Diane, you said:
>when i first "learned" about "scripts" i was offered the example of
>entering a MacDonald's restaurant, and the generic emergence of fast-food
>franchises, and the scripts that make these places functional.
>i've always understood scripts to be a general staging of activity, within
>which we individualize how we participate, --- nevertheless, who enters a
>Burger King and asks for the carburetor specialist?
>the variations on a theme don't change the role that these general scripts
>play in cultural activity, ... or have i misunderstood?
I think the "general scripts" are really very broad themes and invitations
to jointly build a "world". Realizing a particular play episode may be
significant or insignificant on several levels and it is also different for
every player.
Maybe you CAN "enter a Burger King and ask for the carburetor specialist"?
this is already a good beginning for an interesting episode and ear perking
invitation to play.
I did not mean to be so simplistic - I just juxtapose things that make me
think ...
And you also said:
>you know, as an artist, i have to take exception. there's no dramatic
>effect in art, the tension is between the psyche and the desire to
>produce/create/express, and the standards are merely the frames within
>which one might move around. in science, there is an "A-ha" but i know of
>no instance of this in
>art - as a student of art history, that is, and knowing so many artists,
>of so many different mediums, there is never an "A-ha" so much as there is
>a sigh of resignation to the process. ...
>
>in art, the tension is never resolved, but is forestalled, ceaselessly.
>that's what makes art: the irreconcilable tension, the unresolved tensions
>- and tensions is such a tame word, because these are more often than not
>conflicts that run in several threads and knotted lines.
>tensions appeal to dualisms, (push-me-pull-you images of Dr. Doolittle) -
>art is characterized by much more than tension, or standards,
>but by vision and obsession, desperate persistence, a relentless work of
>"giving up" and letting go
>in order to continue to move within the desires that inspire.
Agreed.
From the right side of my brain - from my own artistic inclinations - yes.
I seek more tension (or shall we say movement). I don't want to be reduced
to a dualistic view of push-me-pull-you...
From the other side of my brain (or say: when I turn a scientific switch;
or in the light of...sci...) I have to look at one side at the time; I have
to analyze and create "units of analysis"; I want to say that there is a
"conventional" cultural "script" (knowledge) about many situations and that
play (art) somehow does something with this conventional knowledge, to
create a variation, many variations of this literal. And then I want to say
- these two entities: the standard and the variation create some kind of a
relationship that moves us in a certain way (both cognitively and
artistically emotionally). And the moment of the creation of this
particular relationship is the moment of insight and the moment of movement
of the whole person/group/culture
It is all much more complicated of course...
I was just hinting in this unbearable heat...
Ana
This archive was generated by hypermail 2b29 : Mon Oct 01 2001 - 01:02:06 PDT