Saturday, 27 September 2008
Sunday, 21 September 2008
Where it all went wrong
The most famous painting in the world
Behind the smile lies the curse.
Familiarity looses meaning, she is
An example of what art has become.
"What binds these glittery baubles?"
-The shift is all about money
A story is watched, unfolding
Seen with growing disgust.
It is the vast inflation
Effect, and intanglement.
The Curse and the death of experience.
This curse has infected entirely
The contemporary demise of
Cutting edge work.
From new york or the desert of
Writing about art.
A long time ago, Florence the
Great centre of art and patronage
Destroyed. Inclined to help?
Help with the salvage of the after
Confirmed that art is more than life
There is no choice but to watch
The curse and the death of indifference.
The most famous painting in the world
Behind the smile lies the curse.
Familiarity looses meaning, she is
An example of what art has become.
"What binds these glittery baubles?"
-The shift is all about money
A story is watched, unfolding
Seen with growing disgust.
It is the vast inflation
Effect, and intanglement.
The Curse and the death of experience.
This curse has infected entirely
The contemporary demise of
Cutting edge work.
From new york or the desert of
Writing about art.
A long time ago, Florence the
Great centre of art and patronage
Destroyed. Inclined to help?
Help with the salvage of the after
Confirmed that art is more than life
There is no choice but to watch
The curse and the death of indifference.
Monday, 8 September 2008
Thursday, 4 September 2008
Clarification
Concerning the nature of conflict between 'art' that exists on the street, or in the city vis a vis art that exists in gallery spaces falling under the jurisdiction of the set.
It is important to realise that 'endorsed' art spaces like Phoenix, Grey Area, Permenant, and Fabrica are excluded on the basis that it can be assumed that these spaces provide their own 'dialogues' relating to the art they present. It is not the duty of the set to stifle the presence of discussion around the city by focusing on already established spaces.
It is within the remit of the set however, to find discussion about art where art is presented without it. The 'unendorsed' space - The obvious place for this is the street or the 'outside wall'. The distinction between art/non art relating to whether something is in a gallery or not hinders expression. It removes the possibility of discussion. Additionally, places whereby art hangs as phantom object inside spaces such as KraneKalman, who conribute to the discussion regarding art by simply affirming the 'gallery as shop' hypothesis. It is the intention of the set to not ignore or treat lightly the content of what is sold, and this applies to any wall in any building, available for use.
It is important to realise that 'endorsed' art spaces like Phoenix, Grey Area, Permenant, and Fabrica are excluded on the basis that it can be assumed that these spaces provide their own 'dialogues' relating to the art they present. It is not the duty of the set to stifle the presence of discussion around the city by focusing on already established spaces.
It is within the remit of the set however, to find discussion about art where art is presented without it. The 'unendorsed' space - The obvious place for this is the street or the 'outside wall'. The distinction between art/non art relating to whether something is in a gallery or not hinders expression. It removes the possibility of discussion. Additionally, places whereby art hangs as phantom object inside spaces such as KraneKalman, who conribute to the discussion regarding art by simply affirming the 'gallery as shop' hypothesis. It is the intention of the set to not ignore or treat lightly the content of what is sold, and this applies to any wall in any building, available for use.
Sunday, 31 August 2008
Tuesday, 19 August 2008
O dear
It appears that 'o contemporary' are no more. A sign on the door informs us of the impending move to place called London W1. This might not be a disaster, for two reasons. Firstly it brings about the possibility of a 'non-review' or something called 'when the shutters go down'. Secondly I think it would be interesting for the doomsbury set to keep an eye on the comings and goings at 'O' over the next few months - my money is on an internet cafe / espresso bar. Just the thing trafalgar street needs...
Sunday, 17 August 2008
Call for Submissions
The schedule of dates, times for submissions to Tik Tok, publication of The Doomsbury Set http://doomsburyset.blogspot.com/ are as follows:
1) Wednesday 27th August: Latest date for selection of topic/subject.
2) Wednesday 3rd September: Progress update on submissions
3) Wednesday 17th September, 5pm: Copy Date for final submissions
You can begin now with 1 above immediately obviously and as soon as that’s writing can begin obviously. Either propose a subject yourself or select from one of the following topics we a commissioning:
1) Brighton outlet for Crane Kalman http://www.cranekalmanbrighton.com/
2) O Contemporary http://www.ocontemporary.co.uk/
3) Mad Hatter http://www.themadhattercafe.co.uk/
4) Graffiti on Kensington Street
5) The work of a painter who is also a part time librarian at City College
Our intention is to pay writers but this depends on our success with funding application initially. We will definitely pay writers @ £13 per 100 words if they choose one of the 5 subjects above.
We are looking for 500 to 1000 word pieces maximum.
Currently we are discussing videoing readings at the various sites to be included as DVD video with the publication.
The key aim is to look at ‘unendorsed art’. For guidelines read: http://doomsburyset.blogspot.com/2008/07/from-tonights-meeting-between-no.html
e-mail proposals and texts to: doomsbury@mocksim.org or tiktoc@doomsbury.org
1) Wednesday 27th August: Latest date for selection of topic/subject.
2) Wednesday 3rd September: Progress update on submissions
3) Wednesday 17th September, 5pm: Copy Date for final submissions
You can begin now with 1 above immediately obviously and as soon as that’s writing can begin obviously. Either propose a subject yourself or select from one of the following topics we a commissioning:
1) Brighton outlet for Crane Kalman http://www.cranekalmanbrighton.com/
2) O Contemporary http://www.ocontemporary.co.uk/
3) Mad Hatter http://www.themadhattercafe.co.uk/
4) Graffiti on Kensington Street
5) The work of a painter who is also a part time librarian at City College
Our intention is to pay writers but this depends on our success with funding application initially. We will definitely pay writers @ £13 per 100 words if they choose one of the 5 subjects above.
We are looking for 500 to 1000 word pieces maximum.
Currently we are discussing videoing readings at the various sites to be included as DVD video with the publication.
The key aim is to look at ‘unendorsed art’. For guidelines read: http://doomsburyset.blogspot.com/2008/07/from-tonights-meeting-between-no.html
e-mail proposals and texts to: doomsbury@mocksim.org or tiktoc@doomsbury.org
Wednesday, 13 August 2008
Banking
The Minutes:
Our Financial Expert & Advisor:
Before opening bank account:
After:
The Constitution:
$
Ah, At the Apex of 'what it is' to be at a meeting with two thirds of the set. Furthermore, Mocksim and I, lord lloyd did very much accomoplish achievements. Lines were drawn and things placed either side of these lines regarding "timetables". The prospect of October looms as 'an un event' - dvd -glorious/technicolour/voiceover/shostakovich.
tiktoc, tik - toc the '-' seems unnecessary. A publication and an un event. The constitution/logo/ethos/mission statement/guidelines were heralded in and, with assistance from the suitably officious, as it was 16.53, Rosemary Miller, the Doomsbury Set established a financial bolthole!
Glory of Glories, the only cloud was the fact that Italy was absent.
ONWARD!
tiktoc, tik - toc the '-' seems unnecessary. A publication and an un event. The constitution/logo/ethos/mission statement/guidelines were heralded in and, with assistance from the suitably officious, as it was 16.53, Rosemary Miller, the Doomsbury Set established a financial bolthole!
Glory of Glories, the only cloud was the fact that Italy was absent.
ONWARD!
Sunday, 3 August 2008
Monday, 28 July 2008
Second Meeting
From tonight's meeting we formulated a set of guidelines for choice of subject matter and approach as advise for those creating texts and as a framework for our own thinking. This code which might be changed, developed or adapted at a later stage is summarised as follows:
1) Initially we are limiting ouselves to subjects in Brighton, East Sussex, 'U'K (though writers can come from a wider area).
2) The subject should be an item of 'non-endorsed' art. i.e. work which is not typically found in, what are considered to be, the more serious art spaces (Fabrica, Lighthouse, Grey Area, Permanent Gallery, Pheonix, University of Brighton Gallery, Brighton & Hove Museum, Public Art etc). More likely the items will be found in an 'open-house', a café, a small, possibly commercial, gallery or it is graffiti or street art.
3) Design or 'functional' objects such as lamp-posts, bins, advertising or buildings will not be considered at this stage. The subject is more likely to be seen as art, or less easily definable in terms of a practical use. Potentially these are seen by the 'producers' or 'consumers' as examples of decoration or expression, but not necessarily so.
4) We are not art critics. This is writing 'with' the art.
5) Potentially the subjects chosen are enormously problematic in terms of significance or quality but the approach ought to be open minded enough not to dismiss crudely any work.
6) Writers can select subjects and propose these to the Doomsbury Set or alternatively ask for suitable pieces to be assigned to them.
7) Our aim is to pay writers (£13 per 100 words) and request pieces of 500-1000 words maximum.
8) The first publication date will be November 17th 2008 (or October 25th Julian Calendar). Copy date and other deadlines will be set in due course.
9) A number of meta-texts will be included i'e' texts relating to other texts in the same issue.
1) Initially we are limiting ouselves to subjects in Brighton, East Sussex, 'U'K (though writers can come from a wider area).
2) The subject should be an item of 'non-endorsed' art. i.e. work which is not typically found in, what are considered to be, the more serious art spaces (Fabrica, Lighthouse, Grey Area, Permanent Gallery, Pheonix, University of Brighton Gallery, Brighton & Hove Museum, Public Art etc). More likely the items will be found in an 'open-house', a café, a small, possibly commercial, gallery or it is graffiti or street art.
3) Design or 'functional' objects such as lamp-posts, bins, advertising or buildings will not be considered at this stage. The subject is more likely to be seen as art, or less easily definable in terms of a practical use. Potentially these are seen by the 'producers' or 'consumers' as examples of decoration or expression, but not necessarily so.
4) We are not art critics. This is writing 'with' the art.
5) Potentially the subjects chosen are enormously problematic in terms of significance or quality but the approach ought to be open minded enough not to dismiss crudely any work.
6) Writers can select subjects and propose these to the Doomsbury Set or alternatively ask for suitable pieces to be assigned to them.
7) Our aim is to pay writers (£13 per 100 words) and request pieces of 500-1000 words maximum.
8) The first publication date will be November 17th 2008 (or October 25th Julian Calendar). Copy date and other deadlines will be set in due course.
9) A number of meta-texts will be included i'e' texts relating to other texts in the same issue.
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