Skill, Practice, Performance
Edited By András Benedek and Kristof Nyiri
Diagrammatics as a Mode between Gedankenexperiment and Thinking Medium. Daniel Irrgang
148 Laura Cull other amid grass a little less dry / planting four more squares in places pro- gressively greener”38. In this way, the Activities perhaps raise interesting ques- tions regarding the extent to which the mode of attention I have extrapolated from Bergson might be triggered by an external event or internal attitude. To what extent is it the nature of what we are doing, and to what extent how it is done that matters here? To conclude, we could say that while the scored Activities which partici- pants enacted deliberately resisted any easy categorization as either “art” of “life”, they might now be productively considered as experimental forms of edu- cation, particularly given Kaprow’s influence by Dewey’s equation of knowing with doing.39 Likewise, we know that education played a key part in Kaprow’s vision of a world beyond the art/life distinction and in his sense of how such a world might come about: “Only when active artists willingly cease to be artists can they convert their abilities, like dollars into yen, into something the world can spend: play. Play as currency. We can best learn to play by example, and un- artists can provide it. In their new job as educators, they need simply play as they once did under the banner of art, but among those who do not care about that. Gradually, the pedigree ‘art’ will recede into irrelevance.”40 In 1999, as Terranova notes, “Georg Franck attempted to describe attention as ‘the new currency...
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