DEBORAH CARRUTHERS
  • Home
    • Artist Statement
    • Bio
  • Exhibitions / Residencies/Performances
    • Exhibitions ... Now You See Me... >
      • What Remains Unexplained 2.0: The Endpoint Collective
      • Beyond the Stone Angel: artists reflect on the death of their parents, MacKenzie Art Gallery, Regina, Saskatchewan, October 2021- February 2022 >
        • More About ​Safe Passage
        • More About the Paintings ...
      • Announcing the Coming of the Sun, Adjacent to Life Gallery, New York, New York, USA , 2021
      • The Aura of the Already Said - Zygote Gallery, Cleveland, Ohio - 2019
      • Souvenir / Souvenir - Montréal, Québec 2017 >
        • Souvenir / Souvenir - Press
        • Souvenir / Souvenir - Essay ​Culte du Souvenir
        • Souvenir / Souvenir: About the Exhibition ...
        • Souvenir / Souvenir : Invitation card
    • Performances ... Once Upon a Time ... >
      • Ecstacies of Influence - Le Gesù, Amphithéâtre -Montréal - December 2018
      • slippages - The UBC Symphony Orchestra - Chan Centre - Vancouver - October 2018 >
        • slippages - Press
        • slippages - Instructions for play and score
        • slippages in the Studio: About my process >
          • slippages Athabasca -Photographs
          • slippages Immense Immensities
          • slippages Notebook
          • slippages Athabasca Painting
        • slippages - Performance Videos
    • Residencies ... Home Away From Home ... >
      • Ecstasies of Influence : matralab, Concordia University - Montréal 2018 >
        • Ecstacies of Influence - December 16, 2018 - Le Gesù, Amphithéâtre - Montréal
      • The Past Sealed Away - Peter Wall Institute Artist in Residence - Vancouver, BC 2017 - 2018 >
        • The Past Sealed Away... Article
      • What's in a Song ? Between the Song and the Silence: Banff Centre for the Arts and Creativity, Banff, Alberta 2017
      • In The Hole - Saskatoon, Saskatchewan 2017
      • A Ubiquity of Sparrows : Banff Centre for the Arts and Creativity, Banff, Alberta 2016 >
        • A Ubiquity of Sparrows : Banff Installation
  • Graphic Scores
    • reading between the lines - 2022
    • safe passage - 2021 >
      • safe passage: Graphic Score for Canoe Installation
    • slippages - 2018 >
      • slippages - Press
      • slippages - Instructions for play and score
      • slippages in the Studio: About my process >
        • slippages Athabasca -Photographs
        • slippages Immense Immensities
        • slippages Notebook
        • slippages Athabasca Painting
      • slippages - Performance Videos
    • Between the Song and the Silence: Berlin 2017 - 2021 >
      • Between the Song and the Silence: Graphic Score- Studies for Hobrechtsfelde Iteration
      • Between the Song and the Silence: Graphic Score- Banff Iteration
      • My Muses
      • What's in a Name?
      • Taking Flight ... The Process
      • Swan Song... A summary of my process for my MFA research
  • Portfolio
    • Mortsaf for My Father : the Series ... >
      • Mortsaf for My Father : the Paintings ...
      • Mortsaf for My Father: ​Safe Passage
    • Allegory for a New Ice Age ... Photographs
    • The Past Sealed Away ... Painting
    • The Past Sealed Away... Prints
    • The Past sealed Away: Athabasca - Photographs
    • Immense Immensities Miniature Watercolours
    • In The Hole
    • Souvenir sacré
    • Souvenir sacré - Opasatika
    • Fleurs sacrées
    • Mortsaf
    • Genetics for Cowboys
    • Beautiful Ghosts
    • Niagara Tondos
    • Twinned
  • C V
  • Contact

Between the Song and the Silence:  Annotated Bibliography
On Poets and Philosophers

Picture

Bachelard, G. (1987) On poetic imagination and reverie : selections from Gaston Bachelard. Rev. ed. edn. Dallas, Tex: Dallas, Tex : Spring Publications.
 
 
Bachelard, G. (1994) The Poetics of Space. Boston: Boston : Beacon Press.
Bachelard writes about how space inhabits us and we it. In his discussions of intimate immensities, he writes that intimate space and exterior space encourage each other in their growth. His topoanalysis of forests, right down to the spaces between the branches of trees, is itself poetically expressed. He writes “whatever the affectivity that colors a given space, whether sad or ponderous, once it is poetically expressed, the sadness is diminished, the ponderousness lightened” (p.201).  This is something I have considered as I look to create the narrative of Between the Song and The Silence. The space which a performance inhabits by extension colors the affect of its temporary occupants, the audience. Although there is a poignancy to the narrative underlying the performance, it needs to embody a sense of hopefulness. An exploration of the poetic could certainly assist in avoiding the pitfall of apocalyptic clichés which might otherwise undermine the intent.
 
Borduas, P.-É. (1948) Total Refusal: The Complete 1948 Manifesto of the Montréal Automatistes.
A manifesto with a broad social commentary generally seen as a precursor of the Quiet Revolution in Québec; which arguably led to far-reaching socio-religious and socio-political changes across Canada. It is a document which touches the core of who I am as a Québec and Canadian artist. In the words of Paul-Émile Borduas:
 
“We must break with the conventions of society once and for all, and reject utilitarian spirit. We must refuse to function knowingly at less than our physical and mental potential; refuse to close our eyes to vice and fraud perpetrated in the name of knowledge or favours or due respect. We refuse to be confined to the barracks of plastic arts – it’s a fortress, but easy enough to avoid. We refuse to keep silent. Do what you want with us, but you must hear us out. We will not accept your fame or attendant honours. They are the stigmata of shame, silliness and servility. We refuse to serve, or to be used for such purposes. We reject all forms of INTENTION, the two-edged, perilous sword of REASON. Down with both of them, back they go!
 
MAKE WAY FOR MAGIC! MAKE WAY FOR OBJECTIVE MYSTERIES!
 
MAKE WAY FOR LOVE!
 
MAKE WAY FOR NECESSITIES!” (p15)
 
[capitalization as per the original document]
 
Jones, C. A., Arning, B., Briand, M. & Center, M. I. T. L. V. A. (2006) Sensorium: embodied experience, technology, and contemporary art. Cambridge, Mass.; London: Cambridge, Mass.; London: MIT.
Having just received this document in its entirety, the only essay which I have read at this point is Michel Foucault’s Utopian Body (p229-234; thank you Lynn!). A natural progression from Bachelard’s topoanalysis is Focault’s heterotopia. His non-hegemonic approach reinforces the idea of the body as a utopian place, albeit virtually unescapable. As with Bachelard, there are nuances which exist in the original French which are lost in translation, although they are explained in the notes (It would be my intention to read this again the original).  
 
Serres, M. (1982) Genèse. France: Editions Grasset et Fasquelle.
 
Serres, M. (1995) Genesis. Translated by Nielson, G.J.a.J., US: University of Michigan.
I have chosen to read Serres’ Genesis concurrently in English and French, as Serres uses language in a way that makes the semantics important. In The Birth of Time, the discussion of the echo as the minimum of redundancy, in which “time is born” (p119) resonated with me as did “In the beginning is identity, the principle of identity. In the beginning is imitation.” (p119) I envisaged the performance in Between the Song and the Silence in a manner which “echoes” these quotes. In the beginning, the twitchers would be imitating the birds, and later the “poets” would also begin using call and response, first imitatively and then conversationally.
 
… Just in and not yet explored:
 
Chomsky, N. (2006) The Chomsky-Foucault debate : on human nature. ed. Foucault, M., New York: New York : New Press.
Kirksey, E. (2014) The Multispecies Salon. Durham: Duke University Press.
 
Jones, C. A. (2006) 'Sensorium: new media complexities for embodied experience.(Critical Essay)'. Parachute: Contemporary Art Magazine,  (121). pp 80.
 
Mary, Z. (2012) 'Cosmocracy - A Hymn for the World? Reflections on Michel Serres and the Natural World'. PORTAL : Journal of Multidisciplinary International Studies, 9 (2).

Serres, M. (2011) Malfeasance : appropriation through pollution? ed. Feenberg-Dibon, A.-M., Stanford, Calif.: Stanford, Calif. : Stanford University Press.
 
Tucker, I. (2011) 'Sense and the limits of knowledge: bodily connections in the work of Serres.(philosopher Michel Serres' 'The Five Senses')(Critical essay)'. Theory, Culture & Society, 28 (1). pp 149-160.
 
Watkin, C. (2015) 'Michel Serres’ Great Story: From Biosemiotics to Econarratology'. SubStance, 44 (3). pp 171-187.
 
Wesling, D. (1997) 'Michel Serres, Bruno Latour, and the edges of historical periods. (A Special Issue on Periodization)'. CLIO, 26 (2). pp 189.

​ We acknowledge the support of the Canada Council for the Arts.
Nous remercions le Conseil des Arts du Canada de son soutien.
Picture
  • Home
    • Artist Statement
    • Bio
  • Exhibitions / Residencies/Performances
    • Exhibitions ... Now You See Me... >
      • What Remains Unexplained 2.0: The Endpoint Collective
      • Beyond the Stone Angel: artists reflect on the death of their parents, MacKenzie Art Gallery, Regina, Saskatchewan, October 2021- February 2022 >
        • More About ​Safe Passage
        • More About the Paintings ...
      • Announcing the Coming of the Sun, Adjacent to Life Gallery, New York, New York, USA , 2021
      • The Aura of the Already Said - Zygote Gallery, Cleveland, Ohio - 2019
      • Souvenir / Souvenir - Montréal, Québec 2017 >
        • Souvenir / Souvenir - Press
        • Souvenir / Souvenir - Essay ​Culte du Souvenir
        • Souvenir / Souvenir: About the Exhibition ...
        • Souvenir / Souvenir : Invitation card
    • Performances ... Once Upon a Time ... >
      • Ecstacies of Influence - Le Gesù, Amphithéâtre -Montréal - December 2018
      • slippages - The UBC Symphony Orchestra - Chan Centre - Vancouver - October 2018 >
        • slippages - Press
        • slippages - Instructions for play and score
        • slippages in the Studio: About my process >
          • slippages Athabasca -Photographs
          • slippages Immense Immensities
          • slippages Notebook
          • slippages Athabasca Painting
        • slippages - Performance Videos
    • Residencies ... Home Away From Home ... >
      • Ecstasies of Influence : matralab, Concordia University - Montréal 2018 >
        • Ecstacies of Influence - December 16, 2018 - Le Gesù, Amphithéâtre - Montréal
      • The Past Sealed Away - Peter Wall Institute Artist in Residence - Vancouver, BC 2017 - 2018 >
        • The Past Sealed Away... Article
      • What's in a Song ? Between the Song and the Silence: Banff Centre for the Arts and Creativity, Banff, Alberta 2017
      • In The Hole - Saskatoon, Saskatchewan 2017
      • A Ubiquity of Sparrows : Banff Centre for the Arts and Creativity, Banff, Alberta 2016 >
        • A Ubiquity of Sparrows : Banff Installation
  • Graphic Scores
    • reading between the lines - 2022
    • safe passage - 2021 >
      • safe passage: Graphic Score for Canoe Installation
    • slippages - 2018 >
      • slippages - Press
      • slippages - Instructions for play and score
      • slippages in the Studio: About my process >
        • slippages Athabasca -Photographs
        • slippages Immense Immensities
        • slippages Notebook
        • slippages Athabasca Painting
      • slippages - Performance Videos
    • Between the Song and the Silence: Berlin 2017 - 2021 >
      • Between the Song and the Silence: Graphic Score- Studies for Hobrechtsfelde Iteration
      • Between the Song and the Silence: Graphic Score- Banff Iteration
      • My Muses
      • What's in a Name?
      • Taking Flight ... The Process
      • Swan Song... A summary of my process for my MFA research
  • Portfolio
    • Mortsaf for My Father : the Series ... >
      • Mortsaf for My Father : the Paintings ...
      • Mortsaf for My Father: ​Safe Passage
    • Allegory for a New Ice Age ... Photographs
    • The Past Sealed Away ... Painting
    • The Past Sealed Away... Prints
    • The Past sealed Away: Athabasca - Photographs
    • Immense Immensities Miniature Watercolours
    • In The Hole
    • Souvenir sacré
    • Souvenir sacré - Opasatika
    • Fleurs sacrées
    • Mortsaf
    • Genetics for Cowboys
    • Beautiful Ghosts
    • Niagara Tondos
    • Twinned
  • C V
  • Contact