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GILBERTANDGRAPE:RESEARCH
BORDER CROSSING CULTURES AND NATIONALITIES
BIBLIOGRAPHYSartre said that […] we are all playing roles in adopting the trappings of our chosen professions, the identity we display to the world. The role of ‘soldier’ or ‘sex object’ or ‘bureaucrat’ or ‘student’--each of these comes with rules and requirements, even costumes and behaviours. Our background research seems to be leaning very much onto the tradition of `critical paranoid thinking’ starting at Nietzsche's Genealogy of Moral and continued in Freud's psychoanalysis but while Nietzsche and Freud still talk about a project of unmasking, we follow the threads further to deconstruction (Derrida) which assumes there is nothing to be unmasked and therefore it focuses on liberating oppressed interpretations and meanings of 'text'. Derrida radicalizes ambiguity and starts a search for the meaning that has been oppressed, hidden and forgotten in the manifestation and presentation of text.
“Not for claiming it as 'the real essence', but just to liberate these interpretations from the centring kind of thinking that has been unrightfully installing a hegemony of univocal meaning, a claim on the 'one and only real face' of things.”
(Derrida 1890)
The way we think of it deconstruction is not so much a matter of unmasking, but rather of enriching text, language and thinking a way to emancipate interpretations that are 'written' in the margin and between the lines.
Our solemn play with fluid identities is in contrary a self-organizing 'architectural' activity that principally facilitates the exploration and potential in an in-between ness.
In the context and in the light of these theories GilbertandGrape see a possibility to comment on fluid identities.
We use the term fluid identities to describe a space in which the speaking subject is free to move from one subject position to another. (Moi 1987)
We also refer to Becomings in our work and we use it in the context of one of the themes frequenting Deleuze's later works the process called "Becoming" take place, "between" poles. In-betweens that pass only and always along the middle without origin or destination, what Deleuze refers to as “deterritorialization” which becomes the parameters of identity only to be re-territorialized when confirmed or named as such.
Responding to a question:
When looking at post war isms, how do writers write post war? (Lecturer at DCA, Chris Cheek)
In the context of our time we question ideas of identity, a country’s identity, political identity, personal. We question the view that we are passive dupes of cultural ideology. We question the existence of American movie myth nostalgia in today’s society?
How do we relate to the semiotics of a past time- frame we did not live in? How do we relate to films our mothers or fathers have talked about that we haven’t seen, yet have imagined. Reminiscence of representative objects like a phone, radio, car or phrases and slang; surrounded by fragmentations of 50s Western Americanized culture. A culture portrayed by those immersed in it as representing dreams and illusions of shaping and identity. A culture that in contemporary society is questioned and exposed for scrutiny from several societies/culture that is regaining notions of their own identity and a voice to speak of such.
What happens when we recreate our ideas of nostalgia from before we were born? What kind of hybrid images and text do we create if we are working from an idea of such, not purely copying but adding our eclectic ideas of identity?
Perhaps our interest in nostalgia is a response grown out of a longing or interest in identification with nostalgia as a concept. Nostalgia that represents something lasting because it represents a past and certain stillness.
We openly expose our love affair with the past as well as our inherent fear of what the future may portend.
By recreating found slides, by wearing clothes of past fashions by exploring icon worshipping of the 50’s as Esther Williams and Carmen Miranda by immersing ourselves with Hawaiian music, we are maybe not just recreating our notions of nostalgia but participating and recreating an escapism known for the post war time of the 50`s.
Is there a more splendid parody of the ethics of value, than to found virtue on the coincidence of rule? Is there a better parody of the values of labor, production, economy and calculation than the principal of outbidding and challenge? Is there a better parody of any principal of contract and exchange than magical complicity? Is there a more beautiful denial of our moral and social values of will than this exaltation of prosperity and disaster? Is there a better parody of all our ideologies of freedom than this passion of the rule? [Jean Baudrillard - Fatal Strategies]
Hawaiian Music is part of our recreation of post-war escapism. The escapism of a ‘journey of dreams, perhaps to a sunny future or to linger a while with nostalgic memories’ became a nostalgia which was for some ‘confined to the inspired and tantalizing pages of an airline brochure, to the colour and the away from it all them of a travel film. (Sweet Hawaiian Memories, Hawaiian Troubadors)
We like Martin Denny and Des Lyman shamelessly presents these clichés on their records and invite strangers to the south pacific ‘to break away’ and join us in a sigh and a faraway look in our eye: I remember Tahiti
We are attracted to the stories and myths of the music According to legend, when Martin Denny and Des Lyman's band were perfecting their style which had developed from big band jazz in open-air subtropical bars in Hawaii, frogs would actually sing along with the beat. It was in these bars that jazz wed chemically with the Tiki aesthetic of War-era suburbanite culture, and the result was Hawaiian music so it was that this music labeled hapa hole had little to do with the Pacific, except insofar as it was invented by men who had fought or had friends who had fought in the Pacific Theater during World War II.
Hawaiian music to us represents rhetoric to address memories of mass communication in films and images form a fake fictional nostalgia. A complicated mix of cultural messages, true and fictional memories form our shared cultural tradition. Our rituals are informed by this contemporary tradition.
“Bhaktin describes utterance as primarily a form of response So just to speak is to him always an response, to speak is always in response because he is interested in special ramifications like the fact that we are already here as a response to something that happened already” (Caroline Bergvall)
The dialogues between our personal interests/disinterests have generated a strong will to create a space for ‘meeting’- as an abstraction, as a physical location, as a moving spot in space and time. Engaging in similar discussions and processes over time has often resulted in Gilbert thinking something that Grape would articulate the next day without knowing that Grape had been thinking the same thing about it and vice versa. We engage and try to include these processes in our text generating. Making use of the dialogue to do so, dialogue also represents the unspoken, the in between the lines.
The flow between to minds constructed or represented in the shape of a dialogue.
G Gilbert what do you say Grape?
G I say grape?
The use of G and G is working on principles of x and y. Deleuze speaks of it as X and Y as something being produced, which doesn’t belong to either of us, but between 2,3,4. No longer is it X explains X, signed X but an X explains Y signed Z. Thus the conversation would become a real function. (Deleuze 2002.p.19)
The use of the same letters G&G to represent the dialogue also questions identity through repetition. Deleuze comments this kind of repetition as something that extends it own concept […..]”To repeat is to behave in a certain manner, but in relation to something unique or singular which has no equal or equivalent”. Deleyze suggests that repetition at the level of external conduct echoes a more profound, internal repetition within the singular, repetitions do not add a second and a third time to the first but carry the first time to the “nth” power.”
Deleuze speaks of repetition in the same terms as Gertrude Stein; as change or transgression, which puts law into question. It denounces its nominal or general character in favour of a more profound and more artistic reality which is evident in Stein’s use of repetition, a word taken in two senses ensures a resemblance or a paradoxical identity between the two senses, a word taken in one sense exercises an attractive force on its “neighbours” until one of the “neighbouring” words becomes in turn a centre of repetition and creates a “nth” meaning or power
The way of generating text mirrors our process. The trace of two minds and hybrid viewpoints articulated as the principles of our collaboration and a pact to articulate and enhance the fascinating miss spellings mistranslation that occur.
"Since I don’t believe in the existence of linguas francas, my choice not to translate or purposely mistranslate Gringonol, bad French and indigenous language is part of an aesthetic and political strategy, a multi linked language that never rests, it crosses borders continuously and encourage readers to create their own." (Penã 1996.p.11)
The costumes form a rule for our rituals, a presence in every ritual as one of our own prescribed rules. The meanings of the use of the costumes by us are multiple, and clashing. By providing a visual code that we are GilbertandGrape allows the interpreter to recognize us as GilbertandGrape. Like the moose the costumes represent a rule rather then one fixed meaning. Like the fashion of postmodernism, GilbertandGrape’s style becomes a substitute for identity, exploring clothes as
‘A dynamic site for struggle for control of the power to define selves and situations’ mof.
Features of fashion and style borrowed from our notion of a period of time and appropriated into another, is a visual example of the chaos, escapism and nostalgia we look to explore. We question Baudillard’s resistance that in postmodernism “simulation replaces signification: a playful spectacle, a carnival of appearances”. Can a floating carnival of signs exist when wearing such cultural loaded dress? The aspect of parody is lurking in the backdrop.
For the performances, bath, office, bed. We took our inspiration from how Gilbert and Grape look from the found slides at ‘Vevendelvegen’ where the two aunties dressed in furs, heels, and feminine 50s dresses. This inspired GilbertandGrape’s look combined with our visual nostalgia of curlers, cigarette holders, rubber ducks, Hawaiian Leis, other old photos, Picturegoer magazine, and references which are muddled together a sort of visual plagiarism:
Our exploration of feminine costumes has also lead to thoughts on the word feminine its difficulties and taboos. “The cuts and sutures of the research process are left visible; there is no smoothing over or blending of the work’s raw data into a homogeneous representation. Including examples of “found” evidence, data not fully integrated within the work’s governing interpretation” (Juliana Spahr)
“Any type of behaviour may be said to turn into a ritual when it is stylized or formalized, and made repetitive in that form”
(S.F Nadel 1953)
What interests us about rituals is the opportunity for implicit multiple meanings, their ‘ungrammatical’ ness and as a form of response. In ‘Day of Shining Red’ by Gilbert Lewis he notes that sometimes we feel almost sure something is ritual before we can think of any meaning for it. We have talked about our collaboration being something, which is a complex web of political viewpoints, and working through performance rituals has allowed for an ambiguity of meaning and message
Lewis “What is always explicit about a ritual, and recognized by those who perform it, is the aspect of it which states who should do what and when. But what may not be (explicit) is the reason for doing it meaning, motive, interpretations of the action”
If we assume there must be a system to ritual or rules to organize its operation, we might expect to recognize ‘ungrammatical’ usage of the code, however the ungrammatical is tolerated. Chaos, fragmentation, multiples, set amongst clear set of prescribed rules describes our rituals. Prescribed rules and stylizations are central to our work and the repetition of these even more so. The moose and the phone became important actions of our rituals, a repeated visual, an aspect of the surreal and a found object from our site –specific work at ‘Vevendlvegen’.
When saying that each text is only a supplement filling up the void of a lost 'ArchiText'. Derrida claims that we are "locked up in the everlasting echo of radical supplement". He stresses the question must be preserved: "every answer corrupts the question". But where Derrida apparently feels obliged to identify any answer as a corrupting and perverting degradation of Truth, the philosophy of play 'knows' the answer is just articulating and expressing one - not all - view on it from one specific perspective and with one specific horizon. Because the play does not take Truth to be a platonic homogenous unity (Idealism) it feels no urge whatsoever to decline answers.
Whether we argue that subjects are auto-produced or culturally produced, it seems clear that there are subjects so long as there is language, and that subjects are not naturally occurring phenomena. They seem to be produced, in one way or another. Perhaps it is a question of agency rather than subjectivity a place to speak from influenced by a complex set of interventions instable from context, rather than being culturally produced the agent is influenced by a culture that shapes and proliferates desire, generates and focuses our energies and contracts our conception of normality and deviance
What’s the link between Charles Bernstein and Esther Williams?
In the essay "Comedy and the Poetics of Political Form,” Charles Bernstein propose an interpretive and compositional model based on a synthesis of the three Marxes (Chico, Karl, Groucho) and the four Williams`es (Raymond, William Carlos, Tennessee and Esther Williams ).
We love the way random plays and it is a key point to our work. In this essay he elaborates on his ways of random:
“I picked Chico because he evokes the small businessman, from the parts he portrays in a lot of the Marx Brothers films. The poet and small press publisher are very much like a small businessman; just trying to get the books out and distributed. The Chico image is also very offensive to a lot of serious poetry people who feel poetry is removed from commerce and it's belittling to [compare poetry to the Marx Brothers]. Karl Marx was one of the great social critics of the 19th century and he's important to understand the economic world. The wit of Groucho Marx is fantastic. I also love the awkwardness of his characters. The little guy running into the opera and his other characters who are not adept at high-culture society. A lot of the poetry world still thinks poetry is about expressing refined feelings, but to me it's about awkwardness. To me, it's like being at a party where everybody is in fancy clothes and you've got meatball stains on your sports jacket. Even though I've taken my jacket to cleaner after cleaner, I can't seem to get those meatball stains out. Raymond Williams is a great historian of the English working class. William Carlos Williams is a great icon of modernist American poetry and widely recognized for his rejection of standardized verse. I love the sentimental bathos of Tennessee Williams. Like him, I tend toward the baroque in my work and love the larger-than-life quality of his language. Finally, Esther Williams was an early proponent of synchronized swimming. I love those movie musicals for their silly and beautiful design. You hear people talk about "tetrameter" and "anapestic," it all sounds so serious and exalted. To me, poetic design is silly.”
(Charles Bernstein)
One angle from which to approach the relationship between post- modernism and modernism is through the concept of nostalgia, which is basically defined by us as a bittersweet, selective longing for things, persons, or situations of the often idealized past. The looking-backward-ness of nostalgia is a prominent mode of thought in the production of and critique of texts in the post-modern. Post-modernism is often defined in terms of loss, in terms of nostalgia. Georg Stauth and Bryan S. Turner argue that aspects of a nostalgic paradigm influence all contemporary critical theory; the four components of their paradigm basically define the postmodern condition:
The notion that history is departing from a golden era saturated with the concept of ‘home’
The pluralization and fragmentation of beliefs and practices (which implies loss of some former singularity and wholeness)
The loss of the individual and individual autonomy
The loss of simplicity, authenticity, genuineness, and spontaneity.
We see our process as a study of the circulation of nostalgia in/after the post-modern. We look to explore lingering presences and influences of modernism, resistances to post-modernism, and backlashes against all sorts of –isms.
We explore nostalgia and its relevance and importance to cultural production and consumption in our time.
Concepts that nostalgia encounters as it circulates in our culture: pastiche/bricolage, parody, schizophrenia, genre-mixing, simulacra, intertextuality, permeable borders, the cyborg, magical realism, late capitalism, hyper reality, instability of self, paranoia, gender instability, exhaustion, reflexivity, metafiction, flattening of history, flattening of distance, and flattening of experience. These concepts Marshall Grossman believes are represented by,
[….]The hyphen, invisible or expressed, that joins ‘post’ to ‘modern’ functions as a mouth, for the transaction that takes place at this hyphen is the sucking inside of the world, so that experience may be retained, in its loss, as a property of consciousness, that is, as memory. Memory installed in this way is best called nostalgia.
(Marshall Grossman 79)
We look to refer to a nostalgia that has beauty because it retains within what has taken place and could take place again. It is as beautiful as utopia, of which it is the inverted mirror. It is beautiful for never being satisfied, as was utopia for never being achieved. The sublime reference to the origin in nostalgia is as beautiful as the reference to the end in utopia. It is something else again to be confronted with the literal manifestness of the end (of which we can no longer dream as end), and the literal manifestness of the origin (of which we can no longer dream as origin). As Jean Baudrillard states in the Illusion of the end,
[..]Now we have the means today to put into play both our origins and our end. We exhume our origins in archaeology, reshape our original capital through genetics, and operationalize our dreams and the wildest utopias by means of science and technology. We appease our nostalgia and our utopian desires in situ and in vitro.
(Jean Baudrillard, The Illusion of the End )
Border Crossing cultures and nationalities
Referring to Homi K. Bahba in “narrating the nation” talks of Nations, like narrative, which lose their origins in the myths of time and only fully realize their horizons in the mind's eye. Such an image of the nation--or narration--might seem impossibly romantic and excessively metaphorical, but it is from those traditions of political thought and literary language that the nation emerges as a powerful historical idea in the west. This is an idea whose cultural compulsion lies in the impossible unity of the nation as a symbolic force. This is not to deny the attempt by nationalist discourses persistently to produce the idea of the nation as a continuous narrative of nation progress, the narcissism of self-generation, the primeval present of the Volk. ....
“What I want to emphasize in that large and liminal image of the nation with which I began is a particular ambivalence that haunts the idea of the nation, the language of those who write of it and the lives of those who live it. It is an ambivalence that emerges from a growing awareness that, despite the certainty with which historians speak of the 'origins' of nation as a sign of the 'modernity' of society, the cultural temporality of the nation inscribes a much more transitional social reality.”
In "The Commitment to Theory," (1994), Homi K. Bhabha encouraged a rigorous rethinking of nationalism, representation, and resistance that above all stresses the ‘ambivalence’ or ‘hybridity’ that characterizes the site of colonial contestation--a ‘liminal’ space in which cultural differences articulate and as Bhabha argues, actually produce imagined ‘constructions’ of cultural and national identity.
A durational piece suggests that an audience is invited to drop in and out, whether you are a two-minute tourist or someone who stays for an hour or comes back several times, a durational piece openly allows for these different viewings at different times and incorporate it in its structure.
“A durational piece provides a way for a situation materials and ideas to take on a logic of their own, which the artist/writer in turn has to incorporate. This can create a whole new set of physical, emotional, mental and intellectual demands on the viewer/reader.
It is not so much about narrative progression as about recycling of situation, cyclical processes, lessening of subjective control. Fundamentally a transformative way of viewing artistic practice. What is interesting and powerful about a practice that is based on duration, is that it has an inbuilt sense of its own ending, it knows ephemerality, this is part of its deal, what it proposes, what it makes us think about and experience. Time, painfully slow, laborious, or stamina, endurance, structural systems have a logical curve: once they follow the logic of the time, which organises them, the action or the system, it must take you to its end, the end of the curve.
This is a beautiful and strong and daring aspect of durational contemporary arts, that they take place in order to disappear and that they ask you to be part of that.”
Speech for graduating students of Performance Writing and Visual Performance. written by Gilbert referring, quoting and inspired by Caroline Bergvall.
A shared ness, a kind of complex game of consequences, Collaboration then not as a kind of perfect understanding of the other, but a mis-seeing, a mis hearing, a deliberate lack of unity. And still a good way of confounding intentions. This fact of a collaborative process finding its echo in the work produced-but rather a collision of fragments that don’t quite belong, fragments that mis-see and mis-hear each other. A kind of pure play.
Collaboration as difference, collisions, incapability’s.
(Tim Etchell, Forced entertainment 1999)
In Esther and Carmen (held over two days) we explore non-linear structure or a collage of forms, which cause associative connections. We looked to create and explore aspects of the live text in relation to the role of the performer/viewer in relation to our thoughts on identity, nostalgia and its relation to creating everyday rituals in our performance. In our performance the rituals we read were consequently repeated, the phrases why not and she’s wearing were also repeated and framing a series of text. The repetition not only provided a framework within in which we could improvise but also a method for developing text and creating a more circular reading, mirroring our thoughts on duration, rituals and live. Studying Gertrude Stein’s techniques with repetition inspired us on this consequent use of repetition. Steins writing engages extensively in the use of repetitions, which may allow the reader to see common objects and items from several angles and allow them diverse meanings. This approach may provoke a more circular way of reading and allow the reader to see or fill the space between the words. In this way repetition of text like the meaning created in ritual through action may or not be arbitrary, may be private may be public. However it is interesting to note that Stein herself questions the relation to the word repetition and rather speaks of it as insistence or emphasis.
"Is there repetition or is there insistence? I am inclined to believe there is no such thing as repetition. The only thing that is different is what is seen when it seems to be seen"
(Stein 1975)
Stein’s work and theories seems to overlap with Gilles Deleuze and his thoughts on the subject. In his book Difference and Repetition he elaborates on the development of repetition and resemblance and states that the two concepts must be distinguished. He believes repetition and resemblance are different in kind, to the extent that it is no more possible to exchange one’s soul than it is to substitute real twins for one another. Deleuze suggests that repetition at the level of external conduct echoes a more profound, internal repetition within the singular, but here lies a paradox; they repeat an unrepeatable. Deleuze explains this by saying:
"Repetitions do not add a second and a third time to the first but carry the first time to the “nth” power."
(Deleuze 1994)
Deleuze speaks of repetition in the same terms as Stein as change or transgression, which puts law into question, something that denounces its nominal or general character in favour of a more profound and more artistic reality
"Stein creates an after language, where once something is repeated it is recommenced. "(Deleuze.1994)
In spoken text the functions of repetition extend with the variations and dynamics that occur between the interlocutors. Uttered repetitions of a word or sentence also change with the intention of the interlocutors. Our constant use of welcoming each person to the space by saying “welcome Gilbert” functioned as a repletion/difference/insistence of the phrase and at the end of the three hours for those who witnessed it the combinations would have been endless.
Deleuze states that that the use of repetition is interesting within the acts of misinterpretation, mistranslation and hesitations. He believes that focusing on these elements or what he calls `becomings´ will make us more aware of the oralities and dynamics of language. Gertrude Stein shares Deleuzes interest in the aspects of becomings. Stein devised a method that she called the `continuous present´, a state in which each moment has its own emphasis and each word lacks external reference by the use of repetition that produces a fragmentation of reality.
"Beginning again and again is a natural thing even when there is a series. Beginning again and again and again explaining composition and time is a natural thing. Everything is the same except composition and time. Everything is the same except composition and as the composition is different and always is going to be different, everything is not the same. Everything is not the same as the time when the composition and the time in the composition is different. The composition is different, that is certain" (Stein.197)
Reinventing from the way that language resonates in the body it has to be crashed up against fragmented and then reformed so its got a double problem I don’t sit down with the text and say ah this means this on stage it will take one different meaning and ill get what I want from this text Only on the stage, the very moment it does
(Elisabeth le Compte 1987)
In many of our projects we aim to create a space in which the position of the reader/viewer as passive becomes exploded by the possibilities of reading. Reading becomes an “enactment, a co-production” (Bruce Andrews 1996). In both our spoken texts we look to explore texts that ‘work on differance,’ split open the closure of the binary opposition and revel in the pleasures of open-ended textuality (Cixous) , multiple, non-unified endless. (Iriguay). We mirror this in our choice of spaces often choosing space primarily because it is an open space to encourage of a flow more then an exit entrance.
A space that is light and airy big enough for the objects to be read as separate or singular within a context and with different placements would map put different landscapes. A Movable space, a changing landscape with audience, so every Gilbert and Grape that entered can become part of this landscape and dynamic.
The internet has been described by artists Donna Haraway and Sadie Plant as “a utopia”, a site whose links to links, windows to windows and the endless possibilities of hypertext, has created a space of open circles, a model of Luce Irigaray's Buccle - exchanges, endless and without closure. Haraway and Plant see the internet as a context outside the physical boundaries of society, and therefore a place where fluid identities can be forged, a place to gaze back at new textualties. However in our opinion the Internet is a site impossible to exist without context. Julia Kristeve echoes this in ‘La Revolution du language poetique’ “every text is under this jurisdiction of the other discourse which imposes upon it a context which it seeks to transform”.
We choose to use the web because it offers an opportunity not to follow a linear form, and has numerous possibilities. Although we are directing the reader of our website (perhaps passive) we see a possibility for the reader to take on more of an active role, in that case complimenting a role we seek to create in our performance. Like turning the pages of a book can zig zag and spiral around texts clicking on a different link after each sentence of beginning middle and end rather than the end being the climax, rather exploring a language, which works with repetitions, continuation, and difference. The dialogues and pictures of our performances would perhaps open up for fluidity, a chance order providing the possibility for a fragmented narrative.
The use of hypertext became a reflection of our performance in which the “journey as a reader/viewer is subtly different depending on the approach you happened to take" (Andrew Western), an outline and parameters within which there is an opportunity for repetition repetition with a (subtle?) difference. Using the website in our collaboration became an important site for creating work and editing and re editing.
We also saw the creation of a website as a resource for the future, as something where we could be found regardless of geographical location, and a site which can be edited, reedited added to and broken apart.
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