1.

2.

Time when you’re working (paid work)

thinking about working (making work) while working
especially struck by the phrases - 'wage work (other people's work' - making you feel exceeded and affected - sense of stable identity inside art/ built during this education that is shaken - those importances which have been built up during this first in-the-world-time no longer being experienced most of your time - and especially, 'it's possible to not believe in something and still be it if you hang around long enough in spaces made to keep that thing alive.' how to not separate these spaces as each exists inside the other

also, what it means to have time on and time off and what the time off feels like when it’s limited as opposed to the endless time of being away from routines and screens (time when you've been on the computer)

b.

George Lynch's text for Joe Davies' exhibition

a.

(click images to enlarge)







Anne Carson - Red Doc> (again)
Time for...

Teaching for people who prefer not to teach

coming back to this in imagining other ways to make money as someone who makes things
sharing the means to make money and to make these kind of experiences
(also, the randomness of boundaries)

leading to me making self games in its style to entertain myself at work
time to get through, time that’s counted off hour by hour
similar in concentration to time when you’ve been on the computer

3.

Time when you’re not near any people

Thinking about this when I went camping alone in an empty place for a few days
seeming endless time in which to do things
how that changes concentration on and experience of those things
time experienced by things other than humans - time for objects - time for birds - time for plants which are growing; empathising with those experiences in this endless time

The Summer Book, Tove Jansson
exactly what it feels like, the small notices and the fear of being along at night, even if you don't want to feel that fear and have wanted to be in such a place for quite a while

A Winter Book, TJ: Ali Smith’s introduction
narrative goes beyond time - rethinking the idea that narrative is constrictive

Pond, Claire-Louise Bennett

I have read it a lot, but reading it in this isolated experience was specific as it was very Pondlike and I know part of the reason I am drawn to exploring such a place is due to reading it
I found I could really concentrate on and empathise with and trust the writing while there

made me think about how magic and experience change in this sort of place and time and rhythm and concentration
and also the real, strong feelings that come up and down in reaction to your surroundings, fear and awe of the animals with their eyes completely black. fear is allowed to be felt strongly as well as joy and sadness and calm, when outside designated rhythms

a.

b.

4.

Anne Carson’s 'Praise of Sleep' essay in Decreation

time and sleep

time for objects, in the middle section of VW’s To the Lighthouse where the narrative 'goes to sleep'
emptiness of things 'before we make use of them', before they become 'useful', as in conducive of something else in some future time, as at work
this emptiness i think is what i was trying to find by going into nothingness
and found myself teetering between sinking into this (being very still, listening to animal calls for hours, looking intently at small things) and - from the fear i think - yearning for the somethings again
so in this way also bordering something and nothing
the singing of the real world
covered?

Click images to enlarge