1 00:00:00,750 --> 00:00:04,800 Thank you very much, Craig, for that welcome Keniger on him. I think I've turned it on. 2 00:00:04,800 --> 00:00:13,500 Yes. Thank you. I'm very honoured. Failed to be invited to deliver the state that for 2010. 3 00:00:13,500 --> 00:00:18,270 It wasn't the way I had intended to start my retirement, 4 00:00:18,270 --> 00:00:27,150 but I thought I couldn't refuse because I was converted to art history while I was a student here at the lectures and ECOFIN. 5 00:00:27,150 --> 00:00:31,070 And so I felt that there was no way I could avoid coming back. 6 00:00:31,070 --> 00:00:38,310 And it's a great, great pleasure to be here. To be fair, I haven't fully retired because I am still, as Craig mentioned, 7 00:00:38,310 --> 00:00:46,570 involved in a couple of research projects which tend to be more closely linked. 8 00:00:46,570 --> 00:01:00,330 I expected one concerns socialism's receptions outside Paris in particular, and working on Latin America, as you will see as the lectures progressed. 9 00:01:00,330 --> 00:01:14,610 The second project is as the co-director of an HRC funded investigation headed by David Lomas on surrealism and non normative sexualities. 10 00:01:14,610 --> 00:01:26,100 We were quite surprised to get the funding. This has turned out to be remarkably pertinent to the reception of surrealism internationally. 11 00:01:26,100 --> 00:01:36,840 A formidable array of queer artists, writers, photographers and film makers were attracted to the movement, funding its approach gender and sexuality. 12 00:01:36,840 --> 00:01:48,270 Despite its founders. No antipathy to homosexuality. Unexpected routes to new and creative negotiations of the relationship between body and mediums. 13 00:01:48,270 --> 00:01:56,430 And there's a very interesting aspect. This historic is speaking, I think has a bearing on symbolisms political fortunes. 14 00:01:56,430 --> 00:02:04,800 Symbolism had a rough ride, politically speaking, in the post-war period, not least from a feminist perspective. 15 00:02:04,800 --> 00:02:14,250 The overwhelming presence of eroticism within surrealism with the erotic body which constantly had the female up admiration and manipulation. 16 00:02:14,250 --> 00:02:21,120 The first challenge in Zambia, Goatees 1971 study survivalism is sexuality. 17 00:02:21,120 --> 00:02:24,230 And despite various defences, including my own, 18 00:02:24,230 --> 00:02:33,120 the gender binaries apparently enforced class realism and the persistence of the female nude became harder and harder to accept. 19 00:02:33,120 --> 00:02:36,390 Had this been so truth to say, 20 00:02:36,390 --> 00:02:42,930 realisms core D.R and core sorry core pain for emancipate human disaster disbelief and 21 00:02:42,930 --> 00:02:49,320 Forcett desire surrealism would or should have been consigned solely to the past. 22 00:02:49,320 --> 00:02:59,220 The vehemence which surrealism has been denounced for sexist and misogynist attitudes has never been counted recently by a growing recognition that 23 00:02:59,220 --> 00:03:08,850 its full embrace of human desire revealed a much more ambivalent representation of an understanding of gender ambiguities and sexual energies. 24 00:03:08,850 --> 00:03:13,710 Writers and artists in England, United States, Mexico, Peru, Spain, 25 00:03:13,710 --> 00:03:21,140 Japan and Australia who are doubly peripheral by virtue of geographical location as well as their sexuality, 26 00:03:21,140 --> 00:03:31,410 kept surrealism alive and laid the groundwork for the creative negotiation, the body, gender and sexuality by more recent generations of artists. 27 00:03:31,410 --> 00:03:42,420 That's a kind of introduction. I'm trying to keep each lecture as discrete from the other as I can. 28 00:03:42,420 --> 00:03:48,990 But inevitably there is a kind of necessary introduction to the to the story of surrealism. 29 00:03:48,990 --> 00:03:58,500 And there will be threaded through these lectures, particular references to issues of sexuality and the reception surrealism in Latin America. 30 00:03:58,500 --> 00:04:03,200 So that's going to be a continuing set of ideas. 31 00:04:03,200 --> 00:04:20,370 But I want to begin one minute. I would just begin with a very a very general historical introduction to surrealism. 32 00:04:20,370 --> 00:04:30,930 Also introducing my own sort of methodology, which part of which is very firmly based in the idea that these surrealist reviews, 33 00:04:30,930 --> 00:04:35,070 that is the magazines that were published by the surrealist group, 34 00:04:35,070 --> 00:04:44,210 one after another from 1924 to basically the end of the 60s, actually contain the real the real history, 35 00:04:44,210 --> 00:04:52,170 the the extremely rich ferment of ideas and the art in particularly interesting concentrated waves. 36 00:04:52,170 --> 00:04:58,110 So I shall be talking about a little bit about some of these magazines as we progress. 37 00:04:58,110 --> 00:05:09,930 This is the cover of the first. Of the The Great Surrealist Reviews, 1924 is films to list the serious revolution. 38 00:05:09,930 --> 00:05:16,560 And you can see on the front cover is actually based on the nature of the scientific magazine. 39 00:05:16,560 --> 00:05:27,180 Number two, this is one of them to be on themselves, to be seen a little bit more as scientists than as literati and intellectuals on the cover. 40 00:05:27,180 --> 00:05:35,760 There are three photographs which I perceive if you can just make out the group of women 41 00:05:35,760 --> 00:05:43,590 and men gathered together in a space which is actually a bureau through this research. 42 00:05:43,590 --> 00:05:48,470 That was the three major events. 43 00:05:48,470 --> 00:05:57,500 This is the review. The second is the establishment of the bureau of this research, which was announced on the inside cover of the magazine. 44 00:05:57,500 --> 00:06:04,170 It says you can join the bureau. The Central Bureau of Thrillist Investigations 15 the good. 45 00:06:04,170 --> 00:06:12,030 This was actually a shop on the street and people were invited to come in to their dreams, ask about surrealism and generally join in. 46 00:06:12,030 --> 00:06:19,140 It didn't last very long because no one was prepared to manage it, but it was there for a few months. 47 00:06:19,140 --> 00:06:27,960 And of course, the the third event of I'm 24 was the publication of the Times surrealist manifesto, which I shall come back to. 48 00:06:27,960 --> 00:06:31,620 I'm not just that's that was the image that I had on the poster. 49 00:06:31,620 --> 00:06:38,730 And the other image we had on the poster was this cover of the New York magazine View, 50 00:06:38,730 --> 00:06:43,410 which is by Marcel Duchamp, shows a smoking bottle against the night sky. 51 00:06:43,410 --> 00:06:51,450 I should have more to say about do show later. I just wanted to mention this particular magazine, which is a very interesting, eclectic group, 52 00:06:51,450 --> 00:06:57,870 which I think can be called another gold group of artists and poets gathered Round View, 53 00:06:57,870 --> 00:07:09,660 which was in opposition to the other main New York Review of the early 40s Trip V, the cover of the thirties to which you see here. 54 00:07:09,660 --> 00:07:19,570 This cover is actually was by Duchamp. It's a little of a montage and it shows a rider on a horse pointing or he's the horse on 55 00:07:19,570 --> 00:07:24,840 the horses galloping across the globe and within the glow of the words South America. 56 00:07:24,840 --> 00:07:30,270 In 1943, when the Israelis were in exile, many often in the Americas, 57 00:07:30,270 --> 00:07:37,410 both New York and further south South America seemed to be the place where surrealism was going to be reborn. 58 00:07:37,410 --> 00:07:44,640 And I'll be looking at that later on. One of the places where there was surrealist activity, it was Argentina. 59 00:07:44,640 --> 00:07:47,010 This is one issue as kick. 60 00:07:47,010 --> 00:07:56,940 What of an extremist school magazine published in the late 20s by a very small and ephemeral group of surrealists in Buenos Aries. 61 00:07:56,940 --> 00:08:01,740 This is one of the reviews published in Chile called Mandragora. 62 00:08:01,740 --> 00:08:07,830 That is quite a long, distinguished surrealist affiliation from Chile. 63 00:08:07,830 --> 00:08:12,270 This is a single issue of a magazine called Palabra. 64 00:08:12,270 --> 00:08:18,510 The use of the word run, organised by edited by two poets, 65 00:08:18,510 --> 00:08:25,810 is Mauro and Emilio Vest Fallen and says Oamaru has been the subject of a lot of my research at the Getty recently. 66 00:08:25,810 --> 00:08:32,100 It is an extremely interesting. Writer and poet who lived in Mexico and organised the story. 67 00:08:32,100 --> 00:08:38,900 This exhibition. And in Mexico, the magazine Dinn edited by those. 68 00:08:38,900 --> 00:08:44,650 Palin was a magazine which actually said farewell to thrillers. 69 00:08:44,650 --> 00:08:49,720 We'll be looking at this. It started as a surrealist magazine and it ended as an A. through this magazine. 70 00:08:49,720 --> 00:09:00,300 And that is actually very fascinating. What interests me, particularly there was dins coverage of pre Columbian and Native American cultures, 71 00:09:00,300 --> 00:09:08,430 and that was a very major part of citizens engagement with the Americas, particularly on the part of the poor. 72 00:09:08,430 --> 00:09:13,140 Benjamin Pepé, who I think was was really more of an academic scholar in some ways. 73 00:09:13,140 --> 00:09:23,580 He was extraordinarily thorough in his research into pre Columbian cultures and actually published the first translation of the Maya the book, 74 00:09:23,580 --> 00:09:32,660 The True Chillum to mail in French and find a portrait of the leader the founder was. 75 00:09:32,660 --> 00:09:37,650 There is only a book in the Peruvian magazine, A Matter, 76 00:09:37,650 --> 00:09:45,690 which is a particularly interesting example of a political and literary review which saw its resonances in the twenties again. 77 00:09:45,690 --> 00:09:59,840 So in surrealism of a very promising aspect of a potentially avant garde affiliation with their own Marxist project and also of the. 78 00:09:59,840 --> 00:10:04,560 For this reason to trust Scott again, this is such a wonderful cover. 79 00:10:04,560 --> 00:10:10,920 But again, Marcel Duchamp, one of his erotic objects for one of the pencil of his Wall Street magazines, 80 00:10:10,920 --> 00:10:15,860 which he and I shall I shall be coming back to later on now. 81 00:10:15,860 --> 00:10:21,000 And I'm just leaving this up on screen. Prints get tantalising because you probably won't be able to read it. 82 00:10:21,000 --> 00:10:27,160 But it's a it's a letter from looked on on the unusual headed paper from the pistol 83 00:10:27,160 --> 00:10:35,680 period 1947 called Surrealism is cause Liberti says the court is the cause for freedom. 84 00:10:35,680 --> 00:10:43,680 Winsor's was trying to establish itself as the as above the heads of the avant garde and the intellectuals in Paris 85 00:10:43,680 --> 00:10:53,340 and failing because really the Pasiphae taken over by soft surrealism has actually had a very bad press for decades. 86 00:10:53,340 --> 00:11:00,450 And its role in post-war avant garde art, in theory, has been very largely occluded, 87 00:11:00,450 --> 00:11:08,710 quite apart from the indignity of having the adjective surreal applied to anything strange or unreasonable. 88 00:11:08,710 --> 00:11:15,240 He's the surrealism is vilified by soft, dismissed by Dorna, 89 00:11:15,240 --> 00:11:21,510 alternately attacked and ignored by the Telic held movie Paris pilfered and then ignored by fuko. 90 00:11:21,510 --> 00:11:28,170 Lafont criticised the neo colonialism the kid did many times, 91 00:11:28,170 --> 00:11:36,720 says I echo in his tops on surrealism, wrote Surrealism is a corpse as a mere literary coterie. 92 00:11:36,720 --> 00:11:46,680 It was like old schools, an imposter of life, a common schapper, citizens shunned by a the sexual artists, 93 00:11:46,680 --> 00:11:50,840 despite the fact that what they admitted this is in the fifties and sixties. 94 00:11:50,840 --> 00:12:01,470 Well, they admitted his ancestors in the historical avant garde, i.e. Dada Duchamp had passed through and been assimilated by them via surrealism. 95 00:12:01,470 --> 00:12:07,470 Dunkeld champions of Bettye setting against the surrealists and suddenly his 96 00:12:07,470 --> 00:12:12,780 ideas about abjection trauma and his notion of the art form with formlessness, 97 00:12:12,780 --> 00:12:18,060 which I think in some ways was a philosophical aesthetic tee's have had a huge impact. 98 00:12:18,060 --> 00:12:26,560 However, it was Bettye who wrote in 1946 that my quote, Although some of may seem dead, 99 00:12:26,560 --> 00:12:36,480 in spite of the confectionery and poverty of the work in which it has ended in terms of mams interrogation of himself, 100 00:12:36,480 --> 00:12:44,820 there is surrealism and nothing. The writer, J.G. Ballard was frank about his admiration for surrealism for similar reasons. 101 00:12:44,820 --> 00:12:51,330 And I quote from his recent memoirs, Miracles of Life. I felt strongly and still do. 102 00:12:51,330 --> 00:13:02,360 The second analysis and surrealism were a key to the truth about existence and the human personality and also a key to myself. 103 00:13:02,360 --> 00:13:18,180 I'm feeling that faith from hope will make up for itself in its ambivalence about art and the chains that have been made for it as an art form. 104 00:13:18,180 --> 00:13:32,380 This is a page from a public, another publication by The Situation as the Situations International from Copenhagen in Copenhagen 1959. 105 00:13:32,380 --> 00:13:42,690 And you can see it's a it's a it's it's a kind of an accumulation collage of fragments of text and splashes of paint, 106 00:13:42,690 --> 00:13:47,960 bits of typography and imagery flung together. 107 00:13:47,960 --> 00:13:57,030 So I'm just using that as theme for a moment, because I want to say a little bit about the problem of surrealism and the avant garde, 108 00:13:57,030 --> 00:14:02,460 which is did touch with these that these lectures. I'm not going to try to give an answer. 109 00:14:02,460 --> 00:14:13,650 I'm just going to raise a particular set of issues that are very pertinent to surrealism as poor reception in the 60s. 110 00:14:13,650 --> 00:14:22,520 And really since that since then, to quote, Peter Berg is controversial but persuasive study theory at the avant garde. 111 00:14:22,520 --> 00:14:31,890 The avant garde intends the abolition of autonomous art, by which it means that art is to be integrated into the praxis of life. 112 00:14:31,890 --> 00:14:40,830 This has not occurred and presumably cannot occur in both our society unless it be as a force oblation, autonomous art. 113 00:14:40,830 --> 00:14:46,960 I think by that he means for sebaceous advertising and commodity aesthetics. 114 00:14:46,960 --> 00:14:52,030 There's a very, very revealing insights into the condition of surrealism as No. 115 00:14:52,030 --> 00:14:57,330 One God in the background of this live reputation it had in Rome. 116 00:14:57,330 --> 00:15:05,170 Items heavily a history of. Symbolism. I don't think it's very often I'm reading this, but it's very well worth reading. 117 00:15:05,170 --> 00:15:09,070 It was written in 1970 and eventually published under a pseudonym. 118 00:15:09,070 --> 00:15:14,650 In 1977. It was a book. He said he didn't like the date is very significant. 119 00:15:14,650 --> 00:15:23,170 This is the year 1970 that I can resign to Situations International after the events in 1968 have revealed 120 00:15:23,170 --> 00:15:29,800 the hollowness of revolutionary slogans and clearly expose the lack of common purpose between intellectuals, 121 00:15:29,800 --> 00:15:40,510 students and workers. Surrealism in the Cabinet history is criticised the unforgiving viewpoints of the situation International, 122 00:15:40,510 --> 00:15:48,100 which claimed, as he put it, a unified vision of art and politics that this had changed in the early sixties. 123 00:15:48,100 --> 00:15:54,040 From an art object based movement to a theory based movement and art as a separate 124 00:15:54,040 --> 00:15:59,050 autonomous activity was shunned because of its vulnerability to cooption, 125 00:15:59,050 --> 00:16:03,280 commodification and commercialisation. In his book, 126 00:16:03,280 --> 00:16:07,300 The Revolution of Everyday Life and I Can Trace the Dust and the European and 127 00:16:07,300 --> 00:16:15,100 Russian Evan Glass 1910 to 1920 for their heroic attempts to merge art and life. 128 00:16:15,100 --> 00:16:21,490 Nothing he thought would come close to their achievements with the exception of surrealism until the S.R., I quote, 129 00:16:21,490 --> 00:16:29,600 The work of Art of the future will be the construction of a passionate life in the company, a history of surrealism. 130 00:16:29,600 --> 00:16:38,860 There's a poignant version of surrealism will to live theoretically emerging from a furious denunciation of its famous, honourable but failures. 131 00:16:38,860 --> 00:16:45,490 Nonetheless, I quote, Surrealism is the last movement of health, of genuine belief in the purity of art. 132 00:16:45,490 --> 00:16:52,580 Even with this belief ended in capitulation to commerce, sir, it is a brief affiliation with the French Communist Party. 133 00:16:52,580 --> 00:16:57,160 It was nineteen twenty six to thirty five, as well as its collaboration with Trotsky. 134 00:16:57,160 --> 00:17:08,100 Both denounced, but it was precisely because so many of the situations, ideas and practises were founded in surrealism chants. 135 00:17:08,100 --> 00:17:14,650 The death deadly evil. Drifting psychogeography is little more than satirical collages. 136 00:17:14,650 --> 00:17:19,600 What was seen as realisms collapse, its turn to metaphysics during the war, 137 00:17:19,600 --> 00:17:27,790 its failure to separate itself from the art market, its retreat from street was so traumatic. 138 00:17:27,790 --> 00:17:35,280 Surrealism must be held to account by history and quite again for its reactionary attempt to restore art, 139 00:17:35,280 --> 00:17:40,790 a life that it no longer had, a life whose very meaning was already lost. 140 00:17:40,790 --> 00:17:47,160 It was some. At the end of these situations, International held a different view. 141 00:17:47,160 --> 00:17:53,700 But it was the art I mentioned that made assize politics the weapon it once was. 142 00:17:53,700 --> 00:17:58,120 The contradictions between a negative view of art and culture and a radical 143 00:17:58,120 --> 00:18:06,860 experimentation outside the giving forms of off have turned out to be arts lifelong. 144 00:18:06,860 --> 00:18:12,740 I'm not going to focus on these two procedures or ideas. 145 00:18:12,740 --> 00:18:27,810 Automatism chance. And look, put in context of temporary art and at automatism, chance lay at the heart of surrealism. 146 00:18:27,810 --> 00:18:39,120 But the intentions behind these purposes were contradictory. They were good weapons to kill art and tools to regenerate it. 147 00:18:39,120 --> 00:18:45,200 We see them walking in this contradictory way all the time. And that's why it's so interesting in relation to the question of the service in Vietnam. 148 00:18:45,200 --> 00:18:56,130 God. Now, there are very interesting parallels with contemporary art where procedures based on automatism and on chance are very widespread. 149 00:18:56,130 --> 00:19:03,730 Now, they do not signify any group or school. I think in this contemporary context and stuff, not post facto affiliation, 150 00:19:03,730 --> 00:19:08,900 is the reason that there is suddenly a consciousness for the historical precedents. 151 00:19:08,900 --> 00:19:13,650 Susan Hiller's calligraphic automatic writing. For example, 152 00:19:13,650 --> 00:19:21,320 Sufi cow in her recent very successful exhibition at the White Chapel Art Gallery in London showed 153 00:19:21,320 --> 00:19:31,550 her 2008 event Story Where and When book the is following the instructions of a clairvoyant. 154 00:19:31,550 --> 00:19:41,360 She travels to the seaside town. Without knowing what she was looking for, it turned out not to be the town, but brothers with the same surname. 155 00:19:41,360 --> 00:19:47,300 The medium got it only half right. The following orders, she writes, was a great relief. 156 00:19:47,300 --> 00:19:51,170 Shouldn't have to make choices, didn't have to judge and had to make decisions. 157 00:19:51,170 --> 00:19:57,860 She won't let us all go to somebody else making them. Chances very often confronted in this in this way. 158 00:19:57,860 --> 00:20:07,210 Some sort of rule to to order seems to be completely, completely accidental. 159 00:20:07,210 --> 00:20:13,700 The abrogation will for your control, I think is also important in the work you're looking at here, 160 00:20:13,700 --> 00:20:20,930 which is Roger, is a fragment of Roger Hume's Archangel Project seizure. 161 00:20:20,930 --> 00:20:30,410 A huge quantity of liquid copper sulphate solution was pumped into a small flat in a derelict 1960s housing estate. 162 00:20:30,410 --> 00:20:35,210 It was then drained. I didn't hope hope was pretty, but some it was. 163 00:20:35,210 --> 00:20:44,480 And crystals formed all over the surface, the surfaces of the rooms producing intoxicating saturated blue. 164 00:20:44,480 --> 00:20:46,940 What was produced was a system of nature. 165 00:20:46,940 --> 00:20:59,990 The artist was absent, dematerialised in the end in the world, as we'll see on the site, too, is important from the sublime story to cures. 166 00:20:59,990 --> 00:21:05,600 In a way, it's a it's an overlooked corner of South London rundown and deserted, 167 00:21:05,600 --> 00:21:13,910 but was healing said where lives were lived and the street has actually never been more central. 168 00:21:13,910 --> 00:21:20,670 I think for artists than it is today, and it certainly was the best realists. 169 00:21:20,670 --> 00:21:25,180 I've unashamedly simply scanned the page rule book on the left. Sorry about that. 170 00:21:25,180 --> 00:21:34,340 And but I wanted you to just see the whole thing and another page on the right. 171 00:21:34,340 --> 00:21:43,370 So the history of this so sweet, sweet intervention, you can take it back to the that a central planner. 172 00:21:43,370 --> 00:21:51,130 I think it really begins with Dada's empty tourism visits in Paris 1921, which we will be looking at later next week. 173 00:21:51,130 --> 00:21:58,730 And it runs through the city's pursuit of chance encounters in the city streets, an alternative space, 174 00:21:58,730 --> 00:22:05,960 the chance for the purposes and unpredictable practises like those of Richard Wentworth and Falsies Ellis, 175 00:22:05,960 --> 00:22:10,040 who is the office for these these two images here. 176 00:22:10,040 --> 00:22:17,920 That chance is extremely important and in the chance even gives the to the medium. 177 00:22:17,920 --> 00:22:21,610 If you look at the right hand set of pages, you'll see it says, look, 178 00:22:21,610 --> 00:22:26,460 it's a it's a kind of small frame photograph actually, by the artist Low-down, Toledo or Francis. 179 00:22:26,460 --> 00:22:37,700 That is his feet. And he's just stepped in a piece of chewing gum and the got the football for the moment, less sculpture happens. 180 00:22:37,700 --> 00:22:45,070 So it's, you know, the medium, the medium can arrive and all sorts of unexpected places. 181 00:22:45,070 --> 00:22:54,000 Sometimes sometimes the movement in a video performance could be classed. 182 00:22:54,000 --> 00:23:04,100 Automatism, even if imperative, at least what the Israeli border dripping paint can, which was like it is imperative abstract expressionism. 183 00:23:04,100 --> 00:23:15,770 But it was also at a political. I mentioned to it or there was that gunwales heart stopping 2006 video of cycling 184 00:23:15,770 --> 00:23:22,810 through Manhattan on a bicycle about his hands and the camera on the bicycle, 185 00:23:22,810 --> 00:23:26,530 which swings, swerves and is between buses and this terrifying video. 186 00:23:26,530 --> 00:23:31,480 It really does give you a video, a kind of headache. 187 00:23:31,480 --> 00:23:39,840 It's called Fossicking Goldway. And we showed it recently to the centre's exhibitions versus spaces. 188 00:23:39,840 --> 00:23:50,450 OK. So the negative critique of realism as it from the avant garde type, 189 00:23:50,450 --> 00:23:57,140 which I prefer alluded to before much except for the gradual penalisation visual surrealism within the history of modern art. 190 00:23:57,140 --> 00:24:01,820 All too often stripped of its context and reduced to formless appreciation. 191 00:24:01,820 --> 00:24:09,350 Recent studies such as James Cliffords on graphic surrealism, Steve Harris's surrealist art and fought in the 1930s. 192 00:24:09,350 --> 00:24:14,760 David Lomez is the haunted self surrealism, psychoanalysis of Activity and Savan. 193 00:24:14,760 --> 00:24:15,800 Because surrealism, 194 00:24:15,800 --> 00:24:27,290 history and revolution are for particular studies that have helped restore a fuller picture and to which I'm indebted throughout this lecture series. 195 00:24:27,290 --> 00:24:35,060 Well, the landscape of contemporary art has altered dramatically, and there's no denying a shared terrain with surrealism. 196 00:24:35,060 --> 00:24:39,580 There's been a shift in focus and a sense one of the moves at the end of art is it's 197 00:24:39,580 --> 00:24:44,390 done away with the modest categories abstract configuration and open up mediums. 198 00:24:44,390 --> 00:24:48,140 Unfriend Towfigh artists of beginning of the last century. 199 00:24:48,140 --> 00:24:53,640 And it's not the of influence that I want to look at for the ways in which society's pursuit of automatism linked. 200 00:24:53,640 --> 00:25:01,640 The chance could have helped to create this shift of focus, not practise from studio and painting to street and situation. 201 00:25:01,640 --> 00:25:06,500 This shift involves often the abnegation, conscious control, openness, the accident, 202 00:25:06,500 --> 00:25:14,060 the physical presence of the body, or its complete absence in the work and indeed the whole question of work of art. 203 00:25:14,060 --> 00:25:19,910 Fair enough. But they're not. 204 00:25:19,910 --> 00:25:24,230 Automatism is the very funding of surrealism. 205 00:25:24,230 --> 00:25:29,510 It's the founding definition of surrealism, which I've slightly translated up here. 206 00:25:29,510 --> 00:25:36,260 Pure psychic automatism, which is intended to express either verbally when writing or any other way. 207 00:25:36,260 --> 00:25:38,180 The true functioning thought. 208 00:25:38,180 --> 00:25:46,370 The dictation thought in the absence of any control exerted by reason outside any aesthetic or moral put quotation sources is 209 00:25:46,370 --> 00:25:52,890 based on the belief in the superior reality of certain things of previously neglected associations and omnipotent supreme. 210 00:25:52,890 --> 00:25:56,810 In this interesting play of thought, it tends to read once and for all. 211 00:25:56,810 --> 00:26:02,090 All of this Liquidnet mechanisms and subsid itself then insult the very principle problems of life. 212 00:26:02,090 --> 00:26:18,830 So it was quite ambitious. And it was undoubtedly Freud who was at the origin for the service for Wolfgang himself of this notion of automatism. 213 00:26:18,830 --> 00:26:29,060 And I'm quoting a small section from the first manifesto, which is which is a kind of intellectual autobiography as well as a as a manifesto. 214 00:26:29,060 --> 00:26:32,600 And it goes over his previous history. 215 00:26:32,600 --> 00:26:37,740 What did what his experience as a poet is as a doctor, as a writer. 216 00:26:37,740 --> 00:26:44,620 And there's no doubt that he acknowledges Freud as the sort of Pete from false realism. 217 00:26:44,620 --> 00:26:50,960 My quote was apparently by pure chance that an important part of our mental world has been brought back to loved. 218 00:26:50,960 --> 00:26:57,510 So this is thanks to the discoveries of Sigmund Freud. Imagination is perhaps the point of recent itself. 219 00:26:57,510 --> 00:26:59,450 A reconvince writes, 220 00:26:59,450 --> 00:27:08,240 If the depths of our mind contained within its strange forces capable of augmenting those on the surface or waging a victorious battle against them. 221 00:27:08,240 --> 00:27:14,810 There is every reason to seise them first season. Then, if need be, to submit to the control of our reason. 222 00:27:14,810 --> 00:27:20,490 But it's worth noting that no means has been designated a priority to carrying out this undertaking 223 00:27:20,490 --> 00:27:27,830 that until further notice it could be construed with the province of poets as well as scientists. 224 00:27:27,830 --> 00:27:32,840 In other words, they set themselves up as rivals. The newly founded French Subtleness Society. 225 00:27:32,840 --> 00:27:46,550 But that is another story. But I suggested that you might start. 226 00:27:46,550 --> 00:27:50,680 Automatic writing by sitting in a comfortable place, having writing tools brought to you. 227 00:27:50,680 --> 00:27:59,090 He live in a different era. Put yourself in his passive set to the state of mind as you can forget your genius talents and talents, everyone else. 228 00:27:59,090 --> 00:28:03,270 Remind yourself that literature is one of the saddest roads that leads to everything. 229 00:28:03,270 --> 00:28:11,570 Write quickly without any preconceived subject. Fossen so that you will not remember what you writing and be tempted to reread what you have written. 230 00:28:11,570 --> 00:28:13,940 The first sentence will come spontaneously. 231 00:28:13,940 --> 00:28:22,490 So compelling is the truth that with every passing second, there is a sentence unknown to our consciousness which is only crying out to be heard. 232 00:28:22,490 --> 00:28:28,090 And that's the key idea that if there's something there, if you can reach it, general, 233 00:28:28,090 --> 00:28:39,350 vague is the this idea of unconscious might be they had a very strong belief that there was something that was hidden from somebody make three 234 00:28:39,350 --> 00:28:50,010 points very quickly about the origins and the interpretation of automatism in what I've got on the screen at the moment is an automatic drawing. 235 00:28:50,010 --> 00:28:57,290 Why don't the artists who I think was most successful in finding some sort of equivalent to automatic writing? 236 00:28:57,290 --> 00:29:11,810 This is called the birth of births. And so the first thought is that although automatism was a familiar term for 19th century psychologists, 237 00:29:11,810 --> 00:29:16,190 it was Freud and at least Gretel's probably misunderstood. 238 00:29:16,190 --> 00:29:20,870 That's probably mistaken understanding of them that gave it relevance. 239 00:29:20,870 --> 00:29:27,200 The French psychologist Peter Jenny, who published a book called Psychological Automatism in 1889, 240 00:29:27,200 --> 00:29:32,870 considered the automatic ex of his patients as debased residual fat functions of 241 00:29:32,870 --> 00:29:38,660 past psychic activity no more than reflex action and without fear of interest. 242 00:29:38,660 --> 00:29:47,060 Freud's linkage of dreamlike to the unconscious, as well as the techniques of free association that Breteau, again partly misunderstanding them, 243 00:29:47,060 --> 00:29:55,130 had had occasion to practise in patients during the war, constituted evidence of the creative paths hidden in the psyche. 244 00:29:55,130 --> 00:30:00,980 Secondly, the idea of automatism as the dictation of thought was not the same. 245 00:30:00,980 --> 00:30:02,660 A stream of consciousness. 246 00:30:02,660 --> 00:30:12,890 In, for example, Molly Bloom's monologue in Ulysses thought is best described as Endou fuzzy edit and what the English translations. 247 00:30:12,890 --> 00:30:22,310 This means that the interior language, as John Cazzo clarified the difference in his 1938 book, Surrealism is Psychology, 248 00:30:22,310 --> 00:30:31,860 Endou Fasi, a of automatic Corzo who is close to the surrealists, felt the term automatic writing style had chosen. 249 00:30:31,860 --> 00:30:40,580 What should be understood by was the notion notation of spontaneous verbal images rather than graphic métro automatism. 250 00:30:40,580 --> 00:30:52,370 All the best modern writing has, I said, appealed to so-called latent active heightism to break the break with literary habits. 251 00:30:52,370 --> 00:30:56,540 This is a Proost Joyce and the surrealists all tried it. 252 00:30:56,540 --> 00:31:00,450 Jose says tried but didn't get that. I think the different. 253 00:31:00,450 --> 00:31:04,730 History may well be that his version actually worked best. There we are. 254 00:31:04,730 --> 00:31:09,810 The difference is significant. The aim feels like automatism was not to run across the conscious surface. 255 00:31:09,810 --> 00:31:19,010 Support for this external parts and deviations that defy the means of accessing cazzo calls the relational unconscious. 256 00:31:19,010 --> 00:31:27,830 This includes dreams, delirium, automatic procedures that have real relation support but are outside conscious knowledge, interior language. 257 00:31:27,830 --> 00:31:37,010 Is it a pretty conscious level of thought? The question is how to access the succession of verbal images, accompany spontaneous foe's caught casette, 258 00:31:37,010 --> 00:31:47,000 believe Litefoot time that the verbal that is the word presentation of the unconscious thing was superior to the visual 259 00:31:47,000 --> 00:31:55,700 and end of indefeasible and the FESSEY interior language was conceived as a dynamic succession images of flight of ideas. 260 00:31:55,700 --> 00:32:02,930 Its further realisation seems superior to the visual because in visualising the image, the mind is invited to describe it. 261 00:32:02,930 --> 00:32:07,310 This breaks the flow of interior thought, as we shall see. 262 00:32:07,310 --> 00:32:13,910 Artists took on the problem with Gustad Planes writing a couture and the visual image and often challenging. 263 00:32:13,910 --> 00:32:21,740 I think the attitude consecrated by Freud put on a letter because that language always has precedents. 264 00:32:21,740 --> 00:32:28,670 Third, and finally, the question of the influence of the mediums, the skirt spiritualists. 265 00:32:28,670 --> 00:32:36,370 The first Freud is about experiments in automatic writing was succeeded after the collapse of that on 1922. 266 00:32:36,370 --> 00:32:45,220 Last season, sales as described by Blackstone in entry of the medium's Maximus Petare a revolution by night. 267 00:32:45,220 --> 00:32:54,400 This wonderful painting here in 1923 is a memory of these sentences, and I'm going to come back to this painting next week. 268 00:32:54,400 --> 00:32:58,960 This senses is actually stopped him. Very dangerous. The. 269 00:32:58,960 --> 00:33:02,320 Those who were able to enter into a hypnotic trance were able to speak. Right. 270 00:33:02,320 --> 00:33:08,710 And draw well, apparently totally unconscious. The difference from the actual medium's practises, 271 00:33:08,710 --> 00:33:17,490 the anticlerical and mystical surrealists hastened to explain was that they never claimed any contact with the beyond. 272 00:33:17,490 --> 00:33:26,140 OK, to help Xterra arise, he thought, for the artists Max Mollie's in. 273 00:33:26,140 --> 00:33:34,720 The first is two of the hosts of surveillance. First text to discuss the problem of finding a visual equivalent to automatic writing. 274 00:33:34,720 --> 00:33:42,070 This was called Enchanted Eyes Lizzio Shanté and he wrote the succession of images. 275 00:33:42,070 --> 00:33:48,480 The flight of ideas are probably the fundamental condition of any surrealist manifestation. 276 00:33:48,480 --> 00:33:53,020 The predictive thought cannot be considered from a static position. 277 00:33:53,020 --> 00:34:00,730 It is in time that one understands the written text, whereas a painting or sculpture is perceived only in space. 278 00:34:00,730 --> 00:34:05,110 A painter has not yet managed to show a suite of images. 279 00:34:05,110 --> 00:34:13,610 Cinema might offer a solution to this problem. He dismisses so-called dream painting. 280 00:34:13,610 --> 00:34:16,080 He dismisses matte sounds. Petare reversion balloted. 281 00:34:16,080 --> 00:34:22,870 It is Mrs. De Kiriko because the problem is that there is this asset is secondary intervention of memory. 282 00:34:22,870 --> 00:34:32,320 And he also says this was stop and think what it see. And then and then, as it were, the actual connexion with his flow of thought is broken. 283 00:34:32,320 --> 00:34:39,080 That's his view. The image of this real is their expression is not my use. 284 00:34:39,080 --> 00:34:47,230 That contrasts the visual unfavoured to the verbal. This suggests the fugitive visions of madmen and mediums could be admired. 285 00:34:47,230 --> 00:34:57,340 Collage is possible like those of Max asked, but their apparently fortuitous juxtapositions and the photographs and rare grams of man ran again. 286 00:34:57,340 --> 00:35:02,230 This is something I've returned to. This isn't. This is one of my res camera list photographs. 287 00:35:02,230 --> 00:35:15,310 Rare grounds which are in which he placed objects on photosensitive paper exposed to light and then developed that negative, 288 00:35:15,310 --> 00:35:22,180 which just therefore there was no camera shutter. Nothing like that was simply the first Instapaper and these mysterious objects. 289 00:35:22,180 --> 00:35:36,670 So it is a kind of optical unconscious because nobody knows chorded, but is text is illustrated of an automatic point band that's on this one. 290 00:35:36,670 --> 00:35:45,330 I hope you can see it more or less. It's interesting, though, because the first three issues of this magazine had almost no paintings. 291 00:35:45,330 --> 00:35:48,850 It had only photographs, film stills fragments. 292 00:35:48,850 --> 00:35:55,990 They were very empty painting. Okay, so Maslen is the only artist who's really accepted. 293 00:35:55,990 --> 00:36:01,010 This is unusual in that it has a pictorial frame drawn around it. 294 00:36:01,010 --> 00:36:04,830 But the extreme inconsistency of the marks, the fragments of architecture, 295 00:36:04,830 --> 00:36:10,660 the building mesh of geometric lines and body parts I think actually belong to this new practises. 296 00:36:10,660 --> 00:36:20,650 Automatism by the office whose problem is successful at devising an early form of Thrillist visual automatism could cubism. 297 00:36:20,650 --> 00:36:25,870 This is the bottom is one of medicine's own cubist paintings called the Four Elements. 298 00:36:25,870 --> 00:36:28,840 This painting is bought by Buchtel. 299 00:36:28,840 --> 00:36:38,940 And it's very interesting because it's a it's a kind of Phoebus thing, but it's being completely transformed into a highly symbolised image, 300 00:36:38,940 --> 00:36:45,720 mysterious figure the into with two hands holding the four elements of farm water and so on. 301 00:36:45,720 --> 00:36:51,750 So that's. The same period as there was Mattick drawings when Massimo own previous paintings. 302 00:36:51,750 --> 00:37:00,460 There they're an easy, noisy homes. Maslon automatic drawings of particular prisons and also Paul Claeys notion. 303 00:37:00,460 --> 00:37:12,290 This is Silver Moon Mould Blossom 1921 Portrayer, an artist who definitely was an enormous influence on Maslin's automatic drawings. 304 00:37:12,290 --> 00:37:18,550 This is the Nishu taking a line for a walk. I think it's behind some of these automatic drawings. 305 00:37:18,550 --> 00:37:28,780 More often, as in this one cool Delio vegetable vegetable delirium that the line in the drawings is like a maze, 306 00:37:28,780 --> 00:37:33,070 stopping abruptly, turning in on itself, floating up, floating out. 307 00:37:33,070 --> 00:37:40,510 He has described the process all in Indian inken pen characterised by unforeseen associations, 308 00:37:40,510 --> 00:37:45,090 metamorphosis in a state graphic mobility of the lines in. 309 00:37:45,090 --> 00:37:54,480 This metamorphosis wrong, describing forms of objects, Massell aimed at capturing the movement of hidden thought of the unconscious level. 310 00:37:54,480 --> 00:37:58,140 This wasn't easy to achieve. Parts of Tavio posted it. 311 00:37:58,140 --> 00:38:02,860 Mexican Vata said it reminded him of Buddhist meditation, a mass of supplies. 312 00:38:02,860 --> 00:38:09,270 He lent it to a state of grace in theology. Let me describe the process. 313 00:38:09,270 --> 00:38:19,650 The first condition is to free the mind from all apparent links and to a state similar to a trance abandonment in a tumult, rapidity of gesture. 314 00:38:19,650 --> 00:38:24,210 Once these depositions were obtained, involuntary figures were born under my fingers, 315 00:38:24,210 --> 00:38:29,550 most often disturbing, troubling, indecipherable, unquantifiable images. 316 00:38:29,550 --> 00:38:33,990 Almost always Leblon, fun, present, disembowelled. What is this? 317 00:38:33,990 --> 00:38:39,540 Fiscal obsession is sometimes vague by the symbolic placement of an open fruit. 318 00:38:39,540 --> 00:38:44,500 It was female bodies, masculine. They were never free from wounds, mutilations. 319 00:38:44,500 --> 00:38:49,080 And I think you might be able to make out in this one that there are both male and female breasts. 320 00:38:49,080 --> 00:38:59,160 There's a male Tulsans centre springing from the leaves of of of a of the sort that the stem, the leaf at the base. 321 00:38:59,160 --> 00:39:02,430 There's a kind of slow upwards upwards. 322 00:39:02,430 --> 00:39:10,830 In this particular drawing, I want just to show you this one because of the obvious intestines that are both in both wound and fruit. 323 00:39:10,830 --> 00:39:17,680 And the word in French for the fruit grenadine and a grenade bomb is actually the same. 324 00:39:17,680 --> 00:39:29,830 And this is this is what this metaphore that Massell is playing on sometimes massol route go up. 325 00:39:29,830 --> 00:39:31,980 Führer's stars dominate. 326 00:39:31,980 --> 00:39:40,850 These wandering forms appear in a precarious situation, sometimes on the edge of the void, ready to fall or float or escape into space. 327 00:39:40,850 --> 00:39:49,690 Now, it's very striking. The this reference securites stars and also the prevalence of these wounded and fragmented bodies 328 00:39:49,690 --> 00:39:54,780 for rather obvious reason that Massol had been terribly wounded in the first one worldwar. 329 00:39:54,780 --> 00:40:02,340 But he never spoke about the absolute complete silence about his wartime experiences during this period. 330 00:40:02,340 --> 00:40:08,220 What do you think informs much later in life than before the memoir Du Monde, 331 00:40:08,220 --> 00:40:11,640 he wrote of being wounded in the trenches during the Battle of the Somme, 332 00:40:11,640 --> 00:40:20,460 abandoned in line a state of delirium, watching the exploding shells, fires and shooting stars as very striking these drawings. 333 00:40:20,460 --> 00:40:24,930 This one is called The Stars, and you can see there's a gradual thinning. 334 00:40:24,930 --> 00:40:29,260 The lines go up top. Those are stars and sort of also breasts. 335 00:40:29,260 --> 00:40:39,140 I mean, it is a complete as well Masand mess, but it's it's very striking how there is such repetition. 336 00:40:39,140 --> 00:40:47,130 There's insistence emote assistant in most of the same images in these drawings of extremely diverse Mock's repetitive fragments, 337 00:40:47,130 --> 00:40:56,670 symbols and metaphors. And it's that traumatic return of what Larcom perceived as a fun, representable, unassimilable, real massol. 338 00:40:56,670 --> 00:41:00,960 Again, speaking of the drawings, said that the movie image appeared on the. 339 00:41:00,960 --> 00:41:09,150 But after they appeared, he couldn't resist a sense of shame and inexplicable malaise linked to vengeful exaltation, 340 00:41:09,150 --> 00:41:14,160 as if it's some kind of victory over an unknown, oppressive PA. 341 00:41:14,160 --> 00:41:21,160 And the drawings, I think, opened onto this inadmissible link between opposing violence, death and desire. 342 00:41:21,160 --> 00:41:28,320 There are some Panetoz, and it'll be hard to find a more apt justification for its model of mental apparatus. 343 00:41:28,320 --> 00:41:37,890 Freely, freely mobile unban energy flowing to the unconscious primary process is found so transformed into the tonic energy, the secondary process. 344 00:41:37,890 --> 00:41:39,230 By the same token, 345 00:41:39,230 --> 00:41:49,090 the bonding unbinding energy will define the pleasure unfettered access as well as well as the relation Eros and the destructive instinct. 346 00:41:49,090 --> 00:41:57,420 Now I'm going to move on because I want to comparing Massol with a different response 347 00:41:57,420 --> 00:42:03,220 to the notion of automatism about which there were furious debates in House. 348 00:42:03,220 --> 00:42:10,450 So that is following Moniz's questions in enchanted eyes that I mentioned before. 349 00:42:10,450 --> 00:42:17,700 Feel navvy in the thirties, you took the problem step further and deny the very existence of any visual surrealism. 350 00:42:17,700 --> 00:42:26,000 There was no through this painting, no drawing that can't be called surrealist. For him, it could not be a question of expression at all. 351 00:42:26,000 --> 00:42:30,930 Now the pencil marks free to the chants of gestures or the imagery trace his dream. 352 00:42:30,930 --> 00:42:39,920 Nor imaginative fantasies can be qualified as serialist. There are only spectacles, cinema, the street of photography. 353 00:42:39,920 --> 00:42:44,700 And I think that's interesting because in a way that's that's the side of surfaces that has that has been much, much. 354 00:42:44,700 --> 00:42:52,290 Warmly accepted in recent years. The kind of expensive automatism that I'm talking about, cinema, bespeaking photography. 355 00:42:52,290 --> 00:43:04,410 However, in an editorial critique, Novales text students these printed above a large reproduction of a pool clay, a painting called Decent 17 Strings. 356 00:43:04,410 --> 00:43:09,890 Wonderful painting. Who's most striking feature arrows pointing out of the canvas? 357 00:43:09,890 --> 00:43:16,140 Signifiers of the movement demanded automatism immediate response to Nevilles 358 00:43:16,140 --> 00:43:22,380 Article Take-Over direction to start his series of articles on surrealism painting, 359 00:43:22,380 --> 00:43:28,830 which disappointed his office associates by putting Picasso ahead of everybody else. 360 00:43:28,830 --> 00:43:38,950 I will be talking more about this, but Breteau is analysing the situation June 25, 1927 of through this painting. 361 00:43:38,950 --> 00:43:43,380 And I'm going to go a little bit faster over this. 362 00:43:43,380 --> 00:43:47,440 The artist I wanted to talk to. 363 00:43:47,440 --> 00:43:55,320 It's something that's contrasting, but it's making the sort of comparisons with with my son. 364 00:43:55,320 --> 00:44:04,840 It's very interesting that when Miro discovered automatism, it produced an extraordinary freedom in his painting of paintings like this. 365 00:44:04,840 --> 00:44:11,430 But with his colour of my dreams, this extraordinary, totally blue painting, which unfortunately is not very well scanned. 366 00:44:11,430 --> 00:44:16,280 It's just saturated blue canvas with a tiny moon in the corner. 367 00:44:16,280 --> 00:44:27,920 And that's the only object in it. And that's what he moved to from these much tighter as a curious tension between sort of cubism and realism. 368 00:44:27,920 --> 00:44:33,970 It's wonderful. Still love with, you know, with with glass and junk and and Cockrill. 369 00:44:33,970 --> 00:44:44,490 That's the movement for me, for Miro was between between this sort of ordered and controlled imagery and and the freedom of automatism, 370 00:44:44,490 --> 00:44:49,530 its curious dynamism going the other way. 371 00:44:49,530 --> 00:44:55,380 He experiments a little bit. Salvador Dali with automatism in the late 20s. 372 00:44:55,380 --> 00:45:02,020 This is a good thing. He did give it up actually, because his left hand image is not not very good. 373 00:45:02,020 --> 00:45:12,780 That is that story is tempted to automatism, which he abandoned in favour of the kind of extremely precise, tense, 374 00:45:12,780 --> 00:45:21,390 almost photographic realism that we find that we're familiar with in his work and in painting like this, one of the lugubrious game. 375 00:45:21,390 --> 00:45:26,240 I'm just that's just contrasting Mira with with some Donna very quickly. 376 00:45:26,240 --> 00:45:36,660 And I really just we'll we'll go straight to the birth of the world, which is a painting museum or not. 377 00:45:36,660 --> 00:45:41,820 It's it's it's an extraordinary image. For a long time. 378 00:45:41,820 --> 00:45:48,630 People believe mirror when he said that in the two stages of his painting, the first stage was totally unconscious from the second stage, 379 00:45:48,630 --> 00:46:00,180 was conscious when he added, sounds like in this case, the black triangle, the little red sort of foetus and the white blob at the bottom. 380 00:46:00,180 --> 00:46:12,390 It turns out that, in fact, he had had sketchbooks at the time with with drawings for each of the so-called automatic paintings. 381 00:46:12,390 --> 00:46:23,130 I don't think it changes too much, but it certainly has altered the way that Miro's automatism thing has been written about. 382 00:46:23,130 --> 00:46:32,580 I just want to quote from William Rubin's entry into the world. 383 00:46:32,580 --> 00:46:38,820 I think the book is a very large painting. I should say it's not easy to get dimensions here. 384 00:46:38,820 --> 00:46:47,410 William Rubin wants to distinguish between exceptional automatism and I quote, This is not the same thing over unconscious. 385 00:46:47,410 --> 00:46:52,200 The artist may be as he doodles, scribbles rapidly or spreads liquid paint with rats. 386 00:46:52,200 --> 00:46:57,600 The impulse always comes from within the man, psychologically speaking, nothing. 387 00:46:57,600 --> 00:47:02,400 The human nothing the human being does is totally unmotivated, accidental. 388 00:47:02,400 --> 00:47:07,860 This is not apply. However, the patterns made by liquid pink when it spills the vertical surface, 389 00:47:07,860 --> 00:47:14,780 which is to some extent functions of the properties of pigment and canvas under the laws of gravity. 390 00:47:14,780 --> 00:47:31,120 Not. I think that what is happening possibly we can see happening in this painting is a shift from the idea of automatism, 391 00:47:31,120 --> 00:47:42,850 which was the I do integration of the individual human psyche to some conscious towards actually the disintegration of the self. 392 00:47:42,850 --> 00:47:45,550 It sounds like a complete that is very, very different. 393 00:47:45,550 --> 00:47:56,350 But I think it's a I think what happens with the Sunnis as they explore automatism, something work with Mirro and in the work of others, 394 00:47:56,350 --> 00:48:04,930 that the self is so unlike medicine itself in these is reduced to a kind of trace. 395 00:48:04,930 --> 00:48:09,580 And there is a sense of the of a kind of splitting, if you like. 396 00:48:09,580 --> 00:48:23,680 So I'm really just thinking about how important it was that the surrealists began to turn to more automatic sort of mechanical kind of automatism. 397 00:48:23,680 --> 00:48:31,910 A little later on this. All right. 398 00:48:31,910 --> 00:48:46,520 And I want to quote now from another important text about this comment by Britain called the automatic message 95 to three. 399 00:48:46,520 --> 00:48:56,180 Now you've got this text that is trying to insist again on the primacy of the verbal over the visual. 400 00:48:56,180 --> 00:49:00,180 He said the visual images had an unfortunate habit of interrupting the verbal flow 401 00:49:00,180 --> 00:49:04,170 that he thought was the true to form as it became infected in the unconscious. 402 00:49:04,170 --> 00:49:13,010 Two words, and I quote, I think that there is almost always complexity in imaginary sounds. 403 00:49:13,010 --> 00:49:22,620 The unity and speed of the dictation remain active concerns. But it also seems certain that visual or tactile images primitive, not preceded by words, 404 00:49:22,620 --> 00:49:28,530 that the representation of whiteness or elasticity without any prior intervention of words to express them or 405 00:49:28,530 --> 00:49:36,840 derive from freely operate in the immeasurable region that stretches between consciousness and unconsciousness. 406 00:49:36,840 --> 00:49:43,740 And this is this image, a measurable region that he says he thinks is much more aptly described. 407 00:49:43,740 --> 00:49:51,820 It is. He thinks that verbal expressions infinitely richer than visual images says in poetry, verbal, 408 00:49:51,820 --> 00:49:56,550 auditory automatism has always seemed to me to create the most thrilling visual images for the reader. 409 00:49:56,550 --> 00:50:01,880 Further visual communisms never seemed to me to create the images that are any way comparable. 410 00:50:01,880 --> 00:50:06,420 Now, I've made my point. It's up to the painters. 411 00:50:06,420 --> 00:50:16,260 And he got a reaction immediately in the same issue of Minitel, which which contained this is a challenge to the artist. 412 00:50:16,260 --> 00:50:21,930 Dani published a series of photographs entitled Involuntary Sculptures. 413 00:50:21,930 --> 00:50:27,460 The photographer Brassai had taken on his instructions the involuntary sculptures. 414 00:50:27,460 --> 00:50:40,130 So red row and bus ticket splitted two faced road paper are ephemeral fragments of automatic human gestures or photographic Close-Up. 415 00:50:40,130 --> 00:50:48,060 I said, you like specimens of natural history on the glass pit of a microscope. Size photographs have been prised recently. 416 00:50:48,060 --> 00:50:55,770 I think quite, quite, quite rightly. This in the context of spheres of automatism that in the context of the object with dematerialisation, 417 00:50:55,770 --> 00:51:00,180 they also object to the workings of baptised notion of formlessness. But I think it's very interesting. 418 00:51:00,180 --> 00:51:11,610 They came out that there was specific response to a very specific passage in the automatic message. 419 00:51:11,610 --> 00:51:20,670 I'm not I've almost finished. I've just I want to show a very short fragment of a film. 420 00:51:20,670 --> 00:51:29,580 The thing is, it's flickering images. I got out warn you of that in case anyone might respond badly to flickering images. 421 00:51:29,580 --> 00:51:35,210 Okay. I wouldn't take too much of a despite standby package. 422 00:51:35,210 --> 00:51:44,970 And it's called Moth Light and its field film, I think at its very limits without actual actors. 423 00:51:44,970 --> 00:51:53,970 It's real things. It's moths, tweeks, grasses and petals that was sliced and packed into strips of film. 424 00:51:53,970 --> 00:51:58,830 And there are no frames of film, in a sense becomes the thread between things. 425 00:51:58,830 --> 00:52:04,290 The meeting ground for this random accumulation of things from the natural world. 426 00:52:04,290 --> 00:52:12,000 And Brecht was very interested in the principles of growth shared by natural forms and the questions insects flight insight. 427 00:52:12,000 --> 00:52:23,460 And I think that the instance there is a kind of mechanical mechanical issues that work there. 428 00:52:23,460 --> 00:52:36,230 Now I have, I find one out of time, so I'm not going to be able to talk in any detail about the element of chance, which I announced the lecture. 429 00:52:36,230 --> 00:52:43,630 I wanted to talk about chance in the original Douga context in the work of hands on, 430 00:52:43,630 --> 00:52:51,240 and his geometrical collage is arranged according to the laws of chance and also of Marcel Duchamp. 431 00:52:51,240 --> 00:52:58,830 And I'm just very, very briefly pulls on this one, because I think it is it is pertinent to a development within. 432 00:52:58,830 --> 00:53:05,940 So automatism, I think, which moves more towards more towards chance involves chance, 433 00:53:05,940 --> 00:53:15,110 more in terms of the actual that the presence, the presence or absence of the makeup. 434 00:53:15,110 --> 00:53:23,490 At the top of this, you will see she has written three standard stories equals Cande Chance, 1914. 435 00:53:23,490 --> 00:53:28,040 And this is a very famous exercise in chance. 436 00:53:28,040 --> 00:53:33,070 Two from carried out round about the time the outbreak of the First World War. 437 00:53:33,070 --> 00:53:39,370 Just before the idea was that he took three metres of string, the three pieces finger to meet long, 438 00:53:39,370 --> 00:53:44,410 dropped them from a metres height and then stopped them down where they fell. 439 00:53:44,410 --> 00:53:53,520 And this was, as he says, a new unit of measurement. 440 00:53:53,520 --> 00:54:02,950 And he actually used the templates that were cut from these so-called new units of measurement in several contexts in the large glass. 441 00:54:02,950 --> 00:54:07,280 He was interested in what he calls flowcharts. 442 00:54:07,280 --> 00:54:14,080 Charles was a way of getting against logical reality. 443 00:54:14,080 --> 00:54:19,720 There was a question of causality and to showcase his own principle of ironic causality, 444 00:54:19,720 --> 00:54:27,250 setting up experiments with chance whose outcomes as if the readymades and the threes tend to stoppages were unpredictable. 445 00:54:27,250 --> 00:54:33,170 So it was chance within particular parameters. Was like a kind of scientific experiment. 446 00:54:33,170 --> 00:54:43,210 The unpredictable in this case, of course. Also he's picking a bit of fun at the French worship of the metre. 447 00:54:43,210 --> 00:54:45,190 And this just another example of chance. 448 00:54:45,190 --> 00:54:53,220 This is a mammaries, photographs of the dust breeding or the dust gathering on Du Seans enormous glass painting. 449 00:54:53,220 --> 00:55:00,340 It is lying about temporary abandoned in his New York studio and that those it looks like a landscape. 450 00:55:00,340 --> 00:55:07,210 In fact, it's it's the debris from the dust on the on glass. 451 00:55:07,210 --> 00:55:19,600 And there are many other examples of that do show and are actually playing with chance to end with. 452 00:55:19,600 --> 00:55:31,570 Just for the reference to an often overlooked text about says automatism by everyone, DAX called perspective automatic or poetic perspective. 453 00:55:31,570 --> 00:55:40,300 In the almanac, SUHAD Eastern 1950 DAPs encourages artists to explore more mechanical procedures and automatism, she says, 454 00:55:40,300 --> 00:55:46,560 present the shrewdest point of incontestable advantage of reducing to a great extent and even completely, 455 00:55:46,560 --> 00:55:55,000 the conscious participation of the artist, who thus relies on a kind of chance which reveals unexpected possibilities. 456 00:55:55,000 --> 00:56:00,850 So the idea what's become important is actually really trying to avoid the conscious participation of 457 00:56:00,850 --> 00:56:07,600 the artist and chancers introduced in terms of mechanical or natural processes outside human control. 458 00:56:07,600 --> 00:56:11,680 And this is an example of what they called the health mania. 459 00:56:11,680 --> 00:56:19,540 When a sheet of paper or oil would be covered with with with with paint or liquid pigment or some sort of ink. 460 00:56:19,540 --> 00:56:29,830 Another paper repressed onto it and then peeled off. And what resulted were these extraordinary kind of cavernous mineralised images which 461 00:56:29,830 --> 00:56:36,320 were then sometimes interpreted or just left as they were by the by the artists. 462 00:56:36,320 --> 00:56:46,210 And that compares to many of the photos forms created by the action of nature to fossils and mineralisation. 463 00:56:46,210 --> 00:56:54,610 And then he used to talk about the artificial construction dendrites and the extraordinary similarities between them and vegetable forms. 464 00:56:54,610 --> 00:57:00,610 Confirming the common tendency was the common way that animate in an inanimate matter. 465 00:57:00,610 --> 00:57:08,860 Bro of a book on the spontaneous action in the creation of this little book called Accidental Configurations of Nature, 466 00:57:08,860 --> 00:57:17,290 was the condition of convulsive beauty life. I'll come back filling in the Constance's it's in the post will see this process of formation. 467 00:57:17,290 --> 00:57:21,700 Destruction seems Nevitt hoping better encompass for the human eye then between 468 00:57:21,700 --> 00:57:26,860 the blue hedges of aragonite and the treasures of the Great Barrier Reef. 469 00:57:26,860 --> 00:57:35,990 I admit that the slightest embarrassment. This is a photograph of crystals at the top of the article from which I'm quoting Beauty will be convulsing. 470 00:57:35,990 --> 00:57:41,210 I admit that the slightest embarrassment, my profound insensibility, the format for spectacles, 471 00:57:41,210 --> 00:57:49,800 works of art which do not immediately produce a physical sensation like that of a gust of wind on the face, causing a real shiver. 472 00:57:49,800 --> 00:57:57,070 I have never been able to deny that. For me, there was a relation between this sensation and that robotic pleasure. 473 00:57:57,070 --> 00:57:58,570 Well, I've ended with with seizure. 474 00:57:58,570 --> 00:58:07,680 Come back to seizure, which was one of the examples that I started off with this copper sulphate rooming with these extraordinary crystals in it. 475 00:58:07,680 --> 00:58:16,180 And it's beautiful. I don't know. But I think it's extremely interesting to think about this particular work, 476 00:58:16,180 --> 00:58:26,910 whether the artist sense has disappeared halfway through its making in relation to the notions of control and dematerialisation. 477 00:58:26,910 --> 00:58:37,740 In theory. But also, I think the way that it shows us something about the that the problem with human intervention in nature, the way nature grows, 478 00:58:37,740 --> 00:58:47,760 the way man intervenes at a time when particularly Korrell has said and other aspects of the natural world are under such serious threat, 479 00:58:47,760 --> 00:58:51,510 which I don't think it was part of Hume's idea in making this swap. 480 00:58:51,510 --> 00:58:55,286 Thank you very much.