In a decidedly playful way, Ludic Dreaming exaggerates philosophy's and the arts' shared fondness for fabulation and the role it performs in forging images of "truth" from what has no need to be true--a fondness for purely expressive correspondences or what Deleuze (after Nietzsche) called "the powers of the false." Such an approach is "post-critical" precisely to the extent that waking life is characterized by the kind of radical proximity of things that gives dreaming life its discomfiting immediacy. A post-critical thinking, therefore, substitutes vital involvement for analytical duty. As such, we affirm dreaming as a technique (for thinking how) to engage with a world where the goings-on of dreams are no longer wholly the prerogative of sleep. Ludic Dreaming proceeds, then, to performatively instruct how dreaming's peculiar thoughtfulness can bear on a world whose events are as over- and underdetermined as any happening we might concoct in repose. Contemporary life, whether taken in its slumbering or stirring profile, can from this point be approached as a dream because its flows of images, sounds, feelings, ambiences, ideas, promises, and meanings are as proximate and promiscuous as any fantasy. Dreams have never been accountable to the immediacy of the reality that they are. Now it's life's turn.
Hiebert, T., ed. (2016) Plastic Blue Marble—Catalyst: Amanda Boetzkes. With contributions by Shannon Bell, David Cecchetto, Mark Cheetham, Ted Hiebert, Doug Jarvis, Serena Kataoka, Anne Pasek, Andrew Pendakis and Maria Whiteman. 185 pages. Seattle: Noxious Sector Press.
Plastic Blue Marble—Catalyst: Amanda Boetzkes
Hiebert, T., ed. (2016) Plastic Blue Marble—Catalyst: Amanda Boetzkes. With contributions by Shannon Bell, David Cecchetto, Mark Cheetham, Ted Hiebert, Doug Jarvis, Serena Kataoka, Anne Pasek, Andrew Pendakis and Maria Whiteman. 185 pages. Seattle: Noxious Sector Press.| View book: Amazon.com | pdf download
Our earth is no longer the solitary blue marble pictured from outer space by the Apollo 17 crew in 1972. Now, scholars such as Amanda Boetzkes imagine it as a plastic blue marble, mediated as it is through the paradoxes of intersectional and elemental thinking, anthropogenic change, and the ongoing project of imagining the futures we are building together. From visions of catastrophe to poetic journeys through the urban, social and artistic imagination, the contributions in this volume redistribute the currents of Boetzkes's ecological and theoretical insights. They discover new terrains of consideration, styles of thinking and creative forms of engaging with art, philosophy and ecological speculation.
This volume collects the curatorial writing produced at Noxious Sector Projects, a window gallery in downtown Seattle, curated by Ted Hiebert between 2011-13. The gallery had as its mandate to be a "formalized forum for informal inquiry" and to exhibit works that creatively challenged the boundaries between the imaginary and the everyday. Featuring the work of: Jackson 2bears, Cindy Baker, Cedar Tavern Singers, Tanya Doody, Neal Fryett, Tetsushi Higashino, Doug Jarvis, Arthur & Marilouise Kroker, Christian Kuras & Ben Tanner, Christian Kuras & Duncan MacKenzie, David LaRiviere, Nate Larson & Marni Shindelman, Urich Lau, Deirdre Logue & Allyson Mitchell, Susan MacWilliam, Ingrid Mary Percy, M.E.D.I.U.M., Steven Rayner, Janet Marie Rogers & Alex Jacobs, Scott Rogers, Second Front, Nathan Shafer, Cara-Ann Simpson, Jason Tentor, Jennifer Willet & Kira O'Reilly.
Hiebert, T. (2012) In Praise Nonsense: Aesthetics, Uncertainty & Postmodern Identity. Montreal: McGill-Queen's University Press. 236 pages.
In Praise of Nonsense
Hiebert, T. (2012) In Praise Nonsense: Aesthetics, Uncertainty & Postmodern Identity. Montreal: McGill-Queen's University Press. 236 pages.| View book: Amazon.com | pdf download
In Praise of Nonsense explores the possibilities and parameters of a postmodern imagination freed from the philosophical responsibilities of fiction, fact, and replication of lived experience. Mobilizing an array of scholars and contemporary artists, this study examines postmodern thinking through the lenses of identity and visual culture. Speculative, critical, and always creative in its approach, In Praise of Nonsense focuses on theories of disappearance, irony, and nonsense, where the pleasures of the imaginary give rise to artistic inspiration. When truth is unhinged, so is falsity, and all artistic thinking is called into question. The book takes on the ambitious project of holding postmodernism accountable for its own conclusions while also considering how those conclusions might still be given philosophical and artistic form.