« Claude Levi-Strauss : les artistes bricoleurs se retrouvent face à ensemble d’objets hétéroclites qu’ils interrogent pour comprendre et imaginer ce que chacun d’eux pourrait signifier. Chaque élément représente un ensemble de relations à la fois concrètes et virtuelles, ce sont des opérateurs. La particularité de ces objets est qu’ils ont déjà servis et les possibilités de leur ré-emploi demeurent toujours limitées par ce qui subsiste en eux de cette histoire passée. Leur usage originel fait d’eux des éléments pré-contraints et ouvrés ; ils ont donc été travaillés par un précédent auteur qui leur a attribué une signification précise et soumise à l’œuvre qu’il réalisait. Le second auteur s’affairera ainsi à démonter cet ensemble de signification afin d’en créer de nouvelles. Yann Beauvais et J-M Bouhour confirment, les deux lois fondamentales de détournement sont : - la perte d’importance allant jusqu’à la déperdition du sens premier de chaque élément autonome détourné, et en même temps - l’organisation d’un nouvel ensemble signifiant qui confère à chaque élément sa nouvelle portée. »
Quote from http://www.openculture.com/2013/09/william-s-burroughs-explains-what-artists-creative-thinkers-do-for-humanity.html
The interview clip above, from the 1991 documentary Commissioner of Sewers, puts a two-part question to Naked Lunch author, “cut-up writing” master, and counterculture eminence William S. Burroughs: “What is the original feel of the writer? What mechanisms should he consider, work on?” That may sound like a slightly odd line of inquiry — the interviewer, bear in mind, doesn’t speak English natively — but Burroughs responds with an important point, clearly made. “The word should should never arise,” he first insists, though perhaps self-contradictorily. “There is no such concept as should in regard to art — or anything — unless you specify. If you’re trying to build a bridge, then you can say we should do this and we should do that, with respect to getting a bridge built, but it doesn’t float in a vacuum.” All well and good for engineering. But what can art do, if not build a bridge?
“One very important aspect of art is that it makes people aware of what they know and what they don’t know that they know,” Burroughs says. “This applies to all creative thinking. For example, people on the sea coast in the middle ages knew the Earth was round. They believed the Earth was flat because the church said so. Galileo tells them the Earth was round, and nearly was burned at the stake for saying so.” Burroughs summons as examples Cézanne, whose studies of what “objects look like seen from a certain angle and in a certain light” at first made viewers think “he’d thrown paint on canvas,” and Joyce, who “made people aware of their stream of consciousness, at least on a verbal level,” but “was first accused of being unintelligible.” Yet Burroughs found he lived in a world where, this art already having expanded humanity’s consciousness, “no child would have any difficulty in seeing a Cézanne” and few “would have any difficulty with Ulysses. The artist, then, expands awareness. Once the breakthrough is made, this becomes part of the general awareness.” Such insight makes Burroughs, as one Youtube commenter puts it, “so down-to-earth that he’s far-out.”
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