Happening Event

Happening Event

Vilem Flusser speaks to the difference between a happening and an event, between, linearity and all-at-once-ness. The event wants to be singular to have cause and effect, things happen for a reason. In happenings everything is a result of chance, an accident, an accident that becomes necessary. The world of events are rationally explained, the world of happenings, well, just happen, because it is the world happening.

As we live in the world of events, there are things that happen outside our model calculations, and these things we think of as risks that we did not capture, that fell outside of our model calculations. We simply think we need a new model.

These notions of happenings and events are very distinct ways to understand our consciousness and how it shapes the way we go about making the world and reading it.

Cinema: Too Many Conductors and Not Enough Composers

Peter Greenaway on the condition of cinema today, ‘Cinema is Dead, Long Live Cinema.’

Can it be said that the cinema Peter Greenaway yearns for and heralds is well on its way only it’s not being practiced by filmmakers but visual artists. Here is a passage from Filipa Ramos’s review of ‘The Cloud and the Host’ Pierre Huyghe’s show at Marian Goodman, Paris.

‘The work’s incommunicableness is its strongest feature: it attests that thought is structured around visions and images, which crumble apart when turned into discourse because, on one hand, they do not obey any conventional logic of narrative, and, on the other, they explode simultaneously in so many levels that words automatically submit them to a spatial-temporal hierarchy that corrupts the whole ensemble. Here, the feeling of the critic is similar to that of trying to describe a dream, or even better, a very intense psychedelic experience, such as an acid trip. The only possible way to do so is to continuously jump from one realm to another, trying to ignore any time or sequential logics.’

To this point of sequential logic Greenaway rightfully argues that most all cinema practitioners follow the logic of the word. (I have posted about this in, ‘Thinking in Images’) They are conductors who illustrate words. Whose sense is the word. Whose words are managed by accountants. How to write directly in images or simply to follow the sense of images, not images as in stunning cinematography, but images as sense impressions and a logic or feel of this sense image to image, scene to scene, creating a plane and simultaneity of sense.

Actions, Note to Actors for Revolution Film

69 Actions (sent to actors 1.6.10), see public recordings images in earlier post

We see all the actors together as a ‘Collective’. They gather

Discussion 1

(interviews and interventions)

-17 beaver group (brian holmes)

-interview Judith Molina, founder of the living theatre with Julian Beck  (have one of the actors do this)

-Bruce High Quality Foundation, intervenions, art and education

-an xioa, social media situationist

-applepond farm, self-sustaining self sufficient food and energy

Discussion 2

-‘any direct confrontation is impossible.’

-‘any stance that is directly critical of society is futile.’

-one can not use violence against what is already violence.

Discussion 3

-‘artists invent ways of living  or  an awareness about moment M in the assembly line of social behavior patterns.’

-‘it takes two to make an image’

-to make things visible

-the imaginary doesn’t reflect reality, it’s the reality of the reflection

-but now -the system the culprit, the artist along for the ride

-the system is criminal, the artist aiding and abetting the crime.

-but artists can speaki truth to power.

-Feminism and appropriation art have had just that aim

-Artists should make what they want

Discussion 4

(dialogue distributed amongst the group)

-I want us to try a new project. I want to do cultural action.

-What’s that?

-actions, interventions, becomings, awareness

-I’m not sure.


-what can that change?


-that’s not enough

-so what is it

-It can be many things.

-an experiment.

-Culture and Action, these have been tried many times.

-Yes , action tamed and made part of  ‘culture’ as an event, framed and bound.


-so we must bring action into culture, into a living everyday culture. It’s over here now.

-you want more ‘theatre’ which will always stand over here apart from real politic

-life is theatre, politics is theatre

-if we can only  see that, then we can change the roles we play, the plays we’re in.

-but many people like this play

-it works for them

-it makes them money

-we need to something more shattering not just for pleasure or to soothe your conscience.

-it is not about my conscience

-we need something new

-I am going to return to my parents farm, I invite any and all of you to come

-to do what

-to grow our own food, our own energy, to breathe the air of the country, to cultivate our own sense of time

(all are silent for a moment and consider this)

Discussion 5

(alone tjasa and K)


-what you really speak of is your subjective desires

-It is also objective

-objective to whom

-clearly things are not good

-but what are you going to change

-small things, everyday things, myself

-your subjectivity

-which produces objectivity


-you’ll complain about formalism and political art alike. The same with sexually

explicit imagery, daring and way too obvious.

-Art, then, has an obligation to leave a good deal implicit. And so engages in another kind of criminal  conduct, duplicity – Plato rejected art for lying,

-I’d rather see good money go to bad art than bad causes.

-again a19th century analysis  of capitalism and its cultural manifestations (Marxism), revisited through a particular set of ideas about the demonic effects of mass culture and the necessity for art that resists that culture through difficulty

-I’m all for alternative spaces, for the creation of possibilities of thought,

expression, experience, that the mass culture by its industrial nature

rarely offers, but the attachment to an aesthetics of negativity and

resistant difficulty seems counter-productive when produced for its

own sake and on claims of serving a political end.

-Artists should make what they want

-when we get to the critical

discussion of the cultural role and function of aesthetic objects, the

claims for the work often come out of a need for critical discourse to

find suitable objects rather than out of an engagement with the work.

I don’t mean this to sound reactionary.

-you have to start within the capitalist system, exploit its flows, distributions, and deployments in order to actually expand outside of it and corrupt it.


they begin to play, run after each other, and then it stops, seriousness in the air

-we can’t have fun anymore

-he who speaks of struggle speaks of sacrifice

-I believe in a personal politic

-I believe in revolution

-but what kind?

-I want to blow up the met, the modern


-to start from scratch, to begin again

-and then what


-you don’t know do you.

-violence will be the answer to cultural suffocation

-we must change reality, yes, but what will this get anyone

-I’ve decided I don’t love you anymore, I no longer like your face, your eyes, your mouth, the way you speak

-I don’t understand

-you bore me


-I don’t love you anymore


(refinement of discriminatory sensibility, appreciation of purposive purposelessness, shock effect that wakes us to experience, and the opening of the space for experience itself.)

-victoria volunteers in a hospice

-one of them randomly goes into a dance class and dances with someone alone

-tjasa stands naked, in an ordinary bikini knocking on the glass in a corner atm bank

-impromptu performance (tjasa and Raimonda) at the met (end of perfume movie)

-aaron rearranges things in stores,

-aaron gets egged

-some one at a bar alone, given up on it all

-some one at the farm, milking a goat