“No longer can a work be reduced to the presence of an object in the here and now; rather, it consists of a significant network whose interrelationships the artist elaborates, and whose progression in time and space he or she controls; a circuit, in fact.”
p4 (my numbering)
“What is cutting-edge in these frolics is not the summoning-up of the past to express the present; it is the visual language with which this business is transacted – that of travelling and nomadism. There are no longer cultural roots to sustain forms, no exact cultural base to serve as a benchmark for variations, no nucleaus, no boundaries for artistic language. Today’s artist, in order to arrive at precise points, takes as their starting-point global culture and no longer the reverse. The line is more important than the points along its length.”
This reminds me of the problem of editing anything down from fieldwork, or interviews that have been recorded, because as documentary it is interesting, however the real challenge is to take the specific accounts and to work out how that can be made to speak of something more general. I don’t think that this is what Bourriaud is talking about necessarily here, because he’s saying the opposite – this is in terms of editing, rather than in the conception of the work itself.