From involvement to conception.
This is another post that follows the trend established by my latest post. Basically, I am narrating an idea and trying to formulate the idea through the process. This time, it is in regard to maximizing conception. Now, this is very vague, mainly because I tend to come up with my own definitions for things that already have an established one. So in order to explain what I am talking about —something that shouldn't take long, this post is supposed to be shorter than the last; a true microblog, one could say— I must first explain these terms in their context.
You may or may not know of my quest to increase the size of my castle. The act of making is interesting, because even when one, in theory, 'consumes' there is a process of 'creation'. You do not simply read; when you read you are both reader and writer. And from this idea came to me a newer idea — starting from my current reading of Manifesto of Surrealism and a practice which led me to develop the theory of procedures. A procedure is a method by which you complete an objective, the procedure itself does not determine the objective, and the method has a list of priorities that is completely internalized; it follows a set (or lack of) rules that are not explicitly defined in any exterior fashion.
So, my idea was, from a procedure to set a standardized goal, and this goal is of conception; to make something directly from something else. Now, by nature, we are sponges — what we create is a reflection of what we have incorporated. I'd say that is a passive conception, but what I want is active conception; to give birth in the moment of. And I'd have been making my own set of procedures and experimental methods to use on those procedures, but now they are like modes... they are to be applied to... anything at the moment of being. The goal at a macro-level, in a superior scale from active conception is, as I've explained earlier, to expand. So there has to be a higher degree strategy that has the goal of 'production'.
He is not worried about the words that are going to come, nor about the sentence which will follow after the sentence he is just completing. To a very simple question, he will be capable of making a lightning-like reply. In the absence of minor tics acquired through contact with others, he can without any ado offer an opinion on a limited number of subjects; for that he does not need to "count up to ten" before speaking or to formulate anything whatever ahead of time. Who has been able to convince him that this faculty of the first draft will only do him a disservice when he makes up his mind to establish more delicate relationships? There is no subject about which he should refuse to talk, to write about prolifically. All that results from listening to oneself, from reading what one has written, is the suspension of the occult, that admirable help. I am in no hurry to understand myself (basta! I shall always understand myself).1
To be able to speak of anything and to be able to make anything from the moment it involves the things, it gives opportunity to give rise to conceiving material from parent material2. This is involvement; you involve yourself with things, and as you are involved, you use those things simultaneously. You don't want digestion with the promise of passive conception — you want to take the shit now, you will give birth through your ass!
Unfortunately it is not of them I have to speak, but of her who brought me into the world, through the hole in her arse if my memory is correct, [...]3
Without all the terminology4 —which I care little for, and I am sure to mix and match and move it from one place to the other without a care in the world for my external consistency, as this, of course, is also a procedure of sorts— then I'd explain it through the lens of note-taking. You take notes because you want to learn, but what if instead of learning you apply whatever you're reading directly to your writing. You could say, this is a procedure for note-taking: the goal is achieved but only under certain internalized condition, and of course, as every procedure, it involves a method, much like you'd have different methods for taking notes there are different methods for involvement.
It is all very distant, I feel somewhat abstract when it comes to this, maybe I'd hate it if I try it, but I'll have to try if I want to find out5. I think, for someone like myself, this seems like a good idea. I can predict that the harder part will come a posteriori; after the deed is done, and when it is time to give it a place in the world; to say "this goes here and that goes there".
Manifesto of Surrealism, André Breton↩
This does not mean that it has to be referential. If you are listening to music, and you write based on the ideas that the sounds are giving to you, what you conceive actively could or could not reference the song itself.↩
Molloy, Samuel Beckett↩
Which, to be fair, I am already regretting — I made it up at the moment, as I tend to do, but well, I will not scratch it out. I wrote it thinking it would sound very witty; but now that I have seen myself that I only wanted to show off in a despicable way, I will not scratch it out on purpose!↩
I don't plan to elaborate more on the matter; it is already hard enough as it is. I don't know if the first to come would be in regard to the Surrealist Manifesto itself, as I am unpredictable when it comes to the future, but at some point it should arrive — if I am to follow my own word.↩