Pilgrim's Companion

Pilgrim’sCompanion

Whether you are a seasoned traveller or an occasional day-tripper, this diverse and highly subjective travel guide offers you a number of perspectives on place and purpose, including 17th Century printmaking, Pickpockets and

Relational Aesthetics.

Created for the 2012 European Leadership Forum in Eger, Hungary, it is hoped this

limited edition artists’ book will be a constant companion for many more of your journeys.

Owen Daily is an artist, designer, and lecturer in Critical and Contextual Studies. His work includes texts, drawings, sculpture, film and photography. His recurring themes include exploration, direction, and place and purpose which underpin his search for a biblical worldview.

[owendaily.net/pilgrim]

pilgrimcompanioncover266x200cmyk.indd 1 08/05/2012 09:18

AcknowledgementsI would gratefully like to acknowledge the European Leadership

Forum for providing the opportunity for this project to be realised. My deepest thanks to Morphé Arts* for their constant encouragement and support. Dr Chris Mullen’s remarkable website fulltable.com has been a significant resource in making this book and I owe him a great debt of gratitude.

About this Artists’ bookProduced by Owen Daily, as first Artist-in-Residence at the 2012

European Leadership Forum, Eger Hungary, in a limited edition and available online as an ebook or print-on-demand publication.

Every effort has been made to ensure all sources used in this work have been correctly referenced to avoid copyright issues. All copyright remains with the original publishers. If you believe an image or text has been wrongly attributed or wish it to be removed from this publication, please write to [email protected].

All content was chosen by the artist, the views expressed are those of the individual authors and their inclusion does not signify an endorsement by forum organisers.

This work is licensed under the Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-sa/3.0/ or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA.

The author hopes to develop this work further. Please send your comments, criticisms etc., to the above email address.

* Morphé Arts[www.morphearts.org]isaUK-basednetworkofcreativeChristians,whowanttomakegreatartandworkwellforGod’sgloryinthebeliefthatallpeoplearemadeintheimageofanexcellentcreatorGodandhaveamandatetotakecareoftheworldanddevelopculture.

Pilgrim’s Companion

An artists’ book created for the European Leadership Forum,

Eger, Hungary 2012

p.d.f. edition Owen DailyArtist-in-Residence

47.89902°N 20.37470°E

list of illustrAtionsi BarMagnetandMetalFilings.urlhttp://tsgphysics.mit.edu/pics/G%20

Magnetic%20Fields/G2-Bar-Magnet-edited-sm.jpgii TheVisualTellingofStories-ImagingScience-Astronomy[wwwDocument],

2012.urlhttp://www.fulltable.com/vts/i/imsc/ab/a.htmiv Honter,J.,1541.ImaginesConstellationumBorealium[-Australium],in:Ptolemy,

Claudius.Omniaquæextantopera.Basel,1541.(detail).(Artist’scollection).Alsousedforcoverimage.

vi Cellarius,A.,1661.HemiOrbisAntiNisCircvpvlorum:SphµriumQviCvmzoLisetSitvDiverso,fromHarmoniaMacrocosmica.(Artist’scollection)

viii Topimages(LeftandRightpages)fromEncyclopedicImpulses,TheIconographicEncyclopediaofScience,LiteratureandArt,1851[wwwDocument],2012.urlhttp://www.fulltable.com/vts/e/enc/enc/b.htm

viii Bottomimage:NarrativesofUrbanDevelopmentPlymouth1943[wwwDocument],2012.urlhttp://www.fulltable.com/vts/d/devplan/e/b.htm

x WenceslasHollar-SacraNemesis-WikimediaCommons[wwwDocument],2012.urlhttp://commons.wikimedia.org/wiki/File:Wenceslas_Hollar_-_Sacra_Nemesis_(State_1).jpg

x Skullimage,collectionoftheartist,originunknownxi TheSymbolicHead,fromThePictureMagazine1893.ThePictureMagazine,via

fulltable.comxii AMapofBohemia,GelletBurgess,firstpublishedinTheLark,1896.Reproduced

inA.Parry’s1933book,GarretsandPretenders:AHistoryofBohemianisminAmerica.

1 TitleImageadaptedfromTryon,T.,1684.TheCountryMan’sCompanion[Totellwhatisaclock(whentheSunShines)byone’sHand].AndrewSowle.

8 HandGesturesforDivers[wwwDocument],2012.urlhttp://www.fulltable.com/vts/i/igr/42.jpg

9 HoboSigns.urlhttp://www.worldpath.net/~minstrel/hobosign.htm10 AdaptedfromFrisking[wwwDocument],2012.urlhttp://www.fulltable.com/

vts/i/igr/f.jpg12 Conversationstarterssourcedfromtheartist’ssketchbookandincludesextracts

fromFrayn,M.,1974.Constructions.Faber&FaberandWebsterSmith,B.(Ed.),1961.TheBoysCompanion.Blackie&SonLtd.

34 DiderotandD’Alembert,selectedsequentialplatesfromL’Encyclopedie,Gallery06[wwwDocument],2012.urlhttp://www.fulltable.com/vts/e/encyc/b/c.htm

contents

Beginningyourjourney 4

Planningyourday 6

Restingandknowingwhentostop 8

Findingaplacetostay 9

Adviceongreetingyourhost 10

Overcominglocaldialectsandcustoms 12

Understandingtimesandseasons 28

Tableofdistances 30

Pointstonotewhenplanningahead 32

4 beginning your journey

Who is this book for?Whether you are a seasoned traveller or an occasional

day-tripper, this diverse and highly subjective travel guide offers you a number of perspectives on place and purpose, including 17th Century printmaking, Pickpockets and Relational Aesthetics.

Created for the 2012 European Leadership Forum in Eger, Hungary, it is hoped this limited edition artists’ book will be a constant companion for many more of your journeys. Please send your post-cards to [email protected]. BonVoyage!

A word about method*

“Characters should be interchangeable as between one book and another. The entire corpus of existing literature should be regarded as a limbo from which discerning authors could draw their characters as required, creating only when they had failed to find a suitable existing puppet. The modern novel should be largely a work of reference. Most authors spend their time saying what has been said before—usually said much better. A wealth of references to existing works would acquaint the reader instantaneously with the nature of each character, would obviate tiresome explanations and would effectively preclude mountebanks, upstarts, thimbleriggers and persons of inferior education from an understanding of contemporary literature. …That is all my bum, said Brinsley.”

* QuotationfromO’Brien,F.,2000(firstpublished1939).AtSwimTwoBirds.PenguinClassics.NewEdEdition

5beginning your journey

A word about attitude*

“When I have had enough of tears and love, I turn to some poet and set out again for a new world.”

When to start**

“If you want to be useful you can always start now, with only 1 percent of what you have in your grand vision. It’ll be a humble prototype version of your grand vision, but you’ll be in the game. You’ll be ahead of the rest, because you actually started, while others are waiting for the finishing line to magically appear at the starting line.”

A different approach in using a map***

“The big distances had come as a side effect of focusing on a small stretch at any one time, and here I was helped by the makers of my handlebar-bag. Before setting off each day, I’d fold the appropriate map into a contorted shape in the map case so that just the part I needed for the morning’s ride was visible. I’d stop and display the next few kilometres as necessary. In this way I’d inched my way across the whole of map 230,Bretagneand was now in the middle folds of 232,PaysdeLoire. A project management expert I know avoids drift on a long job by arranging ‘inchpebbles’ between the milestones. My inch pebbles were the ends of what could be displayed in the map case at any one time. As long as you were heading in the right direction, there was no point in worrying about anything else beyond the most immediate terrain.”

Quotationsfrom:*deMaistre,X.,2012.AJourneyRoundMyRoom:Maistre,Xavierde,1763-1852[wwwDocument].urlhttp://tinyurl.com/d8h52m3**Sivers,D.,2011.AnythingYouWant.TheDominoProject.***Moore,D.,2005.TheAccidentalPilgrim.HodderHeadline-Ireland.

6 Planning your day

Using your time and energy effectively*.

“An Artist must regulate his life.

This is the precise timetable of my daily acts.I rise: at 07.18; inspired: from 10.23 to 11.47. I lunch at 12.11 and leave the table at 12.14.

Constitutional ride around my estate: from 13.19 to 14.53. Further inspiration: from 15.12 to 16.07.

Various activities (fencing, reflection, immobility, visits, contemplation, dexterity, swimming, etc.): from 16.21 to 18.47.

Dinner is served at 19.16 and ends at 19.20. Followed by symphonic readings, aloud: from 20.09 to 21.59.

I retire with regularity at 22.37. Once a week I wake up with a start at 03.19 (on Tuesdays).

I eat only white victuals: eggs, sugar, grated bones; the fat of dead animals; veal, salt, coconuts, chicken cooked in white water; fruit mould, rice, turnips; camphorised sausage, pasta, cheese (cream), cotton salad and certain kinds of fish (without the skin).

I have my wine boiled, and drink it cold with fuscia juice. * FromVolta,O.(Ed.),1996.ErikSatie-AMammal’sNotebook.AtlasPress.

7Planning your day

I am a hearty eater; but never speak while eating, for fear of strangling.

I breathe with care (a little at a time). I very rarely dance. When walking, I hold my sides, and stare fixedly behind me.

I look very serious, and if I laugh it is never on purpose. I always apologise, and do so most affably.

I sleep with only one eye; I sleep very hard. My bed is round, with a hole to put my head through. Every hour a servant takes my temperature and gives me a new one.

I have subscribed for many years to a fashion magazine.I wear a white cap, white stockings, and a white waistcoat.My doctor has always told me to smoke. He adds to his advice: “You should smoke, my friend: for if you don’t, someone else will smoke in your place.”

8 resting and knowing when to stop

Learn to recognise your body’s signs, before it’s too late!

9finding a place to stay

KindheArtedLAdy

Kind WoMAnWoMAn

houseWife feeds for

chores

sit doWn feed food for

WorK

WeALthygentLeMAngood for A hAndoutbreAdtALK reLigion

get fooodfood for WorKing

i Ate ALLright(oLd)

eAsy MArK teLL pitifuL story

WorK AvAiLAbLe

teLL A hArd LucK story

here

here is the pLAce

good chAnce to get Money

herecAn sLeep

in bArnsLeep

in bArnAnything goesfAKe iLLness here

heLp if sicK

MAn With A gun dog bAd dog officer

poLice officer Lives here judge

soMeone hoMeno one hoMeoWner outoWner hoMedoubtfuLnothing doing here

doctor teLephone poor MAnbAd teMpered

oWnder dishonest MAn

Observe and memorise the secret street-signs of other poor pilgrims

10 Advice on greeting your host

A simple step–by–step “Hello” method (Ideal for making friends wherever you stay)

11Advice on greeting your host

Remember!Youcanalsoemploythiseasy-to-usemethodwhensaying“Good-bye”…Youcanbesuretheywillneverforgetyou.

12 overcoming local dialects and customs

Suggested conversation starters…

13overcoming local dialects and customs




Suggested approach to asking for directions…*

(the author was greatly helped by this when lost in “museum” or “gallery”and occasional“church”)

“Wouldyourestateyourunderstandingoftherelationshipbetweenartandphilosophy,giventhatyou’vealwaysdefinedyourworkinrelationtophilosophy?”

When art ceased to be defined simply in terms of forms and colours, and began to see itself as a signifying activity, the nature of the practice along with its presumed agenda radically shifted. First, the tendency was to avoid working with elements which were already loaded with meaning as ‘art’, since this tended to eclipse the signifying project that the artist had in mind. As a result, at least in my case, language itself became both the constructive element and the cultural model simultaneously. The practical implication of this was that context became the organising ‘material’ around which work formed itself. It became clear that anything could be used, meaningfully, in an art work and that the whole horizon of mass culture within which our consciousness is formed became both a source and a critical location. While philosophy was dying in the academy within a tradition of speculation, art emerged as an activity which could ask questions as it had effect in a world it was part of. Art does not have philosophy’s task, this at least partly accounts for its emergence as the most likely candidate to replace it. Philosophy is itself untenable as a philosophical concept.

* JosephKosuthInterview.InstallationArt.WileyAcademy1993.


“Howdoesthisrelationshowitselfinyourspecificartpractices,i.e.,ininstallations?”

Installations are fixed. They practise a commitment to a particular location and are largely formed by that context, be it architectural, social, psychological, institutional or whatever. Such work constructs its own ‘event context’ for the experience of the viewer and in so doing establishes the subjective role of the viewer within the signifying activity as part of the viewer’s experience. Beyond the temporary aspect of many, if not most, installations, it is the movability of individual works (which are either actually or a stand-in for painting and sculpture) which now imbued them with a kind of commodity aura. It is the fixed-ness of installations which gives them an actual place in the world and permits that process of signification to function over and above the commodity-reading which so now effects our approach to other kinds of work. In an important way, installations return the language of art to something more akin to ‘speech acts’ (non-pragmatised, of course) and a change of direction away from gilded illuminations.


When rambling, personal safety is a priority: Be particularly aware of pickpockets*

It is difficult to accept oneself-a producer of things (sculptures, objects, and so on) after experiencing the art of arranging situations, or after reading a fragment like “Creation is something other than arranging forms and objects; it is inventing new rules for their arrangement.” Let’s take a closer look at this: physical space, with its miscellany of mutations to be designed, invented or imagined by an artist, no longer interests me. I am interested in mental space, the space of human contact, i.e., contact with another person. The montage of space, its multifarious contortion, is for me a sterile activity. You are misled into myriad combinations, from which you are able to choose barely one or two. The constructing of a spatial object is a struggle with intangible externality.

I am intrigued by places where the material of life

intermingles with the synthetic world of art. All products of art are synthetic, after all: more or less calculated proofs of either intellectual capacity or manual dexterity, or of that certain ‘something’ which remains mysterious for everyone. The artist is a product of the repulsion caused by acute reality, though the way its elements affect each of us is a personal matter. The artist levitates over that reality, lowering cognitive tentacles into it. Consequently,

* ExcerptsfromArturZmijewski–AFavouriteTheoryofArt«The405ArtsEditor[wwwDocument].urlhttp://wslaterwca.wordpress.com/unit-7/artur-zmijewski-%E2%80%93-a-favourite-theory-of-art/


being an artist is a secure position, a justification for all kinds of excesses, and certainly artistic ones (the work). However, if we abolish the privileges that come with the title ‘artist’, those justifications disappear. The bandage is removed, and convention no longer offers asylum. This can be quite dangerous and painful, since the encounter with life without a ‘life-proof ’ suit can hurt, especially when you touch swollen sore spots.

On the level of interpersonal contact, thinking, and the like, mental space is an incredibly dynamic continuum of change, lacking any constants (though it is equipped with signposts). It is not chaos; one could say that there are motorways and side roads, as well as secret pathways of unbelievably lascivious perversion and criminal deviancy. Generally the traffic here is rather one-way. Curves and other transformational elements can appear, which creates tensions and conflicts. Thus the work of art is only a vehicle for transmissions accelerating changes in content. This is rumination, digestion, which proceeds unbelievably slowly, though at times it may abruptly transform consciousness (illumination) shifting it from one level to another. This rumination occurs both in private (feelings) and in public (reviews).

I am not interested in a object which aims at self-sufficiency, but in a defective, unripe object which requires action and care on the part of the artist, his, reanimatory activity, so to speak, one which constantly


renders meaning to the object. An (in)self-sufficient object enters into an artistic symbiosis with the artist, with his mind, as well as with the mind of the viewer. It ceases to be a mere object, and becomes an amalgam of object and subject-neither one or the other, a mental object. This object requires constant explaining and telling, and seems to be endowed with a capacity for change according to the direction commentary takes. I am interested in such a ripening object, a mental object that sounds sexual—or ‘suc-sual—which in a sense it is, because it incorporates an intimate effect on carnality, the way a pornographic film does. The art object can provide a kick-start, with an incendiary effect on the ‘vapours’ of our world-views. One can clarify or harden them, provoking even greater secretions of venom. Mental space may be pierced or penetrated by an object, and art-objects reveal a specific map, the map of those world-views. Their content sometimes forces us to adopt a some specific position, ethical, moral, and so forth, and one might say around the content pivotal a ‘carousel of stances.’ This map is an interesting thing. It precisely defines moral and aesthetic standards and world-views for the group, the milieu, and the individual. And this is normal politics, understood as a sequence of moves whose goal is the recognition of standards for needs and goals among the participants of a political game-that is, establishing a map. Another goal is homeostasis, the striving for an equilibrium, even a compromising one, despite conflicts of interests.


Why are pickpockets so successful at petty theft? Because they are people with a specific talent. They are able to discern (e.g., in a crowd) ‘niches of inattention’ or ‘niches of absence,’ which are places where people’s awareness is disabled, fragmentary. They note places that are ‘anaesthetised,’ insensitive to the touch or to outside interference. A pickpocket recognizes such a place and acts. Our realization that we have been robbed generates emotions similar to states of sensory deprivation: a lack of points of reference and a sense that the security of an area is an illusion, and so on. Artists operate the same way. Some can accurately determine our ‘niches of inattention,’ which allows them to penetrate, without any state of mediation, the intimacy of another person, into his or her mental space. This has nothing to do with brainwashing, but rather with sophisticated shrewdness, because one has to smuggle oneself in. The artist hits upon a permeable brain-channel free from erudite intellectual filth; he hits upon it because he has searched for it, and stimulated it to open.


On discovering new meeting places*

These days, communications are plunging human contacts into monitored areas that divide the social bond up into (quite) different products. Artistic activity, for its part, strives to achieve modest connections, open up (One or two) obstructed passages, and connect levels of reality kept apart from one another. The much vaunted “communication superhighways”, with their toll plazas and picnic areas, threaten to become the only possible thoroughfare from a point to another in the human world. The superhighway may well actually help us to travel faster and more efficiently, yet it has the drawback of turning its users into consumers of miles and their by-products. We feel meagre and helpless when faced with the electronic media, theme parks, user-friendly places, and the spread of compatible forms of sociability, like the laboratory rat doomed to an inexorable itinerary in its cage, littered with chunks of cheese.

The ideal subject of the society of extras is thus reduced to the condition of a consumer of time and space. For anything that cannot be marketed will inevitably vanish. Before long, it will not be possible to maintain relationships between people outside these trading areas. So here we are supposed to talk about things around a duly priced drink, as a symbolic form of contemporary human relations. You are looking for shared warmth, and the comforting feeling of well being for two? So try our coffee…

* ExcerptsfromRelationalAesthetics.Bourriaud,N.,1998.LesPressduReel,France.


The space of current relations is thus the space most severely affected by general reification. The relationship between people, as symbolised by goods or replaced by them, and signposted by logos, has to take on extreme and clandestine forms, if it is to dodge the empire of predictability. The social bond has turned into a standardised artefact. In a world governed by the division of labour and ultra-specialisation, mechanisation and the law of profitability, it behoves the powers that human relations should be channelled towards accordingly planned outlets, and that they should be pursued on the basis of one or two simple principles, which can be both monitored and repeated. The supreme “separation”, the separation that affects relational channels, represents the final stage in the transformation to the “Society of the Spectacle” as described by Guy Debord. This is a society where human relations are no longer “directly experienced”, but start to become blurred in their “spectacular” representation. Herein lies the most burning issue to do with art today: is it still possible to generate relationships with the world, in a practical field art-history traditionally earmarked for their “representation”?

[…] So the modern emancipation plan has been substituted by countless forms of melancholy.

[Under Modernism] Art was intended to prepare and announce a future world: today it is modelling possible universes.


Otherwise put, the role of artworks is no longer to form imaginary and utopian realities, but to actually be ways of living and models of action within the existing real, whatever the scale chosen by the artist. Althusser said that one always catches the world’s train on the move; Deleuze, that “grass grows from the middle” and not from the bottom or the top. The artist dwells in the circumstances the present offers him, so as to turn the setting of his life (his links with the physical and conceptual world) into a lasting world. He catches the world on the move: he is a tenant of culture, to borrow Michel de Certeau’s expression**

[…]The possibility of a relational art (an art taking as its theoretical horizon the realm of human interactions and its social context, rather than the assertion of an independent and private symbolic space), points to a radical upheaval of the aesthetic, cultural and political goals introduced by modern art.

[…]art has always been relational in varying degrees, i.e. a factor of sociability and a founding principle of dialogue. One of the virtual properties of the image is its power of linkage (Fr. reliance), to borrow Michel Maffesoli’s term: flags, logos, icons, signs, all produce empathy and sharing, and all generate bond*** Art (practices stemming from painting and sculpture which come across in the form of an exhibition) turns out to

** MicheldeCerteau:Manieresdejaire,EditionsIdees-Gallimard.*** MichelMaffesoli:Lacontemplationdumonde,EditionsGrasset,1993.


be particularly suitable when it comes to expressing this hands on civilisation, because it tightens the space of relations...

[…] Relational aesthetics does not represent a theory of art, this would imply the statement of an origin and a destination, but a theory of form.

[…]What do we mean by form? A coherent unit, a structure (independent entity of inner dependencies) which shows the typical features of a world. The artwork does not have an exclusive hold on it, it is merely a subset in the overall series of existing forms. In the materialistic philosophical tradition ushered in by Epicurus and Lucretius, atoms fall in parallel formations into the void, following a slightly diagonal course. If one of these atoms swerves off course, it “causes an encounter with the next atom and from encounter to encounter a pile-up, and the birth of the world” ... This is how forms come into being, from the “deviation” and random encounter between two hitherto parallel elements. In order to create a world, this encounter must be a lasting one: the elements forming it must be joined together in a form, in other words, there must have been “a setting of elements on one another (the way ice ‘sets’)”. “Form can be defined as a lasting encounter”. Lasting encounters, lines and colours inscribed on the surface of a Delacroix painting, the scrap objects that litter Schwitters’ “Merz pictures”, Chris Burden’s performances: over and above the quality of


the page layout or the spatial layout, they turn out to be lasting from the moment when their components form a whole whose sense “holds good” at the moment of their birth, stirring up new “possibilities of life”.

[…]There are no forms in nature, in the wild state, as it is our gaze that creates these, by cutting them out in the depth of the visible. Forms are developed, one from another. What was yesterday regarded as formless or “informal” is no longer these things today. When the aesthetic discussion evolves, the status of form evolves along with it, and through it.

[…]The form of an artwork issues from a negotiation with the intelligible, which is bequeathed to us. Through it, the artist embarks upon a dialogue. The artistic practice thus resides in the invention of relations between consciousness. Each particular artwork is a proposal to live in a shared world, and the work of every artist is a bundle of relations with the world, giving rise to other relations, and so on and so forth, ad infinitum.

[…]Form is a dynamic that is included both, or turn by turn, in time and space. Form can only come about from a meeting between two levels of reality.

[…]To give a broad historical picture, let us say that artworks were first situated in a transcendent world, within which art aimed at introducing ways of communicating with the deity. It acted as an interface between human


society and the invisible forces governing its movements, alongside a nature that represented the model order. An understanding of this order made it possible to draw closer to divine designs. Art gradually abandoned this goal, and explored the relations existing between Man and the world. This new, relational, dialectical order developed from the Renaissance on, a period that attached great importance to the physical situation of the human being in his world, even if this world was still ruled by the divine figure, with the help of new visual tools such as Alberti’s perspective, anatomical realism, and Leonardo da Vinci’s “Sfumato”. This artwork’s purpose was not radically challenged until the arrival of Cubism which attempted to analyse our visual links with the world by way of the most nondescript everyday objects and features (the corner of a table, pipes and guitars), based on a mental realism that reinstated the moving mechanisms of our acquaintance with the object.

[…]Today, this history seems to have taken a new turn. After the area of relations between Humankind and deity, and then between Humankind and the object, artistic practice is now focused upon the sphere of inter-human relations, as illustrated by artistic activities that have been in progress since the early 1990s.

28 understanding times and seasons

Graph showing the sun’s path above Eger on 24/5/12

29understanding times and seasons

EGER: Sunrise Sunset HoursofLight19/5/12...........04:55....................20:16.............................. 15:2120/5/12...........04:54....................20:17.............................. 15:2321/5/12...........04:53....................20:18.............................. 15:2522/5/12...........04:52....................20:19.............................. 15:2723/5/12...........04:51....................20:20.............................. 15:2924/5/12...........04:50....................20:22.............................. 15:32

AProfoundWeakness................................ BettySpackmanArtHistoryAfterModernism..........................HansBeltingArtNeedsnoJustification...................... HansRookmaakerArtandSoul..................HilaryBrand/AdrienneChapmanArtandtheBible...................................... FrancesSchaefferArtinAction......................................... NicolasWolterstorffBearingFreshOliveleaves...........................CalvinSeervaldBeyondAirGuitar...................................... AlastairGordonGodintheGallery.............................................. DanSiedellImagine.............................................................SteveTurnerMakingContemporaryArt–Howtoday’sartistsworkandthink.......................................................... LindaWientraubModernArtandtheDeathofaCulture.....HRookmaakerOntheStrangePlaceofReligioninContemporaryArt...... ........................................................................... JamesElkinsRe-Enchantment..................... JamesElkins/DavidMorganRefractions................................................MakotoFujimuraSevenDaysintheArtworld.......................SarahThorntonTheArtofGodandtheReligionsofArt...D.ThistlethwaiteTheStoryofArt............................................E.H.GombrichTrilogy....................................................... FrancesSchaefferWaysofSeeing....................................................JohnBerger

30 table of distances

31table of distances

32 Points to note when planning ahead

Points to note when planning ahead*

Inthefutureeveryonewillhavethesamehaircutandthesameclothes.

Inthefutureeveryonewillbeveryfatfromthestarchydiet.Inthefutureeveryonewillbeverythin

fromnothavingenoughtoeat.Inthefutureitwillbenexttoimpossibletotellgirlsfromboys,

eveninbed.Inthefuturemenwillbe"super-masculine"

andwomenwillbe"ultra-feminine."Inthefuturehalfofuswillbe"mentallyill."

Inthefuturetherewillbenoreligionorspiritualismofanysort.Inthefuturethe"psychicarts"willbeputtopracticaluse.Inthefuturewewillnotthinkthat"nature"isbeautiful.

Inthefuturetheweatherwillalwaysbethesame.Inthefuturenoonewillfightwithanyoneelse.

Inthefuturetherewillbeanatomicwar.Inthefuturewaterwillbeexpensive.

Inthefutureallmaterialitemswillbefree.Inthefutureeveryone'shousewillbelikealittlefortress.

Inthefutureeveryone'shousewillbeatotalentertainmentcenter.

Inthefutureeveryonebutthewealthywillbeveryhappy.Inthefutureeveryonebutthewealthywillbeveryfilthy.

Inthefutureeveryonebutthewealthywillbeveryhealthy.InthefutureTVwillbesogoodthattheprintedword

willfunctionasanartformonly.Inthefuturepeoplewithboringjobswilltakepills

torelievetheboredom.

* SongLyricbyByrne,D.,2012.DavidByrne.com-TheKneePlays-Lyrics[wwwDocument].urlhttp://www.davidbyrne.com/music/cds/knee_plays/lyrics.php.Listenonlinehttp://tinyurl.com/d6sh3dm

33Points to note when planning ahead

InthefuturenoonewillliveincitiesInthefuturetherewillbemini-warsgoingoneverywhere.Inthefutureeveryonewillthinkaboutloveallthetime.Inthefuturepoliticalandotherdecisionswillbebased

completelyonopinionpolls.Inthefuturetherewillbemachineswhichwillproducea

religiousexperienceintheuser.Inthefuturetherewillbegroupsofwildpeople,

livinginthewilderness.Inthefuturetherewillbeonlypapermoney,

whichwillbepersonalized.Inthefuturetherewillbeaclasslesssociety.

Inthefutureeveryonewillonlygettogohomeonceayear.Inthefutureeveryonewillstayhomeallthetime.

Inthefuturewewillnothavetimeforleisureactivities.Inthefuturewewillonly"work"onedayaweek.

Inthefutureourbodieswillbeshriveledupbutourbrainswillbebigger.

Inthefuturetherewillbestarvingpeopleeverywhere.Inthefuturepeoplewillliveinspace.

InthefuturenoonewillbeabletoaffordTV.Inthefuturethehelplesswillbekilled.

Inthefutureeveryonewillhavetheirownstyleofway-outclothes.

Inthefuturewewillmakelovetoanythinganytimeanywhere.Inthefuturetherewillbesomuchgoingonthatnoonewillbeabletokeeptrackofit.

Pilgrim’sCompanion

Whether you are a seasoned traveller or an occasional day-tripper, this diverse and highly subjective travel guide offers you a number of perspectives on place and purpose, including 17th Century printmaking, Pickpockets and

Relational Aesthetics.

Created for the 2012 European Leadership Forum in Eger, Hungary, it is hoped this

limited edition artists’ book will be a constant companion for many more of your journeys.

Owen Daily is an artist, designer, and lecturer in Critical and Contextual Studies. His work includes texts, drawings, sculpture, film and photography. His recurring themes include exploration, direction, and place and purpose which underpin his search for a biblical worldview.

[owendaily.net/pilgrim]

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Pilgrim's Companion