยชน์สูงสุด ทั้งกับผู้ใช้และองค์กร
อีกทั้งยังส่งเสริมภาพลักษณ์ขององค์กรได้อีกทางหนึ่งด้วย
(คือ ตรงไหนไม่พร้อม ไม่ได้เรื่อง ก็อย่าโชว์
ไปโชว์ ไปทำงาน ในสิ่งที่ถนัด เหมาะกับองค์กร ดีกว่า)

แล้วยังดีกับเราเองด้วย
ลูกค้าจะมีความประทับใจกับเรา
นับตั้งแต่การที่เราพยายามเข้าใจองค์กรของเขา เข้าใจวิธีการทำงานของเขา
เข้าใจทรัพยากรที่เขามี และ potential ที่เขาจะทำได้
ตลอดจนการตั้งใจออกแบบพัฒนาเพื่อมอบสิ่งที่ดีที่เหมาะสมที่สุดให้กับเขา

อ๊ะ แต่ต้องส่งงานให้ตรงเวลาด้วยนะ แฮ่ม…

Witchwood, oil on canvas, unfinished

The first is of the painting early on. I think that I should have had the confidence to stop here really. I did really enjoy making this painting. I had to trick myself into doing it by painting on an old frame that was warped. This made me feel less precious as I knew it could never be exhibited. It also meant that I could be braver with the subject.

Witchwood, Oil on Canvas, unfinished.

The  figures were moving along ok, I was pleased with them at this stage too. The background was not so easy to resolve. The painting stayed like  this for a while. My enthusiasm waned for it and I felt I could not finish it and convinced myself that it  was of no use to me anyway. I destroyed it.

Be interesting to know what you think.