[ + ] pt. 2

ROS: Shouldn't we do something something- constructive?

GUIL: What did you have in mind?. . . A short, blunt human pyramid. . .?

ROS: We could go.

GUIL: Where?

ROS: After him.

GUIL: Why? They've got us placed now- if we start moving around, we'll
all be chasing each other all night.

ROS (at footlights): How very intriguing! (Turns.) I feel like a
spectator- an appalling business. The only thing that
makes it bearable is the irrational belief that
somebody interesting will come on in a minute. . .

GUIL: See anyone?

ROS: No. You?

GUIL: No. (At footlights.) What a fine persecution- to be kept intrigued
without ever quite being enlightened. . .(Pause.) We've
had no practice.

Indeed, the effect of every Max Ernst image depends largely on the fact
that it sets its own limits. One might add, as a general principle, that
the collages and frottages (and the painting and sculpture derived from
these techniques) arc so astonishingly effective because their creator
succeeded in placing conscious restrictions on the arbitrariness and
amorphousness to which such semi-automatic techniques all too easily
lead.

the spectator becomes the program
joseph.beuys

D42,
new dream network http://www.newdream.net/