As I undertake the two set tasks, I am still finding it difficult to connect with this project. There is no set outcome at the moment – but this isn’t the problem, it’s more that the project seems to lack depth and I wonder if we are trying too hard to find a solution to something that just isn’t there; should we have considered our book choice more clearly and selected a topic around domesticity? Would this have given us a clearer sense of direction? However, there is the realisation that if we DO manage to produce a body of work from this project, then this method of working could enhance our current collaborative practice and become a foundation for developing further work.
Despite the negative comments above, I am enjoying the process of discussion, and the subsequent setting of mini-tasks to advance the project. In terms of the current tasks – listing the colours, although a little tedious, is easy, my final tally is approximately 380; however working with the texts from our respective page 99s is proving to a lot harder than I expected. I have tried various methods of combining the texts and at one point even resorted to an online story generator, which also failed! I am aware that this could be an abstract narrative and so I looked at the work of Raoul Hausmann and Dada poetry – including the Tristan Tzara method of ‘How to make a Dadaist Poem’ – and although this uses a very basic system to produce a narrative, I didn’t like the methodology or outcomes that it generated.
However, I was interested in the idea of applying a system, which is something that began recurring in our work during the Windham Papers. I began by looking and analysing the texts, noting similarities, highlighting pronouns, and isolating specific aspects of the narrative until I developed a system that enabled me to produce a new text. The finished piece doesn’t use all the words as the task required, but I could keep going through the text and apply different systems until they are all used up!
We have had a month to catalogue our respective blue books using the categories we developed through discussion and debate. A FaceTime ‘meeting’ enabled us to report our progress, along with our findings and reservations. We have both found the process of cataloguing rather tedious and repetitive, and have started to question the purpose of the exercise; this meeting came at an opportune time and enabled us to voice these concerns, and subsequently talk through the issues that the process has highlighted.
P: I felt it was important to start by questioning what we wanted to achieve with this project. Was it to further challenge our collaborative practice and working process, or merely an opportunity to produce an edition of ‘sale-able’ artists’ books? Also did the book have to have a purpose? As we started to talk through these topics it became evident that we were both struggling to find a point to what we were doing. T suggested that this could be because we had no personal connection with our particular books, which had been purchased at random, and subsequently we were struggling to relate to the subject matter. Was there then a way forward that would enable us to find an area of common interest?
We discussed and rejected various methodologies, including producing a haiku version of each book; of the 10 categories that we had mapped, we had both gravitated towards ‘colour’ – therefore it was decided to take a more abstract approach, and to start listing each colour with its corresponding page number and any relevant descriptor attached to the colour. In conjunction with this we discussed a project that I have recently completed called Page 99 – there is a theory by English writer Ford Madox Ford, that if you open a novel at page 99 then ‘the quality of the whole will be revealed to you.’ Using this premise we will both use the final sentence on page 99 as the title of our respective books. To enable us to consider a narrative, T suggested that we send each other a copy of page 99, and both attempt to combine the text of these pages to form a new ‘story’. This is not dissimilar to the work of Graham Rawle who wrote an entire novel using words from vintage women’s magazines.
These decisions will now enable us to take the project to the next level, and hopefully by undertaking this set of instructions we will start to gain a greater sense of what the book may become. Without knowingly setting out to develop our practice using a new methodology, by default the nature of this project – and our disconnect with either the text or author – appears to be leading us in a new direction.