Short Animation Cut-Up
Slave to the Screen example Cut-Up
William S. Burroughs Cut-Up (Yes/Hello)
check out some of our own cut-ups below
Cut-Up by: Lindsay Howard
(from The Poetics of Space- Drawers, Chests and Wardrobes by Gaston Bachelard)
Speaking creature
Imagination
Feel a slight shock
Absolute imagination
Pain
Impression that is difficult
Feel
Pain
Hide their secrets
Drawers and chests
The concept soon becomes lifeless
Thinking
Neither register nor drawer exists
Pain
Realities
Thinking
Feel a slight shock
Product of absolute imagination
Impression that is difficult
Lifeless thinking
Realities
Creature
Difficult to express
Absolute imagination
Inadequacy
Controversial
Speaking creature
Feel a slight shock
Neither register nor drawer exists
Imagination
Exists
Hide their secrets
Lifeless thinking
Slight shock
Human
Hiding places
Images of intimacy
Speaking creature
Neither
The concept soon becomes lifeless
Pain
Register nor drawer
Neither
Intimacy
Superabundance
Human
Value
Neither register nor drawer exists
Hiding places
Realities
Exists
Secrets
Register nor drawer
Intimacy
Hide their secrets
Realities
Human beings
Creature
Neither
Images of intimacy
Imagination
Inadequacy
Pain
Register nor drawer
Exists
Inadequacy
Lifeless thinking
Without deep, true, genuine roots
Cut up badly by Lindsey Sahlin
(sources: Semiotic Space by Yuri Lotman; Drawers, Chests, and Wardrobes by Bachelard; The Circular Ruins by Borges) In twentieth century culture,gradually, he accustomed the boy to reality; dislikes compartmented arguments. All life-clusters are intimately bound to each other, with relief, with humiliation, with terror, he understood that he too was a mere appearance, dreamt by another. This seems to me to be a good example for demonstrating the radical difference between image and metaphor. Every living creature has a 'built-in' mechanism for multiplying its language since it has no phenomenological value. At times, he was troubled by the impression that all this had happened before….Traditionally and newly invented peep-shows is a phenomenon of being; phenomena of the speaking creature. Nature and all living organisms and every living being (or rather that all signs are to some degree both conventional and representational). Difficult to express; realities, lose their poetic possibilities. He understood with certain bitterness passing judgment all words do an honest job. In the dreamer's dream, the dreamed one awoke. Convey the inadequacy of a philosophy, contrary to metaphor, there can be neither communication, nor language; fairground cries of street traders.
CUT UP by Jackie Hopkins
(sources: Semiotic Space by Yuri Lotman; Drawers, Chests, and Wardrobes by Bachelard; The Circular Ruins by Borges) Faced with any new object
I should like to point out
keep or hide their secrets
an age-old feature of the mechanism of the earth’s crust
He was awakened one midnight
Inwardly, it pained him
with relief, with humiliation, with terror, he understood
Everything we perceive as Art rings true
indeed, the Word always appears
shows the indigence of the Image
eroded and full of transitional form
He tried other analogous experiments, each more daring than the last
meditate on his abnormal privilege
In this deserted edifice a voice might give glory
give it too much thought
His life’s purpose was complete
complete oblivion
In general, his days were happy
In general, his days were happy
Every living creature has a built in mechanism
To give it too much thought
Indeed the word always appears
DISLIKES COMPARTMENTED ARGUMENTS
But somehow, to give it too much thought, I should like to point out the polemical nature of philosophy.
OUR PHILOSOPHER, dedicated to his dreams
Dislikes compartmented arguments, without deep, true, genuine roots
TO GIVE IT TOO MUCH THOUGHT
Troubled by the impression that this all had happened before
The magician suddenly remembered the words
Extremely simple signals, everyday language, shows the indigence of the image
He does it disdainfully
Dimmed by weariness, there is a superabundance of metaphor,
an ephemeral expression
THE CONCEPT SOON BECOMES LIFELESS
Lose their poetic possibilities, each more daring than the last
Only once, in passing
The smallest functioning mechanism
THEN the smoke which corroded the metallic nights
I always feels a slight shock, the dead laws of nature, a voice might give glory, fear for the future, the smoke, downstream to the god, AND YET,
what a success
The organic whole of living matter and also of life
He perceived the sounds and forms of the universe
with a certain colourlessness
Troubled with the impression that this all had happened before
One cannot exist
Before returning to intimacy
One cannot exist without the other, but for the task of generating information it simply WILL NOT DO
The child awaits me and will not exist if I do not go to him.
Knew that death was coming
An age-old feature of the mechanism of the earth’s crust, knew that death was coming
This is an artificially-made construction, it certainly will not do
As is well known,
Structure is a reality,
For the task of generating
Fear for the future
An ephemeral expression, it is not worth the trouble
Dimmed by the weariness
We must be careful through many leagues of inextricable jungle and swamp
Contrary to the imagination
His abnormal condition was that of a mere image
Always in the same way
No one would have seriously regarded the circus
The influence of personality on history
(or rather that all signs are to some degree both conventional and representational)
Now a metaphor gives concrete substance
Limb by limb and feature by feature
There is also a constant renewal
A continuation of the cosmic conflict between life and inert matter and
The smoke which corroded the metallic nights, rings true
Imagining the same rites, in other circular ruins
This same idea is expressed more clearly again
To convey the inadequacy of a philosophy
The concept soon becomes lifeless
Since, by definition, IT IS
We are constantly witnessing
Great dreamers of locks
Keep or hide their secrets
Traditional and newly-invented peep-shows, a continuation of the cosmic conflict between life and inert matter:
In the early years of this century
Amusement became a serious art, Along with a whole procession
Most ordinary, most commonplace,
a controversial metaphor, giving orders and
The magician carried out these orders of time
Passing judgment, always in the same way
A feeling of humiliation, of vertigo!
A universal of human culture, a phenomenon of being
Man persisted in a kind of ecstasy
At times, he was troubled by the impression that all this had happened before
And became a serious art
held; some of these meanings linger through connotations or metaphors.
WHY DID WE DEVOTE A WHOLE PAGE TO CUT-UPS?
The way we experience the world and the way we experience art doesn't
always have anything to do with the original intent or purpose. Someone
reading these cut ups would tend to try to find meaning that is not
there, just as they would try to find reference in a Burroughs' cut up.
always have anything to do with the original intent or purpose. Someone
reading these cut ups would tend to try to find meaning that is not
there, just as they would try to find reference in a Burroughs' cut up.
Interestingly enough all of our "house made" creations can be read more like poetry
or paragraphs that are not necessarily poised towards meaninglessness. A
persons need to categorize and organize information in their brain
tries to make sense of all these seemingly random words the best way it
can. SInce all the material for our cut ups were taken from the
readings, they all have a sense of interconnectedness (they were all
read in the same time period and because of that they have become
relatable to one another), therefore, the cut ups lost the ability to
become completely outlandish.
or paragraphs that are not necessarily poised towards meaninglessness. A
persons need to categorize and organize information in their brain
tries to make sense of all these seemingly random words the best way it
can. SInce all the material for our cut ups were taken from the
readings, they all have a sense of interconnectedness (they were all
read in the same time period and because of that they have become
relatable to one another), therefore, the cut ups lost the ability to
become completely outlandish.
True randomness does not exist outside of nature. There is always an
underlying essence that cannot be taken away, only fragmented. A cut up
can distort meaning to try and create something new, however the old
meaning doesn't completely disappear, it remains, at the least as a
faded memory or imbedded fossil. All things work this way and it is
nearly impossible to take away all form of context. The definition of
all words MORPH over time but it does not lose all of the meanings it once
underlying essence that cannot be taken away, only fragmented. A cut up
can distort meaning to try and create something new, however the old
meaning doesn't completely disappear, it remains, at the least as a
faded memory or imbedded fossil. All things work this way and it is
nearly impossible to take away all form of context. The definition of
all words MORPH over time but it does not lose all of the meanings it once
held; some of these meanings linger through connotations or metaphors.
An artist should always be aware of the changing tides in language and be
able to manipulate context to create something new while acknowledging
past meaning and points of reference. People do not want to be told
what they already know; success with most art is achieved through being able to
bring new context to a piece, and manipulating existing meaning to find new meaning.
able to manipulate context to create something new while acknowledging
past meaning and points of reference. People do not want to be told
what they already know; success with most art is achieved through being able to
bring new context to a piece, and manipulating existing meaning to find new meaning.
