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8. David Carrier's Artwriting,
(1987)
puts forward the proposition
that art theory has been
replaced by an emphasis on
rhetoric.
Was it rhetoric all along?
What place does narrative
play in persuading us?

16. Mise en scene can consist of the “creation of a
precise complex of sets and characters, a network of
relationships, an architecture of connections, an
animated complex that seems suspended in space
[…] what is seen is less important than the way of
seeing, or a certain way of needing to see or be
seen.”
Alexandre Astruc (1959)
French auteurist film critic who coined the notion of the caméra-stylo or
"camera-pen“.

17. ‘State of Play – Art and Culture in Scotland
Today’.
Peter Hill will speak at the Hawthornden
Lecture Theatre - Weston Link, National
Gallery Complex, Edinburgh on Saturday
2nd April 2011.
Peter Hill – Superfictions
A Superfiction is a visual or conceptual artwork which uses fiction and
appropriation to mirror organisations, business structures, and/or the lives of
invented individuals. The term was coined by Glasgow-born artist Peter Hill in
1989.

32. Two broad approaches:
• Mimetic - To make a specific subject the
motive for mise en scene.
• Generic - To use mise en scene as the
basis for further work: (i.e. to develop
genres and narrators.)

33. Two broad ways of working:
• Mimetic - To make a specific subject the
motive for mise en scene.
• Generic - To use mise en scene as the
basis for further work: (i.e. to develop
genres and narrators.)

44. Cultural Logic of Ambient
e.g. Viral
This concerns how something is distributed.

64. Who expresses?
Raises issue of the narrator.
• The narrator is a social actor.
• This is true of the artist and the
audience alike, both are playing
roles.
• We are all unreliable narrators (like
the Wizard of Oz) since we are not
omnipotent.
• We are both restrained and enabled
by our argot - it is our world.