https://docs.google.com/document/d/192lKmomOgGCyfBvCNoCv3r3Q1qUuZ8PCNbk4O6_-fw8/edit?usp=sharing
https://dochub.com/marjorieboyles1d563907/26VK5P/we-grew-like-wildflower
Wednesday, December 14, 2016
Wednesday, November 23, 2016
Altermodern
uprooting, art as activist, end of separate art space art is linked with life.
postmodern importance of individual roots.
anti colonial
respect, tolerance- maintains status quo power relations
beyond post modern
co-exist-> cooperation
"radicant" develop roots as they advance
acknowledges globalization , subject is an object negotioation.
there is no other. we are an elsewhere as much as anywhere else
"Creolization" weapon against standardization.
vaugue ending-unsubstantiated
Artists help illuminate altra modern- coming modernity, new modernity, is it time for a new modernity.
Moxy
The other argument depends on the anachronism
involved in the experience of works of art, the awareness
that regardless of the moment of their creation they still
have the power to affect the present. p1
Translation is as impossible as it is necessary: impossible because, as Walter Benjamin points out, every translation from one language into another involves the creation of a third that corresponds with neither, and necessary because there is no other way of conceiving the possibility of transcultural communication or the potential of relating the image to the word.
As Johannes Fabian argues, it was only possible for Western powers to aspire to control the rest of the globe's cultures if they were characterized not only as spatially exotic but also as temporally backward
heterochrony (many times existing at the same time)
p2
The logic of chronology, traditionally history's overriding concern, is guaranteed by the sense that time has a purpose and a goal. p. 3
the impact of time on reading and meaning of images
If the time of the work is not to be restricted to the horizon of its creation, then its status as an agent in the creation of its own reception, its anachronic power, shines through. The "presence" of the work of art-its ontological existence, the ways it both escapes meaning yet repeatedly provokes and determines its own interpretation- comes to the fore.
p3
The tension between these apparently conflicting demands-the recognition of the specificity of a work's aesthetic presence and the interpretation of its social and cultural significance- has productively animated art historical literature in the past, as it continues to do today.
p4
A work can stop us in our tracks, so to speak, and insist that we acknowledge a form of perception that differs from that of the context in which it appears. Difference thus attempts to capture the perceptual awareness that temporalities precede our presence and depend on it. It gestures toward the to-and-fro of experience, the sense that what is called objectivity only receives that label as a consequence of its encounter with a subject.
p5
In the aftermath of colonization, economic, technological, military, and cultural factors still serve to maintain the time of Western Europe and North America as that against which all others are calibrated. Whether these hierarchies are accepted or challenged, it is utopian to pretend they do not exist.
p5
Does our awareness of the presentism of historical writing undermine a commitment to understanding the deep past?
p38
Do we need a new modern? When is it time to change your voice or let go of a past obsession or problem- when you are satisfied. Are we satisfied as in it is solved or that it cannot be soved and we are bored with the prospect. What was the question of modern post-modern?
It was a rethinking of space content form color economics audience... What was found what are we interested in finding out or searching or researching now? Is it a different question than the modern or post modern questions?
Modern art was inherently revolutionary, and thus antitraditionalist, antimimetic, and antihumanist. It explicitly set itself against the established conventions inherited from earlier ages. Rather-than see modern culture as the continuation of practices established in the Renaissance as the late nineteenth century had done, the artists of the early twentieth century aspired to a total break. If the Renaissance as a period was discovered as part of a historical progression inexorably leading to the naturalist and realist achievements of nineteenth-century art, it was now possible to see the modernist attack on the naturalism and realism of the previous period as part of a teleological movement toward greater and greater abstraction.
p38
[ from endnotes: 4. One of the most enduring articulations of this ideology is found in the work of Clement Greenberg. See his Art and Culture: Critical Essays (Boston: Beacon Press, 1989). For reflections on art history's modernist moment, see Thomas McEvilley, '~t History or Sacred History?," in Art and Discontent: Theory at the Millennium, 133-67 (New York: McPherson, 1991).]
the world wars forever changed the global consciousness
changed the question
Speed of transformation biggest transformation.
Jean-Francois Lyotard suggested that modernism itself has come to an end, and that postmodernism was its successor.6 This claim produced a furious response, and the value of the term postmodern is still debated today. The discussion proved so exhausting that it is difficult to use the term without a degree of irony.
p39
more about Lacan, Derrida, Fucault and Barthes, arguments are all just constructs of the capitalist regime.
Capitalism and modernism, in other words, are synonymous.
p40
Translation is as impossible as it is necessary: impossible because, as Walter Benjamin points out, every translation from one language into another involves the creation of a third that corresponds with neither, and necessary because there is no other way of conceiving the possibility of transcultural communication or the potential of relating the image to the word.
As Johannes Fabian argues, it was only possible for Western powers to aspire to control the rest of the globe's cultures if they were characterized not only as spatially exotic but also as temporally backward
heterochrony (many times existing at the same time)
p2
The logic of chronology, traditionally history's overriding concern, is guaranteed by the sense that time has a purpose and a goal. p. 3
the impact of time on reading and meaning of images
If the time of the work is not to be restricted to the horizon of its creation, then its status as an agent in the creation of its own reception, its anachronic power, shines through. The "presence" of the work of art-its ontological existence, the ways it both escapes meaning yet repeatedly provokes and determines its own interpretation- comes to the fore.
p3
The tension between these apparently conflicting demands-the recognition of the specificity of a work's aesthetic presence and the interpretation of its social and cultural significance- has productively animated art historical literature in the past, as it continues to do today.
p4
A work can stop us in our tracks, so to speak, and insist that we acknowledge a form of perception that differs from that of the context in which it appears. Difference thus attempts to capture the perceptual awareness that temporalities precede our presence and depend on it. It gestures toward the to-and-fro of experience, the sense that what is called objectivity only receives that label as a consequence of its encounter with a subject.
p5
In the aftermath of colonization, economic, technological, military, and cultural factors still serve to maintain the time of Western Europe and North America as that against which all others are calibrated. Whether these hierarchies are accepted or challenged, it is utopian to pretend they do not exist.
p5
Does our awareness of the presentism of historical writing undermine a commitment to understanding the deep past?
p38
Do we need a new modern? When is it time to change your voice or let go of a past obsession or problem- when you are satisfied. Are we satisfied as in it is solved or that it cannot be soved and we are bored with the prospect. What was the question of modern post-modern?
It was a rethinking of space content form color economics audience... What was found what are we interested in finding out or searching or researching now? Is it a different question than the modern or post modern questions?
Modern art was inherently revolutionary, and thus antitraditionalist, antimimetic, and antihumanist. It explicitly set itself against the established conventions inherited from earlier ages. Rather-than see modern culture as the continuation of practices established in the Renaissance as the late nineteenth century had done, the artists of the early twentieth century aspired to a total break. If the Renaissance as a period was discovered as part of a historical progression inexorably leading to the naturalist and realist achievements of nineteenth-century art, it was now possible to see the modernist attack on the naturalism and realism of the previous period as part of a teleological movement toward greater and greater abstraction.
p38
[ from endnotes: 4. One of the most enduring articulations of this ideology is found in the work of Clement Greenberg. See his Art and Culture: Critical Essays (Boston: Beacon Press, 1989). For reflections on art history's modernist moment, see Thomas McEvilley, '~t History or Sacred History?," in Art and Discontent: Theory at the Millennium, 133-67 (New York: McPherson, 1991).]
the world wars forever changed the global consciousness
changed the question
Speed of transformation biggest transformation.
Jean-Francois Lyotard suggested that modernism itself has come to an end, and that postmodernism was its successor.6 This claim produced a furious response, and the value of the term postmodern is still debated today. The discussion proved so exhausting that it is difficult to use the term without a degree of irony.
p39
more about Lacan, Derrida, Fucault and Barthes, arguments are all just constructs of the capitalist regime.
Capitalism and modernism, in other words, are synonymous.
p40
Thursday, November 10, 2016
can't make someone change
Have you ever dealt with a loved one that is doing something you know isn't good for them. You know that you cannot force them to see or change their ways before they are ready. Just so- one cannot speak loudly or convincingly enough, or antagonize enough, or reason with enough to point out the downfall of the approach of provocation to the provocation artist either- not until he or she is ready.
Antagonism/activism can to a call to awaken but cannot change peoples mindset. Art of war, Conan the Barbarian, and Aesop's Fables.
"The Wind and the Sun were disputing which was the stronger. Suddenly they saw a traveller coming down the road, and the Sun said: "I see a way to decide our dispute. Whichever of us can cause that traveller to take off his cloak shall be regarded as the stronger. You begin."
So the Sun retired behind a cloud, and the Wind began to blow as hard as it could upon the traveller. But the harder he blew the more closely did the traveller wrap his cloak round him, till at last the Wind had to give in despair." ...
Antagonism/activism can to a call to awaken but cannot change peoples mindset. Art of war, Conan the Barbarian, and Aesop's Fables.
"The Wind and the Sun were disputing which was the stronger. Suddenly they saw a traveller coming down the road, and the Sun said: "I see a way to decide our dispute. Whichever of us can cause that traveller to take off his cloak shall be regarded as the stronger. You begin."
So the Sun retired behind a cloud, and the Wind began to blow as hard as it could upon the traveller. But the harder he blew the more closely did the traveller wrap his cloak round him, till at last the Wind had to give in despair." ...
The prince Trump vs Clinton
Machiavelli concludes, in one of the most often quoted passages of the book, that fortune is like a woman (the word fortuna, in Italian, is a feminine noun, so this makes a little more sense in the original); if you wish to master her, you must conquer her by force. Moreover, she is more “willing” to be conquered by forceful men of ability than by timid cowards (remember that the word virtù means, literally, “manliness”).
Machiavelli's the Prince
vs.
The truly powerful Republics and Princes buy friendships not with money, but with virtue and reputation of strength.
Chapter 30 Machiavelli's The Discourses on Livy
Machiavelli's the Prince
vs.
The truly powerful Republics and Princes buy friendships not with money, but with virtue and reputation of strength.
Chapter 30 Machiavelli's The Discourses on Livy
Saturday, November 5, 2016
Kester
"The artwork is ... no longer presented to be consumed within a "monumental" time
frame and open for a universal public; rather it elapses within a factual time, for an
audience summoned by the artist.
NICHOLAS BOURRIAUD, RELATIONAL AESTHETICS" pg 29
Is this is why the relational or socially active art seems a little shallow or small? If it is created for a specific time it does not interact monumentally with the history of art in the physical art, only in the mind and the experience of the viewer/audience/participant.
"It is not entirely clear why the "social bond" should be any more reified now than it was twenty, fifty, or even a hundred years ago." pg30
Don't we have much more free time now it is just we are losing our ability to communicate "IRL" and many of our social graces. Are these graces part of the shackles of the the state or "the man". A way to remain polite and tolerance but not actually interact definitely not challenge or grow together in any meaningful way.
Relational Aesthetics as the new religion? "Machiavelli ranks then which rulers are most praiseworthy, the first of which being leaders who lead due to religion, then those who lead because they created a republic or kingdom." Leo Strauss, Thoughts on Machiavelli 1978
"Bourriaud also describes relational practice as an epiphenomenal expression of the shift from industrial forms of labor to a service economy." pg 30
We must keep busy to stay sane. The distractions we come up with are not healthy as a human race.
Further, he provides few substantive readings of specific projects. As a result, it is difficult to determine what, precisely, constitutes the aesthetic content of a given relational work." pg 30
yes he does provide few examples. I read the book but I have been told that my work that invites interaction, exchange and manipulation by the audience does not count because it starts with concrete art by an individual. It is more than a meeting for dining and interacting around mundane objects. These objects are mundane to me, my husband, my children and all the others artists and creators I know. As more and more people become creators and feel comfortable manipulating objects could my understanding of relational aesthetics not be considered proper?
"This tradition of artists working inc conjunction with social organizations]is not only absent from Bourriaud's account, it is openly disparaged as univP and even reactionary. "Any stance that is 'directly' critical of society," Bourriaud writes, "is futile." Bourriaud offers an ominous description of socially engaged art practice marching in lock-step conformity with "vaguely Stalinist political program" pg 31
" l'm not suggesting that relational art works need to develop a greater social conscious-by making pin-board works about international terrorism, for example, or giving free curries to refugees." Bishop in Kester pg 32
Is this is why the relational or socially active art seems a little shallow or small? If it is created for a specific time it does not interact monumentally with the history of art in the physical art, only in the mind and the experience of the viewer/audience/participant.
"It is not entirely clear why the "social bond" should be any more reified now than it was twenty, fifty, or even a hundred years ago." pg30
Don't we have much more free time now it is just we are losing our ability to communicate "IRL" and many of our social graces. Are these graces part of the shackles of the the state or "the man". A way to remain polite and tolerance but not actually interact definitely not challenge or grow together in any meaningful way.
Relational Aesthetics as the new religion? "Machiavelli ranks then which rulers are most praiseworthy, the first of which being leaders who lead due to religion, then those who lead because they created a republic or kingdom." Leo Strauss, Thoughts on Machiavelli 1978
"Bourriaud also describes relational practice as an epiphenomenal expression of the shift from industrial forms of labor to a service economy." pg 30
We must keep busy to stay sane. The distractions we come up with are not healthy as a human race.
Further, he provides few substantive readings of specific projects. As a result, it is difficult to determine what, precisely, constitutes the aesthetic content of a given relational work." pg 30
yes he does provide few examples. I read the book but I have been told that my work that invites interaction, exchange and manipulation by the audience does not count because it starts with concrete art by an individual. It is more than a meeting for dining and interacting around mundane objects. These objects are mundane to me, my husband, my children and all the others artists and creators I know. As more and more people become creators and feel comfortable manipulating objects could my understanding of relational aesthetics not be considered proper?
"This tradition of artists working inc conjunction with social organizations]is not only absent from Bourriaud's account, it is openly disparaged as univP and even reactionary. "Any stance that is 'directly' critical of society," Bourriaud writes, "is futile." Bourriaud offers an ominous description of socially engaged art practice marching in lock-step conformity with "vaguely Stalinist political program" pg 31
" l'm not suggesting that relational art works need to develop a greater social conscious-by making pin-board works about international terrorism, for example, or giving free curries to refugees." Bishop in Kester pg 32
"This is also the basis for Thomas Hirschhorn's
anxious assertion that he is not a "political artist," but rather an artist who
"makes art politically."" 24 pg31
This work reminds me of something I referenced in my artist statement for entry into this program- A touchtone, a location where community is free to form, not forced to form. What are the elements- way for members to feel and be involved and empowered, a feel of creation and belonging, a feeling of reverence or comfort.
from Tyler: To end on a brighter note, here's an inspiring quote from Boal, which came to mind when reading Mari's original post:
"But in its most essential sense, theatre is the capacity possessed by human beings – and not by animals – to observe themselves in action. Humans are capable of seeing themselves in the act of seeing, of thinking their emotions, of being moved by their thoughts. They can see themselves here and imagine themselves there; they can see themselves today and imagine themselves tomorrow" (1993).
from Jason: Further, Kester effectively convicts me here, "...in the artwork's relationship to the viewer via what I've described as a an 'orthopedic" aesthetic (in which the viewer's implicitly flawed modes of cognition or perception will be adjusted or improved via exposure to the work of art)," (35). I wrestle with being didactic, but I am not clear that it is significantly less adjudical to assume what social relations require artistic intervention.
from Mari: “Political change here and now is impossible because existing society is saturated by repressive forms of knowledge at the most basic level of human consciousness. Language itself polices and regulates our desires. As Roland Barthes famously claimed in his Inaugural Lecture ad the College de France, ‘Language is neither reactionary nor progressive; it is quite simply fascist, for fascism does not prevent speech, it compels speech… Once uttered, even in the subject’s deepest privacy, speech enters the service power.” (Kester pg 46)
from Jason: Further, Kester effectively convicts me here, "...in the artwork's relationship to the viewer via what I've described as a an 'orthopedic" aesthetic (in which the viewer's implicitly flawed modes of cognition or perception will be adjusted or improved via exposure to the work of art)," (35). I wrestle with being didactic, but I am not clear that it is significantly less adjudical to assume what social relations require artistic intervention.
from Mari: “Political change here and now is impossible because existing society is saturated by repressive forms of knowledge at the most basic level of human consciousness. Language itself polices and regulates our desires. As Roland Barthes famously claimed in his Inaugural Lecture ad the College de France, ‘Language is neither reactionary nor progressive; it is quite simply fascist, for fascism does not prevent speech, it compels speech… Once uttered, even in the subject’s deepest privacy, speech enters the service power.” (Kester pg 46)
Can we ever be autonomous artists/beings?
Wednesday, October 26, 2016
Kwon, one place after another
I am interested in the answers that Tyler may have to Michael's last question... I am very interested in Kwon's essay and may very well have it be the basis for my end on term project/paper. So is there updates in the discourse?
Pg. 163-165 Kwon
"Not belonging to any particular system but a system of movement"
"not normative conformaties...nonrational convergences forged by chance encounters and circumstances"
"longing"
"can also be described as a compensatory fantasy in response to the intensification of fragmentation and alienation wrought by a mobilized market economy"
"Trickster ethos...choice to reinvent, the choice to fictionalize, the choice to belong anywhere."
I feel I have tried to slip past the unmooring and go straight for the sense of belonging, thus not a true sense. The trickster is everywhere again like in the "old days" when people could move and make up whole histories for themselves. Now maybe it's tongue in cheek but happening more and more.
Not for you
Idea for projects:
Documenting the idea(s) of home.
I want to capture photographic evidence of our(me and my siblings) experience of home as a place. What Images do we keep in our home now?
What images have we posted on Facebook?
What images have we been tagged in?
What are out recollections of the different spaces that we called home.
Can we recreate our past. We do but do we do it on purpose?
The electricity thing- my mom and me.
The clairvoyant thing dad.
The gene thing- where do I come from?
Documenting the idea(s) of home.
I want to capture photographic evidence of our(me and my siblings) experience of home as a place. What Images do we keep in our home now?
What images have we posted on Facebook?
What images have we been tagged in?
What are out recollections of the different spaces that we called home.
Can we recreate our past. We do but do we do it on purpose?
The electricity thing- my mom and me.
The clairvoyant thing dad.
The gene thing- where do I come from?
Friday, October 7, 2016
Baker 2008
Empty eyes of defunct TVs blindly mirroring what lies before
"this emptying is also the precondition for a new form of
retention, of holding on, as the image presents us with a
kind of hole that is in reality a waiting receptacle, with
the voiding of the image only allowing an opening onto
the past, the filling of this hole with the data of both
memory and desire. We face the receptacle that is the
camera opening onto the receptacle of the shop window,
filled with the receptacles of the television screens,
analog receivers that no longer project the information
of the mass media but passively accept the aleatory life
of the events of the nearby street: the cars, buildings and
also the artist reflected on an entirely transformed—
photographic—form of the screen." 376
Consider the idea of screen and screen. I screen allows you to view images when considered in the context of a TV. A screen hides or obscures what is behind it when it is used to block wind, in dressing rooms or as a diversion.
A tsunami of credit
"If
we want to follow the poet manqué of the current crisis,
or more accurately its poète maudit, Alan Greenspan, we
have perhaps entered today not an economic crash at all,
but what he called instead memorably a “credit tsunami.”
[18] The metaphor is no longer the (modernist) one of
the crash, calling for strategies of disjunction, collision,
and montage. Instead it is of the tsunami, a metaphorics
of flow, overflow, and excess, of echoes and reboundings,
of chain reaction, of inundation and flood—liquidity
gone awry. It is not a question of the industrial object
crumpled before us, but of the flood plain swept bare, the
barren aftermath of a catastrophic clearing. Stated in this
way, the metaphor surely seems appropriate for an era of
abstraction as intense as the one through which we have
been passing. Such is the imagination and the “writing
of the disaster” that we must broach. Perhaps we need to
imagine dams more than crashes, stoppages more than
collisions. Perhaps we need drainage. Perhaps we need
new forms of emptying more than of collapse." 375
I traveled in Thailand shortly before the tsunami hit in 2004. The shacks and warm people who made their living and built their lives on the beaches were wiped out. The young man that served us drinks, the overly agressive massueses smearing Noxema on sandy skin, and the German tourists in their Speedos. Anyone on the beachfront. I did hear that the beaches were the most beautiful that had been in a long time right after, pristine, wiped free of commerce, capitalism; replaced by pristine nature.
The Chicago fire was a total devistation of an existing culture but in its wake was a planned city with paved streets, building codes, green spaces, and public shorelines. Devastation-Reincarnation, the creator and destroyer go hand in hand.
The credit tsunami allowed even the average American to see money as an abstraction. The revealing of the abstraction of what money is as opposed to what it represents. I have seen a resurgence of DIY and bartering culture and even creation of new currencies since the crash bubble. The American dream has been revealed as a dream, a farce, a game. Taken too seriously you cannot win. If you think there are no winners then you have already lost.
Saturday, September 17, 2016
Hayes interview
Sharon Hayes appropriates and recontextualizes signs, photos, and speeches sometimes as an act of revolution/ defiance and sometimes as sociological/artistic research. I found Hayes interest in the nature of collecting, "collecting is rooted in a possessive urge"pg.80, and her take on photos as part of this possessive urge interesting. "I'm not looking at just the body in the image; I'm looking through the desiring eye of the camera" "I wanted to generate an archival document that...demonstrates a desiring camera, something that shows how the camera seduces"pg. 81.
The photo is capturing the image it holds the object of its desire but also points back to the gaze of the photographer and the desire for collecting as a possessive act. Usually the act of revealing the desires of the (unseen)photographer is a side effect of capturing/collecting an image. How do you delve into this usually subconscious act deliberately without distorting or changing the desire?
Acting alone Acting in a group: Acting as a group for performance and acting alone as research. The research of performing is not only watching the reaction of the public that come across the performance but the act of watching the feelings that come up in the body and ming of the performer as well.
A matter of language: reading someone else's speech or holding someone else's sign adds many layers of meaning. A chorus reading a love letter written in the first person singular changes the meaning of the letter. Hayes seems to be playing with the art of organizing and possibly "collecting" people. Even if she doesn't want to be clear with what she is saying she still wants to claim her right to hold a part of the political space of public protest/ speech/ assembly. The "Janus faced" act of considering the act by looking forward and back is so meta and so modern to the way I often feel- thinking about thinking so I don't actually have to think about how messed up or helpless I may feel.
Artists Be Like: " I don't say I'm an artist...because then they think they know what I'm doing"pg.88. Right on sista.
"Artists and historians are alike in a certain sense. One of the biggest challenges is how to embark on a search and truly not know where you are going" pg.89. One of the most underrated goals in setting out on a project and research. One of the skills I see lacking in most people. They want an assignment they want to know what it will be when they are done, they want to know that it CAN be done. If you already know how to do it it is not truly a unique creation.
The photo is capturing the image it holds the object of its desire but also points back to the gaze of the photographer and the desire for collecting as a possessive act. Usually the act of revealing the desires of the (unseen)photographer is a side effect of capturing/collecting an image. How do you delve into this usually subconscious act deliberately without distorting or changing the desire?
Acting alone Acting in a group: Acting as a group for performance and acting alone as research. The research of performing is not only watching the reaction of the public that come across the performance but the act of watching the feelings that come up in the body and ming of the performer as well.
A matter of language: reading someone else's speech or holding someone else's sign adds many layers of meaning. A chorus reading a love letter written in the first person singular changes the meaning of the letter. Hayes seems to be playing with the art of organizing and possibly "collecting" people. Even if she doesn't want to be clear with what she is saying she still wants to claim her right to hold a part of the political space of public protest/ speech/ assembly. The "Janus faced" act of considering the act by looking forward and back is so meta and so modern to the way I often feel- thinking about thinking so I don't actually have to think about how messed up or helpless I may feel.
Artists Be Like: " I don't say I'm an artist...because then they think they know what I'm doing"pg.88. Right on sista.
"Artists and historians are alike in a certain sense. One of the biggest challenges is how to embark on a search and truly not know where you are going" pg.89. One of the most underrated goals in setting out on a project and research. One of the skills I see lacking in most people. They want an assignment they want to know what it will be when they are done, they want to know that it CAN be done. If you already know how to do it it is not truly a unique creation.
Paranoid Reading
I really enjoyed the name of this chapter. I had to look up the word "hermeneutics" and I still am not sure I understand its usage with "hermeneutics of suspicion". Some interesting walking away points for me were reparative=love and paranoia=repression of same sex desire. I have paranoid tendencies, I am overly aware of everything that can go wrong. I like to prepare for these possible wrong things so that I am not surprised. But I also get so overwhelmed by the possibilities of problems that I give up and try to wing it. So what is more is more problematic the belief that I can ever be prepared enough or the belief that I can never fully be prepared?
Paranoia is a practice that is mutable with transformation..."it is sometimes the most paranoid-tending people who are able to, and need to, develop and disseminate the richest reparative practices" pg 150 Sedgwick. By putting this constant energy into imagining the worst it is necessary to also spend considerable time and energy into imagining ways to bring reparation/love into the world. I like to think that the same powers of mind and empathy can create talent for both practices.
Paranoia is a practice that is mutable with transformation..."it is sometimes the most paranoid-tending people who are able to, and need to, develop and disseminate the richest reparative practices" pg 150 Sedgwick. By putting this constant energy into imagining the worst it is necessary to also spend considerable time and energy into imagining ways to bring reparation/love into the world. I like to think that the same powers of mind and empathy can create talent for both practices.
Sunday, September 11, 2016
Behind
I feel so behind already...This school year along with my school. I usually talk to my husband about my school meaning my job but now I have to call it my work. I used to call my making art my work. So is making art now my school or is school any "class" which is not class but posts?
The "class" discussions don't feel very discussiony yet. I don't see a place to respond to every persons ideas because we are all replying to Tyler's post.
I think it was Yanique's reply that made me want to share my way of finding freedom in uncertainty...
I try to do what I can when I can my way. I know I could do better if I did less sometimes. I try to call myself on my own bullshit, I try to notice when I am supporting systems that I do not believe in; life is too short for that. I try not to beat myself up; life is too long for that.
Whether you work for the system or against the system you are still ultimately work for the system- politics. The only way to distance yourself from the system is to disregard the system. Easier said than done.
My husband wants us to move onto a boat; just sail and live. I try to live on a "boat" of my own freewill in the sea of chaos that "the man" is constantly churning. I look for others who have distanced themselves from the hysterical drama of daily "news" and modern "needs".
Friday, September 9, 2016
JUST in Time
Ideas about the just in time toyotaism vs Fordism. Production at the ready vs production when you need it. Flexibility in the work force and in the production line. Total tie in to the Just in Time performance- a performance of the new normal in the employment world. When watching the performance I was interested in the audience participation element. Get up on stage, make room get comfortable was not offered until the audience had already been moving with the performers for a bit. The movement around the clock was interesting visually and sociologically precisely because there were so many people on stage. The three of them would have been too easy to watch and too obviously rehearsed. "if you rehearse it can't be performance art".
First week of school
Everything happens at once. the lesson planning and the meeting new people, Lots of new people. I work to get the names right away and to establish a culture of kindness and learning. Already I see I have two difficult classes, no spirited classes... Plus SAIC has these culture and climate required classes, diversity and sexual harassment awareness- I would like to test out please or age out for crying out loud.
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