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The Wheel

The Wheel

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Published by Sean O Sullivan
The Wheel is a critical project that took place throughout the Spring of 2011. It was formed as an invited reading and discussion group, which would provide a documentary outlet for selected emerging critics. The group debated the notion of an ethics surrounding failure, and each writer was asked to reply to the discussions with either an essay or a recorded exchange. The final document is fully illustrated, and features new texts by Imelda Barnard, Sean O Sullivan, Adrian Duncan & Marta Fernandez Calvo, Emma Dwyer and Rebecca O'Dwyer. The Wheel is being provided free of charge. It was produced in a limited edition of 100 lithographic copies
The Wheel is a critical project that took place throughout the Spring of 2011. It was formed as an invited reading and discussion group, which would provide a documentary outlet for selected emerging critics. The group debated the notion of an ethics surrounding failure, and each writer was asked to reply to the discussions with either an essay or a recorded exchange. The final document is fully illustrated, and features new texts by Imelda Barnard, Sean O Sullivan, Adrian Duncan & Marta Fernandez Calvo, Emma Dwyer and Rebecca O'Dwyer. The Wheel is being provided free of charge. It was produced in a limited edition of 100 lithographic copies

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Categories:Topics, Art & Design
Published by: Sean O Sullivan on May 29, 2011
Copyright:Traditional Copyright: All rights reserved

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05/30/2011

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The Wheel
Ield Bd
 Not This, Not That 
Seá O Sullv
 Mending Wall
Ad Du
with
M Fedez Clvo
Fail Lure
E Dwye
 An Attempt at Failure
Ree O’Dwye
 Holding on to your Shadow
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[Image]
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2666 
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 Robert Frost: Lecture Nine o ENG 351 – Survey o American Literature 2
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[Image]
Couos, Gusv,
 Death o Archimedes
(uded)Deleuze, Glles,
Spinoza: Practical Philosophy
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[Image]
Du, Ad,
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[Image]
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[Image]
Du, Ad,
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[Image]
Du, Ad,
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[Image]
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Two Doors
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The Cambridge Companion to Robert Frost 
(Cdge:Cdge Uvesy Pess, 2001)Fshe, Joel, “The Suess o Flue”,  M Sho,
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(Duke Uvesy, 2000)Fose, Hl, “A Ahvl Ipulse”, 
October 
110 (Boso: mit Pess, 2004)Fouul, Mhel,
Politics Philosophy Culture: Interview and Other Writings1977–1984
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(Lodo: Dvd Nu, 1914)
[Image]
Keuzeld, Doohee d Feádez Clvo, M,
Geraneum
, ‘lux,elux, elex’ sllo del (Sl Pplló, Vle-Sp, Sep 2009)
[Image]
Keuzeld, Doohee d Feádez Clvo, M,
 Hal Built House
,Hl ul oul house  he Koo dese. Reseh el o ‘lux,elux, elex’ (Rhod, Souh A, 2008)Mede, Wolgg,
“Good Fences Make Good Neighbours”: The History and Signiicance o an Ambiguous Proverb – Katharine Briggs Memorial Lecture
,(Uvesy o Veo, Delveed 2002)Moeo, Geoge, “Ulked Myh  Fos’s Medg Wll”,
ConcerningPoetry
7:2 (Fll 1974)Moeo, Geoge,
 Robert Frost and the New England Renaissance
(Lexgo:The Uvesy Pess o Keuky, 1988)Ns, So,
Failure
, (Bel: Sevel Pusus, 2010)
The New York Times
, (New Yok: The New Yok Tes Copy, 9 Nov. 1989)Os, Hs Ulh, “Mesos o he Fuue”, 
e-lux journal
#12 (NewYok: e-lux, J. 2010)
[Image
] O’Dwye, Ree,
Proscenium
, 2011O’Relly, Slly, “A Oo  Apple’s Clohg”,  Qul, Ld,
 Like Horses and Fog: Standing Outside History
(Cok: Cwod Glley, 2008)Peso, Joseph (ed.)
 Michel Foucault: Fearless Speech
, (Los Ageles:Seoexe, 2001)Pke, Keeh Lee (ed.)
 Language in Relation to a Uniied Theory o Structureo Human Behavior 
(The Hgue: Mouo, 1967)R, Lwee,
Touchstones: American Poets on a Favorite Poem
, Pk,Roe d P, Jy (eds.) (Hove: Uvesy Pess o New Egld, 1996)Sd, Edwd,
 Representations o the Intellectual
(Lodo: Vge, 1994)Shekh, So, “Cosuve Ees: The Tehques o he Cuo”, O’Nell, Pul (ed.),
Curating Subjects
(Lodo: Ope Edos, 2007)The Shs, “
 Ask”
,
 Ask 
(rt194, Rough Tde, 1986)Sok, Ao d Ae, El, “Red Mss”,
The West Wing
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[Image] Detail rom Modern Concepts o Mathematics
, Sew, I,(Hdswoh: Pel Books, 1975)
[Image
] Del o
 Jimmy Corrigan The Smartest Kid on Earth
, C.S. We,(Chgo: Pheo Books, 2000)Wee, Mhew, “The Wheel”,
 Mad Men
(Los Ageles: amc, 18 O. 2007)Wgley, Mk, “The Tslo o Aheue, The Poduo o Bel”, Hys, K. Mhel (ed.),
 Architecture Theory Since 1968
(mit Pess, 1998)
[Image]
Wold-Teleg,
 Robert Frost, hal-length portrait, seated, acing let 
,(Wshgo D.C.: The Ly o Cogess, 1941)
Contents
The Wheel
s  l doue oed  esposeo  sees o edg d dsusso goups. Ehpp oued  ex eplyg o heseeegs, whh pplly sough o sudy ehsd lue. Whe we e, we wee lkg ouh epsode o Md Me whee Do s gvg peseo o he guys o Kodk. Exep, youkow, he’s go oe o hose old kg sldepojeos. Aywy, he ss showg he pueso hs kds whe hey wee gowg up. Ad  hels pue he’s kssg Bey   py, d he’sweg hese gley shouldepds d  ow.
Information
2111518
Spg 2011 | Edo o 100
Curated by
Seá O Sullv
 
 Not This, Not That
 
Ield Bd
Sitting behind a desk and staring at the all-too-amiliar computer screen, I imagine the myriad waysthat I might begin this essay, all o the ideas which are scribbled in a notebook, destined to remain hal- ormed, despite the permanence o the pen stain. There are words underlined and written in bold to signiytheir importance, arrows linking one sentence to another. Words like ‘getting lost’; ‘deerral’; ‘deliberateuncertainty’; ‘interruption’; ‘repetition’… Flicking back, I realise that I’ve orgotten my earlier notes, and so all o the new ideas I’ve since had seem immersed in a og o older quotes and more seemingly pertinenthoughts. It’s already composed o ailed attempts and unrealised sentences, even beore it has really begun.
Sg ehd  desk d lkg dely o e,   deses  ue o des o possle woks,ll o whh eve pogessed eyod  pel k   skehook. Ths 1979 wok y Dvd Chley,eled
Pieces I Never Did 
, lly dses he gp ewee  we de d s le, hoped-oeso s  wok. Clely ooed   pevlg oepuls, whee he de doed ovehe poduo o  oje, hs lue o u wod o ge exposes he el deees eweehese wo odes o ouo, quesog whehe  wok eeds o e de  ode o exs s ,whls suleously g he wok s lwys oplee. Ths ly o se woks fds ehoes  ue poje – ply ed
Unrealised Projects
– y S Ely d Ly Hs (2003–pese), whhvesges he possles hee  he uulflled.
Ahvg poje poposls sued y ss,hese hl-oed des e oud  lguge – pel ks  skehooks – oug o  olleoo he los-hee-u-o-que. Ths ope-eded, wheel-lke edevou poss vlue  he upodued,eposog he odes o poduo usully ssoed wh he wok d uleshg he poelhee  wok h hs o el egg o ed: wok whh,  y wys, kowledges s lueeoe  eve eps o sueed.Ths lue o elso s, howeve, oe h deds  dee so o l eggee h hequed y  opleed wok. Vvdly eodyg Rold Bhes’ essy ‘The Deh o he Auho’ yeggg he vewe s  o o o-uho,  lso uhges eg, vg he udee o ‘elleullyulse  ouoe’,
o ee he ow soy. The ove owds sujeve s, eouged yBhes d woks suh s Ueo Eo’s
The Open Work 
, dspued he sus o he  s  llle,uhove ede. Se he, ‘y epeo o he wok us e  gve fge, posed wh o ude he hlluo o sgh’.
Cs s  ‘gve fge’ s, o ouse, pusheduhe whe he wok sel s  fol osu wh o gle ouoe. The egve ooos wegh ssoe wh oplee pojes – esged dee d suspeded judgees – e sed epledwh  l gesue h fs ope-ededess d he pluly o epeo; lue s ‘ oudyugh wh possles.
Th ul elso s ueessy peses he wok s lwys oly  ep,sgllg lso he py o s o exs s  wok  pogess; he wok s oh edlessly oplee,o levely, ‘oplee  evey po  s develope.’
Ths py o  wok o
not be
eeeesGogo Age’s udesdg o poely s h whh s edule o uly. Whle poelys  possly h exss,  suleously does o exs s  ul hg. Fo hs pdox Ageloes poely s he exsee o  o-eg,  pesee o  see;  s  o o pvo. I hswy, poely s oh he py o e d o e, so h  exss s  poely:  poely wsoly he poel o e, he ll poel would ledy hve ee ulsed, so  would o exs  d
2See: hp://www.uelsedpojes.og/ Ievew y So Ns, o-edo o we gze ‘e-’ wh S Ely d Ly Hs ou he ‘Uelsed Pojes’, 
Failure
syposupulo (Bel: Sevel Pusus, 2010). See: hp://www.sevelpusus.og/wodpess/wp-oe/uplods/FluePulo.pd Slly O’Relly, “A Oo  Apple’s Clohg”,  Ld Qul,
 Like Horses and Fog: Standing Outside History
(Cok: Cwod Glley, 2008), 82Joel Fshe, “The Suess o Flue”,  M Sho,
 M/E/A/N/I/N/G: An Anthology o Artists’ Writings, Theory, and Criticism
(Duke Uvesy, 2000), 161Fshe (2000) 157
 
3
o sel. Thus, ‘To e poel es; o e oe’s ow lk,
to be in relation to one’s own incapacity
.
Theppe lue o he o-ulsed s,  , ull o poel, ple o oh eg d o eg, dogd o dog.Ths sese o suspeded poel d esse o oe fxed po ojues lue s  ul o,lgg  speflly wh s o epeo o wlul esoluo. Clely vokg Ssyphus d hsouous sk o ollg  ok up  hll oly o  o oll k dow, hs edless  eveheless ejes sple edg o ld epe, uog sed s  oe o eupo. Reofgug heSsyphe yh s oe h jus  odel o poless o, E Coke sees  s opeg odg o yle o lue d epeo, o-e d eply; hs deeed loop pvleges he ‘le poelo eg o-ye-hee’.
Reeeg s pe o he 1960s owds, he yh s plulsllyvoked o hghlgh s vous shs  eg; o epeseg uly d esgo, o opegoe s  ess o exle oe h plyully euses uhoy. Hee we  se Bley’s ous ‘Iwould pee o o’ s dve o  suvesve oe h euses o ulfl he lw, d eely eleo Age’s poely. Cosequely, woks h se lue o he  opee s geeve opoduve oes, eegg ‘s  ode o esse hough whh o hllege o eve euse he pessueso do gol-oeed does’.
As Coke uhe suggess, he Ssyphe pdg o uesolvedo – o  hwed gesue –  e udesood s  o o exhusle peoe, suggesghe ‘eed o peo whls deeg he vl o y spef gol’. Rhe h eusg o peo,hey sed
 preer not 
o eh esoluo. By elelessly peog, suh woks lly gs  sese o dsppoe loed  he oe o opleo, so h he suggle eeges s oe suessul hy desed fly. I ous o  ehesl spe,  ple o puse.

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