Diagrams for Seriality

Chapman, Neil ORCID logoORCID: https://orcid.org/0000-0001-8253-0256 (2014) Diagrams for Seriality. 7 . Copy Press, London. ISBN 978-1-909570-00-9

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Abstract / Summary

Diagrams for Seriality is a book of unforgettable images and strange characters. Here the reader is thrown into a world where expectations of series and sequence are turned inside out; this story creates a narrative of haunting and mysterious affect.

‘A startling meditation on the relation of seeing to saying, the possibility and impossibility of communication, and the very business of making and writing – Diagrams for Seriality is a work of fictioning in which set pieces and scenes, a cast of bodies and conceptual personae and a singular prose style produce a book that demands to be reread.’ Simon O’Sullivan

Item Type: Book
Additional Information: Diagrams for Seriality (DFS) was written in response to a publisher’s manifesto demanding art-writing in which research questions are immanent to the writing practice, itself. The project promotes culture in which writing has a new status as practice and where that practice cannot be understood as supplement nor evaluated first through the tenets of other disciplines. The research is informed by a history of writing in art originating in the early 20th Century, which has gone through a fundamental transformation in recent decades under the influence of Concept art and Continental Aesthetics, both of which traditions have helped establish a blurring of the distinctions between philosophy, visual art, literature and research. DFS effects a new synthesis of memoir, fiction and philosophical speculation. Its emergent research question concerns the image in writing, understood here as an obstacle to narrative. The project finds the image to be a coordinate allowing thought to return to the unresolved in thinking so as to better identify the paradigm that conditions thought in contemporary discourse. The research process in this case capitalises on the dissociative quality of memory-images. DFS finds that the encounter with the so-called ‘still’ image is time-based, that to look is always to look and to look away. The rendering temporal of image-viewing is a critical interrogation of commonly conceptualized image-stillness, resetting the discourse on images, invoking a new understanding of what has been referred to as ‘dematerialising’ (Lippard). Through the Copy Press Reader’s Union, DFS has been engaged and responded to by several artist-writers including Roderick Harris, Franky Williams, Gillian Wylde and Redell Olsen, those pieces being available on the publisher’s website.
ISBN: 978-1-909570-00-9
Subjects: Writing & Journalism > Creative Writing
Arts > Drawing
History
Arts > Fine Art
Research
Arts > Sculpture
Writing & Journalism > Creative Writing > Storytelling
Courses by Department: The Falmouth School of Art > Fine Art
Depositing User: Neil Chapman
Date Deposited: 07 Apr 2015 15:16
Last Modified: 28 Feb 2020 17:02
URI: http://repository.falmouth.ac.uk/id/eprint/1573

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