Iain Cameron's Diary
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2010-04-19 - 9:32 a.m.
Outlook messed me around wanting passwords where it had previously been content to plough ahead – very frustrating – it was working fine early Sunday morning as I watched a late night thriller from 1974 with Michael Caine. It sent me a newsletter about manufacturing in the early hours. But no e-ms for the rest of Sunday until 5.00pm when it finally relented fitfully. P J Harvey was on the Andrew Marr Show with her autoharp plugged into a Vox AC30 playing a song to Gordon Brown.
This diary worked its way up the Google rankings of Cameronia to number 5 for a while. Apparently there’s something on the first entry of this current batch which is doing it – but I can’t see what it can be as it is mostly about LFM. Later in the day it slipped back down to its usual position.
I was intrigued when I chanced across the Folk Blues and Beyond website – e.g. who’s included and who’s missed out. As a reaction I looked up Bunjies and the Troubadour both of which are well covered on the web. After I left school my first serious appearance was at the Troubadour, accompanying a singer in a floorspot. The bear likes to play Davy Graham’s Tristano which is truly beyond belief.
I have been warned off drinking between one and two cans of coke a day. New pictures appeared on the Patteran Pages but no new text. I discovered the Derek Ridgers blog – visually stunning as you might expect.
I am trying to get my head round Gillespie’s desciption of Badiou’s‘ theory of the void as an inconsistent multiplicity that can assume novel forms in and through the production of truths,’ Under this is the thought that ‘if being is interrogated to the limit, one simply encounters nothing’. G goes on:
‘One could flush a toilet a hundred times a year and view it each time as a general habit that yields little in the way of novelty. On the other hand, an individual could decide to tape record the flushing of a toilet and thus make out of an general everyday gesture a work of art – as Yoko Ono did in 1971. Something new, difference, has been extracted from the generality of habit in such a way that exhibits a truly creative potential’
Trying to clarify this I bumped into some raw Badiou which started on the subject of body art:
‘Body art is the direct experimentation of the limits of the body as exposition itself . But in fact the absolute limit of something like body art is experimentation of death as such; and the real and final experimentation in the field of body art can be to commit suicide in public….
For a long time I have been looking for a grand theory of body art – I got stuck there about four years ago. B goes on:
What is a world of art? ….. I propose to say that a world is an artistic one, a situation of art, a world of art when it proposes to us a relation between chaotic disposition of sensibility and what is acceptable as a form. So an artistic situation, in general, is always something like relation between a chaotic disposition of sensibility in general (what is in the physical, what is in the audible, and in general) and what is a form. So it's a relation (an artistic world) between sensibility and form. And it's finally a proposition between the split of sensibility, between what is formalism—what can be formalized of the sensibility—and what cannot. ‘
The bear wasn’t very inspired although did manage to pull out the 1958 version of Green Dolphin St – I bought this as an EP while I was still at school. It was the first tune I played as an audition when I got to university.