Once published, a Script, as a social form, is resolved only by reacting toward reactions toward it. It is an algorithmic social construction that seek to shift or create Objects, Object-relations, and social-relations within the material world in a manner that necessitates the unexpected. To embrace the unexpected is: a) to desire to see, despite knowing that there is a brutality to see (realism), b) to desire to keep moving, despite knowing that pain is certain (optimism), and c) to desire a future, despite knowing it will get worse (hope). Scripts are blueprints for unknowableness: hopeful gestures of realist optimism or optimistic realism. A Spectator engaged in Script-forming and/or Script-enacting engages with the present in order to suspend the future by imagining its alternatives. The Future is also not an Object. – The Function of a Script (in relation to a Spectactor), In Relation to a Spectator: Studio for Propositional Cinema, October 2017

Art Without Rules, Texte Zur Kunst, No.109, March 2018

Agnes Martin, Writings / Schriften (English and German Edition), Kunstmuseum Winterthur and Edition Cantz, 1991

Seth Price. Wrong Seeing, Odd Thinking, Strange Action

wfw weekend #400

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Luis Ortega Govela, Olivia Erlanger. Hate Suburbia

Ian Wilson. The Discussions

Martha Rosler

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Maria Eichhorn

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Mark Borthwick & DIS