Biographies of Transition: Too Busy To Think
Too Busy To Think (as a term, condition, and exhibition) emerges
from the nature of the time we share with machines. Machines that think. We, as
machines.
Thinking is not an ability attributed only to human beings. And thinking is
not simply an inherent attribute of the human being; it can also be something
that is fought for, it can be a political act, a radical attainment.
Our zeitgeist desperately calls Hannah Arendt back; The Origins of
Totalitarianism (1951) a tool for understanding the forms of isolation,
solitude, and loneliness we experience today. Thinking requires a kind of
solitude, according to Arendt, but not loneliness or isolation1. It
needs friendship, company, and sharing.
Arendt鈥檚 term 鈥淢usse鈥漜annot be translated into English, but can be taken as
a term for a particular type of leisure. Musse is the German version of the
Latin concept of 鈥渙tium鈥� denoting the free time (we have for contemplation)
when we are not busy (opposed to negotium, the time when we are not
free for contemplation, i.e. when we are busy). Muse, or museum can not be
etymologically separated from this discussion.
Biographies of Transition, parallel spaces of intimacy,
transformative environments of crisis, psycho-geographies of conflict, and the
political narratives of human lives are each given consideration by revisiting
her remonstrance. In a 1934 letter to Gershom Scholem Arendt
wrote: 鈥淥ne feels very lonely in this country; this has to do in
particular with the fact that everyone is very busy and that for most people the
need for leisure simply ceases to exist after a certain amount of
time.鈥�
Through conversations with its contributors, this exhibition intends to
edit: it edits a collection of works, forming a grammar that not only narrates
the impact of individual biographies on the works, but also the role of nature,
environment, and others鈥攁ll other agents鈥攊n the process of research and
production. Becoming a temporary space for the sharing of life and work,
inevitably, the exhibition comes to refer to the psychoanalytic of private and
public, labour and leisure, and the role of the contemporary self, its
portraiture, in presentation languages.
Public institutions demand a critical duality of questions: How much
does it cost? What does it mean? These questions can be asked of
exhibitions, institutions, and human beings, as fragile and temporary forms of
life alike.
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Too Busy To Think (as a term, condition, and exhibition) emerges
from the nature of the time we share with machines. Machines that think. We, as
machines.
Thinking is not an ability attributed only to human beings. And thinking is
not simply an inherent attribute of the human being; it can also be something
that is fought for, it can be a political act, a radical attainment.
Our zeitgeist desperately calls Hannah Arendt back; The Origins of
Totalitarianism (1951) a tool for understanding the forms of isolation,
solitude, and loneliness we experience today. Thinking requires a kind of
solitude, according to Arendt, but not loneliness or isolation1. It
needs friendship, company, and sharing.
Arendt鈥檚 term 鈥淢usse鈥漜annot be translated into English, but can be taken as
a term for a particular type of leisure. Musse is the German version of the
Latin concept of 鈥渙tium鈥� denoting the free time (we have for contemplation)
when we are not busy (opposed to negotium, the time when we are not
free for contemplation, i.e. when we are busy). Muse, or museum can not be
etymologically separated from this discussion.
Biographies of Transition, parallel spaces of intimacy,
transformative environments of crisis, psycho-geographies of conflict, and the
political narratives of human lives are each given consideration by revisiting
her remonstrance. In a 1934 letter to Gershom Scholem Arendt
wrote: 鈥淥ne feels very lonely in this country; this has to do in
particular with the fact that everyone is very busy and that for most people the
need for leisure simply ceases to exist after a certain amount of
time.鈥�
Through conversations with its contributors, this exhibition intends to
edit: it edits a collection of works, forming a grammar that not only narrates
the impact of individual biographies on the works, but also the role of nature,
environment, and others鈥攁ll other agents鈥攊n the process of research and
production. Becoming a temporary space for the sharing of life and work,
inevitably, the exhibition comes to refer to the psychoanalytic of private and
public, labour and leisure, and the role of the contemporary self, its
portraiture, in presentation languages.
Public institutions demand a critical duality of questions: How much
does it cost? What does it mean? These questions can be asked of
exhibitions, institutions, and human beings, as fragile and temporary forms of
life alike.
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