PLAYSCRIPT ACT 1 SCENE 1

PLAYSCRIPT;
artists as machines
Newlyn gallery ‘Invitation’

‘alternative Private view’,

A [ken] painter – the signature
B [jane] name Author under a pseudonym
C [milena] enunciator

The gallery space /open is accessible, both the upper and the downstairs area, however the paintings in both galleries are obscured – with detail paper – sculpture in the upper gallery draped with cloths, sheeting. The ‘audience’ are circulating to the upper gallery from the lower area where drinks are available – wine – on a low plinth.

The paintings here too have been covered/strips of detail paper
[The ‘thinking’ is to be revealed as points are made and the paintings ‘unmasked’]
Statements on the frame;

A. One of the characters [Ken the painter up a stepladder]] lacing up boots laboriously so slowly red laces trailing dangerously preparing a series of questions an internal dialogue out aloud.

B. [Jane seated as an invigilator after a pause.

"But this frame is problematical [and I’m talking about the third critique] where, the critique presents itself as a work [ergon] with several sides and as such it ought to allow itself to be centered and framed, to have its ground de-limited by being marked out, with a frame against a general background."

con fused;
"I do not know what is essential and what is accessory in a work. And above all I do not know what this thing is, that is neither essential nor accessory, neither proper nor improper, and that Kant calls parergon, for example the frame."
cont;
Where does the frame take place. Does it take place. Where does it begin. Where does it end. What is its internal limit. Its external limit. And its surface between the two limits. I do not know whether this passage [in the third critique]
PAUSE
where the parergon is defined is itself a parergon . Before deciding what is parergonal in a text which poses the question of the papergon, one has to know what a parergon is – at least, if there is any such thing. PAUSE

A. [begins again] in the framing an earlier statement about the parergon is repeated; "even what is called ornamentation [Zierathen: decoration, adornment, embellishment] (Parerga) i.e., what is only an adjunct and not an intrinsic constituent in the complete representation of the object [german translation], ohhh I’m not going into that here]

B. to the impatient objector, if s/he insists on seeing the thing itself at last: the whole analytic of aesthetic judgement forever assumes that one can distinguish rigorously between the intrinsic and the extrinsic. PAUSE.

Aesthetic judgement must properly bear upon intrinsic beauty, not on finery and surrounds. Hence one must know- this is a fundamental presupposition, presupposing what is fundamental – how to determine the intrinsic – what is framed – and know what one is excluding as frame and out-side-the frame.

We are thus already at the unlocatable center of the problem. And when Kant replies to our question "What is a frame?" by saying: it’s a parergon, a hybrid of outside and inside, but a hybrid which is not a mixture or a half- measure, an outside which is called to the inside of the inside in order to constitute it as an inside ; and when he gives as examples of the parergon, alongside the frame, clothing and column, we ask to see, we say to ourselves that there are "great difficulties" here, and that the choice of examples is not self-evident.

A. in augmenting the delight of taste does so only by means of its form. Thus it is with frames (Einfassungen) of pictures or the drapery on statues, or the colonades of palaces. [Removing the detail paper and screwing noisily into a ball]

cont. but if the ornamentation does not itself enter into the composition of the beautiful form – if it is introduced (angebracht; fixed on) like a gold frame (goldene Rahmen) merely to win approval for the picture by means of its charm – it is then called finery [parure] (Schmuck)
Ken EXIT

and genuine beauty"
Jane produces a tray/s of Hors-d’oeuvres’ a silver platter and eventually circulates the audience to a select few to try.

The Greek here confers a quasi-conceptual dignity to the notion of this "hors-d’oeuvre" which however does not stand simply outside the work[hors-d’oeuvre ] also acting alongside, right up against the work [ergon].

Dictionaries most often give "hors-d’oeuvre," which is the strictest translation, but also " accessory, foreign or secondary object,"
[eating and speaking]
"supplement," "aside," "remainder" It is what the principle object must not become, by being seperated from itself:

listening intently to A Milena [C] [from under the covered sculpture] is starting to peruse the problem out aloud sounding like a recording from a telephone conference, trying out a voice sound - as in a series of vowels aaaaaaa eeeeeeee uuuuuuuuuu full stops and commas - [this section pre empts the backwards opening on the main screen later in the cave the lower gallery entrance hung with a black curtain].
Ü