tag:blogger.com,1999:blog-305438102024-03-07T15:14:18.855-06:00Kathryn Kelleymumbling to myself aloud, in public. at times it is embarrassing, but it is as it is. <br>I know you're expecting art!
It is here, but interwoven / embedded with cyber residue of life.kathkellhttp://www.blogger.com/profile/00915802275878023041noreply@blogger.comBlogger1670125tag:blogger.com,1999:blog-30543810.post-34850953040925913322016-05-02T13:12:00.003-05:002016-05-02T13:12:56.858-05:00sadness, suffering, the creative act and social position<br />
<a href="http://kathykelley.us/" target="_blank">kathykelley.us</a> and <a href="http://design1.kathykelley.us/" target="_blank">design1.kathykelley.us</a> backup and running, free of malevolent code and spammish malware.<br />
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new post on kathykelley.us<br />
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<a href="http://kathykelley.us/artist-because-of-a-dispositional-failure-to-fit-any-other-social-position-sadness-suffering-and-the-creative-act/" style="-webkit-transition: color 300ms, background-color 300ms, opacity 300ms; border: 0px rgb(235, 235, 235); color: #333333; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; transition: color 300ms, background-color 300ms, opacity 300ms; vertical-align: baseline;">artist because of a dispositional failure to fit any other social position — sadness, suffering and the creative act</a></h3>
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Pierre Bourdieu
Attempting to filter the flow and follow a single textual strand upstream into the real world, I am temporally torn between a responsive biographical dispositional debriefing of artist versus unpacking the alluring line in which Bourdieu suggests that the “artist invents <span style="text-decoration: line-through;">him</span><em>her-</em>self in <em>suffering” </em>(Bourdieu, 1993 p 169). This line is provocative for the ways it relates to the alternate fields I study. I suffer deliberating between the two strands for which ONE to follow. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/proxy/AVvXsEj2VEWAe83aL-aEhzdpdqSPLdcsUdd8Wtl_lipTE0X0kaAkXGWX7yxd5ScerTopzXH8qZnjcXPXXxoEZyPDwSgpSfkDWtMA-DqM1LUm55neeBBCStLVPN6JQ5cXNYOUzVAdbvc5sDDuHrimRJ0Sgp_zT-JBaSalBSGt33zIcALk6bHCb2ukF2gapLOls0AVy5jl2s-V092h1UnpUOZDiGjRtVdazC5Um8ST_VDX-qgvJjKQSEWJWlXdyrHJkhAoOki_89gWvtc5fjH1jQXfqougwfAr92s9cdzHdYbuLS0rwdsphpLWbV63=" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img alt="" border="0" class="alignnone size-full wp-image-16967" src="http://kathykelley.us/wp-content/uploads/2016/05/artist-because-of-a-dispositional-failure-to-fit-any-other-social-position-sadness-suffering-and-the-creative-act-2016.png" height="240" title="" width="551" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pierre Bourdieu</td></tr>
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MicroResponsive Reading – Unfettered word count, Pierre Bourdieu’s <em>Fields of Cultural Production </em>and <em>suffering</em> the self reflection that I am artist because of a <em>dispositional</em> failure to fit any other <em>social position</em>. Damn.
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Easing in, I slog through Pierre Bourdieu’s <em>Fields </em>a second time. Textual strands evasively tug and bind my moments. I poise in place, hands trailing behind flirtingly fingering each eddy of his thoughts. They become muddied from the eroding runoff from alternate fields I plow—fields cultivated with accumulating research on artists, creativity, psychophysiology and my own lived experiences.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/proxy/AVvXsEgYxCpdE0L_UkcSPD5ChArwDOJLJHpSfy6JfpwJCC_Vw3qj8rDu9FNWjha7uV6M68o3-z5Sja8PEyqLC-OxxFMlKPj21K4vcBFX8gooLxC5I7tIttmTYC7A5aGfmyWEwrdBOWGpA2gR0OTucplnqQiW9mhk3KOgJ6I237fr1sqMs-XAYIa49Ngs5q36u9xiEBgGos6zNk6uwF5ckNQ1Jjt3Hfpp8TYPj99-GcAqoIIUB1jk7GoGLDRTq9n5DDdaq4pu9JXAjpgy4sNvg0vb3diJxkjbyLd52qGy89f5KCxMcyWvnjruunmk=" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" class="alignnone size-full wp-image-16965" src="http://kathykelley.us/wp-content/uploads/2016/05/artist-because-of-a-dispositional-failure-to-fit-any-other-social-position-sadness-suffering-and-the-creative-act-2016.jpg" height="258" width="195" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Louise Bourgeouis</td></tr>
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<em>The artist sacrifices life to art not because he wants to but because he cannot do anything els</em>e – Artist, Louise Bourgeouis (Bourgeois, Bernadac, and Obrist, p. 173).<br />
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Heck, why not do both in this temporary field of unfettered word counts?!
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PART 1 :: Artist by Dispositional Default, a Social Position<br />
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<a href="http://kathykelley.us/artist-because-of-a-dispositional-failure-to-fit-any-other-social-position-sadness-suffering-and-the-creative-act/" target="_blank">READ MORE</a>
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sight hack with bad malware. damn it.<br />
<br /><div class="blogger-post-footer">www.kathrynkelley.blogspot.com</div>kathkellhttp://www.blogger.com/profile/00915802275878023041noreply@blogger.com0tag:blogger.com,1999:blog-30543810.post-78950943325962151292015-10-08T18:44:00.004-05:002015-10-08T18:44:39.102-05:00Agnes Martin :: Gender-linked language practices paralleled and embodied in the art object<a href="http://images.tate.org.uk/sites/default/files/images/agnesmartinthegarden1958.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://images.tate.org.uk/sites/default/files/images/agnesmartinthegarden1958.jpg" height="400" width="245" /></a>The Garden, 1958, Oil paint and found objects on wood. [Image from TATE]<br />
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PROJECT PROPOSAL<br />
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From Freud’s slips of the tongue[1] onward, language has been understood as a social mechanism that carries traces of our conscious and unconscious beliefs, fears, patterns of thinking, social positioning, gender associations and personalities.[2] These same beliefs, fears, patterns of thinking, social positioning, gender associations and personalities coalesce within the context of social space to formulate our identities.[3] And though this identity is malleable and situationally sensitive, it is realized through the repetition of stylized performative acts.[4] [5] These enactments that occur in language-use are a rich data source for studying social and identity phenomena.
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In Robin Lakoff’s seminal text, Langauge and Woman’s Place (1975), she unpacks a series of language mannerisms that vary in practice between male and female populations. Subsequent research has shown that where gender is perceived as being salient, particularly maleness, feminine gender-linked language differences partially collapse and female language use enacts more masculine traits. Where gender is perceived as less relevant, gender-linked differences are performed more pronouncedly.[6] [7]
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From my own art processes and outcomes, I suspect that these same psychosocial linguistic traces, with the collapses and expansions of engendered differences, find parallel expression in the language of art—Freudian Slips of sorts emerging and occupying real space in the attributes of art. Additionally the Conceptual Metaphor Theory and notions of the embodied mind put forward by George Lakoff (former spouse of Robin) and Mark Johnson[8] [9] underlies the assumption that there will be conceptual correlations between expressions that manifest through the body, language use and the gestures of material choose and manipulation in art making, as they relate to traces of conscious and unconscious workings of the mind. If that is not enough, I can whip out some of Judith Butler’s notions of gender performativity, which initially was ground in J.L. Austin’s Speech Act theories. Between Butler and Austin, I can link gender performativity occurring through both language and the body.
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<a href="http://www.tate.org.uk/art/images/work/T/T01/T01866_10.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://www.tate.org.uk/art/images/work/T/T01/T01866_10.jpg" height="400" width="397" /></a></div>
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Mornings, 1965 [image from TATE]<br />
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If traces of our identity, social positioning and gender practices leak out in our textual and visual vocabularies, if gender practices expand and contract according to perceived gender saliency, and if language practices find parallel expression in the language of art, I expect to see traces of gender-linked practices and their fluctuations in Agnes Martin’s work, particularly in relationship to her perception, conscious or unconscious, of gender saliency. This paper seeks to probe visual engenderment through its ebb and flow over time in Martin’s art works. I will attempt this by mapping conceptual correlations from gender-linked language practices to formal, gestural and expressionistic qualities evident in a chronologically diverse selection of Martin’s paintings. Time permitting this project will be expanded to include additional strands—one, an analysis of Martin’s language-use in writing and speech (interviews) relative gender-linked practices, and a second strand that aligns the first two strands chronologically as they relate to Martin’s periods of isolation from and contact with the predominantly male art scene.
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[1] Sigmund Freud and A. A. Brill, Psychopathology of Everyday Life (New York: Macmillan, 1914), 21.
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[2] J.W. Pennebaker, R.L. Boyd, K. Jordan, & K. Blackburn. The development and psychometric properties of LIWC2015 (Austin, TX: University of Texas at Austin, 2015): 1, Ddoi: 10.15781/T29G6Z.
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[3] Henri Tajfel, "Social Categorization, Social Identity and Social Comparison.," in Differentiation between Social Groups: Studies in the Social Psychology of Intergroup Relations (London: Published in Cooperation with European Association of Experimental Social Psychology by Academic Press, 1978), 61-76.
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[4] Judith Butler, "Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory," Theatre Journal 40, no. 4 (1988): pg. #519.
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[5] Mark Rubin and Miles Hewstone, "Social Identity, System Justification, and Social Dominance: Commentary on Reicher, Jost Et Al., and Sidanius Et Al.," Political Psychology 25, no. 6 (2004): 823-44, doi:10.1111/j.1467-9221.2004.00400.x.
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[6] N. A. Palomares, "Gender Schematicity, Gender Identity Salience, and Gender-Linked Language Use," Human Communication Research 30, no. 4 (2004): 556-88, doi:10.1093/hcr/30.4.556.
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[7] Anthony Mulac et al., "Male/female Language Differences and Effects in Same‐sex and Mixed‐sex Dyads: The Gender‐linked Language Effect," Communication Monographs 55, no. 4 (1988): 315-35, doi:10.1080/03637758809376175.
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[8] George Lakoff and Mark Johnson, Metaphors We Live by (Chicago: University of Chicago Press, 1980)
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[9] George Lakoff and Mark Johnson, "Chapter 3 The Embodied Mind," in Philosophy in the Flesh: The Embodied Mind and Its Challenge to Western Thought (New York: Basic Books, 1999), 16-44.<div class="blogger-post-footer">www.kathrynkelley.blogspot.com</div>kathkellhttp://www.blogger.com/profile/00915802275878023041noreply@blogger.com0tag:blogger.com,1999:blog-30543810.post-49923848060436411822015-06-21T10:18:00.002-05:002015-06-21T10:21:39.973-05:00"research becomes an alternative to further self-cannibalization" - Lopate<div class="separator" style="clear: both; text-align: left;">
<a href="http://i1.wp.com/kathykelley.us/wp-content/uploads/2015/06/Slide2.png?resize=720%2C540" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://i1.wp.com/kathykelley.us/wp-content/uploads/2015/06/Slide2.png?resize=720%2C540" height="300" width="400" /></a></div>
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to see if I can explore this realm while learning to efficiently navigate a pool and a swim/floating method I haven't previously used.
Things I have been thinking about while thinking about if their is a resilience and realization function in the act of writing for the visual artist.
gender/power/representation differences in the language of visual artists.
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<img alt="" class="alignnone" src="http://i2.wp.com/kathykelley.us/wp-content/uploads/2015/05/Slide03.jpg" height="112" width="200" /><a href="http://i0.wp.com/kathykelley.us/wp-content/uploads/2015/05/Slide06.jpg"><img alt="" class="alignnone" src="http://i0.wp.com/kathykelley.us/wp-content/uploads/2015/05/Slide06.jpg" height="112" width="200" /></a><img alt="" class="alignnone" height="112" src="http://4.bp.blogspot.com/-y6dEObOwP3U/VTJaoy891kI/AAAAAAAAaR0/sWT7pFvddqE/s200/Slide06.jpg" width="200" /></div>
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transgenre behaviors and creative dispositions and capacities to push against social conventions.
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<img alt="" class="alignnone" height="222" src="http://4.bp.blogspot.com/-H8AevZtujFE/VTJcefyiYyI/AAAAAAAAaTc/GZnjN8j-Qe0/s320/Slide12.jpg" width="320" /></div>
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The artist and the body, perception, embodied/situated/extended cognition. This brings me back to social positioning--visually, bodily, linguistic. Is there anything we do when somehow entering social space that does not involve social positioning?
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<img alt="" class="alignnone" height="150" src="http://1.bp.blogspot.com/-b7rZn2nDcqc/VTJdgqFGt7I/AAAAAAAAaVg/hl50a0USo4g/s200/Slide02.jpg" width="200" /><img alt="" class="alignnone" height="150" src="http://2.bp.blogspot.com/-eCi4xaFwmqg/VTJdflpV5aI/AAAAAAAAaVE/sXHLbzVdtOE/s200/Slide11.jpg" width="200" /><img alt="" class="alignnone" height="150" src="http://2.bp.blogspot.com/-Alt4O5L8Z8A/VTJdhn0tvnI/AAAAAAAAaV0/aN8giQQt1oA/s200/Slide22.jpg" width="200" /><img alt="" class="alignnone" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZR7bdIHTgXWCraefI53ugGBBqLWzgareTirSsMuvBqleOv8O1Fr8OsBICgjooEzQ8aejcs26tWGyT9q_b9ECqiYBGr-smsqXp5hJt-oKFVAgolRJu8MszMGe0GM4hiqHMDYgVvg/s200/Slide27.jpg" width="200" /></div>
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the artist, perception, cognition. not just social positioning, but we position overall stimuli in a fashion that lets us minimize the overwhelming field of possibilities and realities in order to fashion some kind of comprehension which in turns allows us to navigate our physical (social, mental, spiritual, objects, language, encounters, histories, memories) world.
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<a href="http://kathykelley.us/wp-content/uploads/2015/06/Slide08.jpg" rel="attachment wp-att-14367"><img alt="Slide08" class=" size-full wp-image-14367 alignnone" src="http://kathykelley.us/wp-content/uploads/2015/06/Slide08.jpg" height="150" width="200" /></a> <a href="http://kathykelley.us/wp-content/uploads/2015/06/Slide04.jpg" rel="attachment wp-att-14366"><img alt="Slide04" class=" size-full wp-image-14366 alignnone" src="http://kathykelley.us/wp-content/uploads/2015/06/Slide04.jpg" height="150" width="200" /></a> <a href="http://kathykelley.us/wp-content/uploads/2015/06/Slide03.jpg" rel="attachment wp-att-14365"><img alt="Slide03" class=" size-full wp-image-14365 alignnone" src="http://kathykelley.us/wp-content/uploads/2015/06/Slide03.jpg" height="150" width="200" /></a> <a href="http://kathykelley.us/wp-content/uploads/2015/06/Slide02.jpg" rel="attachment wp-att-14364"><img alt="Slide02" class=" size-full wp-image-14364 alignnone" src="http://kathykelley.us/wp-content/uploads/2015/06/Slide02.jpg" height="150" width="200" /></a></div>
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looking at my habits of researching a learning is to exploratorily test something, use what catches my attention in the data spitting to direct me to knowledge domains or practices that I need like [in the field of language and social sciences]
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<ol>
<li>Politeness Theories</li>
<li>Appraisal Theories</li>
<li>Gender Theories</li>
<li>Power Theories</li>
<li>Stance</li>
<li>Discursive Analysis</li>
<li>Trauma and health and writing</li>
<li>Resilience</li>
<li>Neurological processes of perception and cognition</li>
<li>Mirror neurons--perception, empathy, language, human behavior</li>
<li>Embodiment</li>
<li>Phenomenology</li>
<li>Cognition, situated cognition, extended cognition, embodiment</li>
<li>Creativity</li>
<li>The list is exhaustive and overwhelming and all informative</li>
<li>and a kazillion other theories as found</li>
</ol>
And now I am beginning to extend discovering the various social science research qualitative and quantitate methodologies and tools. In each arena I only now have enough understanding to get myself into trouble via false or already overworked assumptions, but sometimes mashing things together without full domain understanding can lead one to stumble on an alternate perspective, new approach, etc, besides just the risk of appearing an arrogant domain neophyte or polishing wheels that already exist.
No matter where I turn I keep coming back to stance and social, cognitive, perceptual, and linguistic positioning...
What do visual artists write? Is there a vocational, social and cognitive resilience function? Is there a function for realization of work?
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For my summer Data Mining course that I have to take the blue pill each week to attend.
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<strong>PROPOSED PLAY :: The semantics of certainty and insistence in visual artists writings</strong><em> </em>
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<em>Disciplined play privileges experimentation and modeling
over hypothesis testing or concordance publishing</em> – Geofrey Rockwell</div>
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<strong>RATIONALE / JUSTIFICATION </strong>
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<div style="padding-left: 30px;">
Based on initial patterns that emerged in a quantitative study using LIWC2007 and DICTION7 involving insistence and certainty linguistically expressed in artists writings, I am curious to look more deeply at these variables.</div>
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I believe a huge portion of creative activity is reactionary. By this I mean that somehow a particular developmental adversity, situational chaffing, unsettles, resonates or enlivens the artist enough to engage a form of appraisal, judgment or questioning, that is then expressed in artistic production in ways that address, call attention to, resolve, act against, or support the artist’s viewpoint or experience. Linguistic insistence and certainty expressed in writing would also appear to be behaviors in which appraisal/judgment is expressed, a stance is taken. Because most art is reactionary, a form of stance taking, and is what captivates the mind and energy of an artist, </div>
<div style="padding-left: 30px;">
<br /></div>
<div style="padding-left: 30px;">
I expect stance taking to also be statistically evident in their writings.</div>
<strong><br /></strong>
<strong>SO WHAT? WHO CARES?
</strong><strong>PLAYGROUND in which this current proposal sits</strong>
<br />
<div style="padding-left: 30px;">
I have a hunch, a hypothesis, that a writing practice somehow plays some kind of psychological resilience function for visual artists relative to their making practice. I associate resilience with the capacity to realize and sustain an artistic/creative practice through one’s life span. If resilience is somehow strengthened by the act of writing, is there a form of writing that is more beneficial? If so what forms are the most supportive?</div>
<div style="padding-left: 30px;">
<br /></div>
<div style="padding-left: 30px;">
A secondary hunch is that the act of writing, much as analytic memos in research coding, functions to deepen through insight the content development and making processes that are central to the artists practice.</div>
<div style="padding-left: 30px;">
<br /></div>
<div style="padding-left: 30px;">
So as I hunt for patterns of similarity in artists’ writings that might shed light on the possibilities that writing for this visual artist has a psychological function that assists them in realizing and sustaining their art practice, semantics is one field in which to evaluate sample texts. If I am correct that there is an important function of writing for the visual artist and if there are particular forms that are more useful, this has important pedagogical implications in how the academy prepares artists for a life of making.</div>
<div style="padding-left: 30px;">
<br /></div>
<div style="padding-left: 30px;">
<strong>Additional Questions/Arenas
</strong><strong>Does the writing for the visual artist have a correlative function with </strong></div>
<blockquote>
<ol>
<li>Bodily cognition functions?</li>
<li>Situated or extended cognition?</li>
<li>Loose sensory gating? [Neurological/Perceptual function]</li>
<li>Psychological function?</li>
<li>Cognitive function?</li>
<li>Social function?</li>
</ol>
</blockquote>
<strong>INITIAL RESEARCH QUESTIONS</strong>
<br />
<div style="padding-left: 30px;">
The linguistic variables of certainty and insistences have already shown up in my previous study with LIWC and DICTION as notable. Will the writings also express strong sentiment or will they be emotionally neutral? Will there be correlations of linguistic cues of sentiment, specifically positive, negative or neutral with certainty and insistence?</div>
<div style="padding-left: 30px;">
<br /></div>
<div style="padding-left: 30px;">
And as always in my work as an ongoing curiosity, are their notable gender differences?</div>
<div style="padding-left: 30px;">
A visual stance (art making) involves a bodily response to materials and space; a cognitive stance is expressed through linguistic space internally or externally. Will these be mirrored in artifacts and text emerging from a single author/maker? Will this mirroring be evident in most visual artists’ writings?</div>
<div style="padding-left: 30px;">
<br /></div>
<div style="padding-left: 30px;">
<strong>FIRST BLUSH</strong></div>
<div style="padding-left: 30px;">
My initial gut response is that visual artists’ writings will bear strong sentiment, positive or negative, with very little content in the neutral zone.</div>
<div style="padding-left: 30px;">
<br /></div>
<div style="padding-left: 60px;">
[CERTAINTY + INSISTENCE = +/<strong>—</strong>SENTIMENT] </div>
<div style="padding-left: 60px;">
[LOW CERTAINTY + INSISTENCE = NEUTRAL SENTIMENT]</div>
<div style="padding-left: 60px;">
<br /></div>
<div style="padding-left: 30px;">
I also expect from artists working in the last sixty years, since conceptual art became prevalent, that much of the sentiment will be negative. Most artistic production arises from reactionary resistance against some cultural practice, personal adversity or x.</div>
<div style="padding-left: 30px;">
<br /></div>
<div style="padding-left: 60px;">
[SENTIMENT > NEGATIVE]</div>
<div style="padding-left: 60px;">
<br /></div>
<div style="padding-left: 30px;">
Though historically and philosophically beauty plays a role in art, it does not play a strong role in contemporary avant-garde art for the past one hundred years. Art and the artist function as a cultural barometer more so than producers of beauty.</div>
<div style="padding-left: 30px;">
<br /></div>
<div style="padding-left: 30px;">
These hypothesis, hunches, mental maulings and assumptions suggest that I might approach the artists’ texts via systems that test for sentiment and/or conflict (versus coding).</div>
<div style="padding-left: 30px;">
<br /></div>
<div style="padding-left: 30px;">
Additionally it seems relevant to begin establishing a system for attribute coding (as suggested in Saldana’s text) which may reveal similarities and differences in artists texts that correlate with gender, primary medium, career stage, education, age, ethnicity, orientation, affluence, etc.</div>
<div style="padding-left: 30px;">
<br /></div>
<div style="padding-left: 30px;">
<strong>SECOND BLUSH</strong></div>
<div style="padding-left: 30px;">
Specifically what comes to mind is that fact that when I am uncertain, I may be more emotionally reactive or frustrated, and when I am more certain, I emotionally relax. So I see at least two outcomes that would counter my aforementioned hypotheses. One, there is the possibility that I will see the exact opposite results than my initial hypotheses in that artists who express linguistic certainty and insistence will display minimal, neutral, evaluative emotion. Two, that a positive or negative sentimentality will be more related to essays strong in insistences and neutrality with texts that showed a strong sense of certainty.</div>
<div style="padding-left: 30px;">
<br /></div>
<div style="padding-left: 60px;">
[CERTAINTY + INSISTENCE = NEUTRAL SENTIMENT + LOW CERTAINTY + INSISTENCE = +/- SENTIMENT]
OR
[if CERTAINTY is dominant = emotionally relaxed; NEUTRAL SENTIMENT]
[if INSISTENCE is dominant = emotionally charged; +/- SENTIMENT]</div>
<div style="padding-left: 60px;">
<br /></div>
<div style="padding-left: 30px;">
Of course, much of this may already be answered and apparent in a literature review, which I have begun, but my toes are just dipping for a temperature check before I plunge in.</div>
<div style="padding-left: 30px;">
<br /></div>
<strong>PROPOSED DATASET</strong>
Visual artists’ writings. The sampling is not random. It is based on several criterias:
<br />
<ol>
<li>Artist
<ul>
<li>Population of artists will be culled from contemporary art historians and critics, specifically artists included in two texts:
<ul>
<li><em>Theories and Documents of Contemporary Art: A Sourcebook of Artists’ Writings</em> (2012) edited by Dr. Kristine Stiles and Peter Selz, 2nd edition.</li>
<li><em>Art in Theory 1900 - 2000: An Anthology of Changing Ideas </em>(2002) edited by Charles Harrison, Paul J. Wood.</li>
</ul>
</li>
<li>Limited to artists living in the last seventy years with an attempt to harvest equal amounts from each decade.</li>
<li>Both male and female samples will be harvested an attempt to harvest equally quantities of texts for both male and female artists (regardless of orientation).</li>
</ul>
</li>
<li>No more than three samples will be harvested per artist.</li>
<li>Samples may be in the form of letters, manifestos, artist statements, published essays and book excerpts.</li>
<li>Samples will be between 100 words and 3,000.</li>
<li>In all probability samples will have been edited by a secondary source (currently this is unavoidable; eventually if I find significant implications in the texts, I would hope this would justify access to original artist documents, unedited by others).</li>
<li>Writing samples accessible online. I am lazy, high rates of data entry are not my strong point, dyslexia will inherently be embedded in every artists text and thus will produce faulty patterns if I type them and this is a ten week course.</li>
</ol>
<strong>METHODOLOGIES OF INTEREST</strong>
<br />
<div style="padding-left: 30px;">
Attribute Coding.</div>
<div style="padding-left: 30px;">
Concept Extraction – semantics and affect.</div>
<div style="padding-left: 30px;">
Semantics, in addition to positive/negative/neutral appraisal, I am interested in But along with the evaluator judgment, I will be watching for traces of potency (powerful/unpowerful), proximity of sentiment (near/far), specificity (clear/vague), intensifiers (more/less).</div>
<div style="padding-left: 30px;">
Clustering based on corpus correlations</div>
<div style="padding-left: 30px;">
From Saldana, not all useable but of great interest, Versus Coding, Value Coding, Emotion Coding, Dramatalogical Coding and Narrative Coding.</div>
<div style="padding-left: 30px;">
<br /></div>
<strong>TASK-BASED TIMELINE [sequence] FOR THE WORK </strong>
<br />
<ol>
<li>Prepare two presentations, QDA Miner and WordStat7 (or LIWC)
<ol>
<li>Focus each on single program feature.</li>
<li>Show relevance of software chosen to my research direction.</li>
</ol>
</li>
<li>Collect samples
<ol>
<li>157 text files collected. DONE.</li>
<li>Add 43 more. MAYBE.</li>
</ol>
</li>
<li>Prep additional samples</li>
<li>Initiation with QDA Miner
<ol>
<li>Attribute coding</li>
</ol>
</li>
<li>Read more on semantic analysis and concept extraction. Read more on linguistic certainty, insistences, and appraisal.</li>
<li>Initiation with WordStat7
<ol>
<li>Dictionaries to be run
<ol>
<li>LIWC</li>
<li>Semantic (+/-/neutral)</li>
</ol>
</li>
<li>Rerun all previous texts through WordStat7s built in dictionaries and LIWC
<ol>
<li>Explore visualization of output (versus just freaking numbers) in general looking for overwhelming similarities and anomalies that manifest across the corpus.</li>
<li>Explore the visualization of output in regards to certainty, insistence and semantics. Again looking for similarities and anomalies that manifest across the corpus.</li>
</ol>
</li>
<li>Test run in WordStat7 texts using semantic dictionaries</li>
<li>Correlate initial readings of positive/negative/neutral sentiment scores with the initial readings output from DICTION7 around the variables of certainty and insistence.</li>
<li>Write up findings.</li>
<li>Merge previous findings and semantic findings into cohesive paper for October presentation at Art Practice/Art as Research Conference.</li>
</ol>
</li>
</ol>
<hr />
TEXTABATION week 2.
<br />
<div style="padding-left: 30px;">
<strong>EXAMINE ::</strong> Based on initial patterns that emerged in a quantitative study using LIWC2007 and DICTION7 involving insistence and certainty linguistically expressed in artists writings, I am curious to look more deeply at into these variables. One area worth examining is through text analysis is sentiment. I correlate insistence and certainty with a measurable degree of sentiment. Additionally I associate the lack of insistence and uncertainty as an expression of questioning that might register as neutral when measuring for sentimentality (positive, negative and neutral). I believe the artists’ texts that registered in the LIWC/DICTION analysis above the norms on the variables of certainty and insistence will show positive or negative sentimentality and those that registered below the norms as predominately neutral. And I have a hunch that visual artists’ writings will also be more strongly linked to negative sentimentality than positive.</div>
<div style="padding-left: 30px;">
<br /></div>
<div style="padding-left: 60px;">
? [CERTAINTY + INSISTENCE = +/<strong>—</strong>SENTIMENT]
? </div>
<div style="padding-left: 60px;">
[LOW CERTAINTY + INSISTENCE = NEUTRAL SENTIMENT]</div>
<div style="padding-left: 60px;">
<br /></div>
<div style="padding-left: 30px;">
<strong>[MEMO TO SELF]</strong> Though, I have been wrong one or two times before. Specifically what comes to mind is that fact that when I am uncertain, I may be more emotionally reactive or frustrated, and when I am more certain, I emotionally relax. So I see at least two outcome possibilities that would counter my aforementioned hypotheses. One, there is the possibility that I will see the exact opposite results than my initial hypotheses in that artists who express linguistic certainty and insistence will display minimal, neutral, evaluative emotion. Two, that a positive or negative sentimentality will be more related to essays strong in insistences and neutrality with texts that showed a strong sense of certainty.</div>
<div style="padding-left: 30px;">
<br /></div>
<div style="padding-left: 60px;">
[CERTAINTY + INSISTENCE = NEUTRAL SENTIMENT and
LOW CERTAINTY + INSISTENCE = +/- SENTIMENT]</div>
<div style="padding-left: 60px;">
OR</div>
<div style="padding-left: 60px;">
[if CERTAINTY is dominant = emotionally relaxed; NEUTRAL SENTIMENT] </div>
<div style="padding-left: 60px;">
[if INSISTENCE is dominant = emotionally charged; +/- SENTIMENT]</div>
<div style="padding-left: 60px;">
<br /></div>
<div style="padding-left: 30px;">
<strong>GRANULARITY :: WORD/SENTENCE </strong>Measuring sentimentality takes place at the word/sentence level, but I am interested in patterns that emerge relative to sentimentality across a broad population of artists’ writings and then correlating that with previous results relative to insistence and certainty.</div>
<div style="padding-left: 30px;">
<br /></div>
<div style="padding-left: 30px;">
<strong>FOCUS :: DOCUMENT CLASSIFICATION</strong> by the identification of positive, negative or neutral sentimentality in artist generated texts. This also appears to fall under a form of information/concept extraction.</div>
<div style="padding-left: 30px;">
<br /></div>
<div style="padding-left: 30px;">
<strong>AVAILABLE INFORMATION ::</strong> There are readily available unstructured artists’ writings both online and via anthologies put together by art historians and critics. I have harvested writing samples of English speaking visual artists from <em>Theories and Documents of Contemporary Art: A Sourcebook of Artists’ Writings</em> (2012) edited by Dr. Kristine Stiles and Peter Selz, 2nd edition.</div>
<div style="padding-left: 30px;">
<br /></div>
<div style="padding-left: 30px;">
<strong>SYNTAX OR SEMANTICS ::</strong> This study will be translating words relative affective meaning (positive, negative, neutral), so it falls into semantic methodologies.</div>
<div style="padding-left: 30px;">
<br /></div>
<div style="padding-left: 30px;">
<strong>WEB OR TRADITONAL TEXT ::</strong> Though some of the writings have been harvested from via the internet, they are categorically traditional texts ranging from letters, manifestos, artist statements, book excerpts, essays to critical reviews.</div>
<div style="padding-left: 30px;">
<br /></div>
<div style="padding-left: 30px;">
<strong>SEVEN OF <span style="text-decoration: line-through;">NINE</span> SEVEN :: CONCEPT EXTRACTION</strong> specifically sentiment in terms of positive, negative and neutrality. But along with the evaluator judgment, I will be watching for traces of potency (powerful/unpowerful), proximity of sentiment (near/far), specificity (clear/vague), intensifiers (more/less) (<em>Automatic Sentiment Analysis in On-line Text,</em> by Erik Boiy; Pieter Hens; Koen Deschacht; Marie-Francine Moens very useful in understanding dimensions of sentimentality.). Sure not all of this is a part of my summer plan, but I will make a dent in attribute coding (Saldana) and a full on fender bender with automated sentiment analysis. Ahh, the fuzzy overlapping boundaries of information extraction, natural language processing, machine learning, computation linguistics, statistics and text mining, I have a lot to learn.</div>
<div style="padding-left: 30px;">
<br /></div>
<div style="padding-left: 30px;">
I really like the software package Semantria. Alas, it is $999—per month! Sigh.</div>
<hr />
TEXTABATION week 1.
<br />
<div style="padding-left: 30px;">
QUESTION 1: A couple of you have asked about the level of statistical knowledge needed to work with data mining, text mining, and big data. Briefly, tell us about your experiences with statistics and quantitative research. No worries--there are no correct answers here. Just let us know what you consider your level of proficiency to be.</div>
<div style="padding-left: 30px;">
<br /></div>
<div style="padding-left: 30px;">
<strong>Q1—STATISTICAL RELATIONSHIP ::</strong> We haven’t been courting long. I can spell her name correctly, s-t-a-t-i-s-t-i-c-a-l. Her formulaic language, mathematical in nature, is something to which I have not been formally introduced; yet as artist my strength is seeing patterns and anomalies which seems to be at the heart of her. Patterns and anomalies are the basis of most art, whether it is ground in the visual, spatial, temporal, oral or social realms. So though I do not have the mathematics or the proper vocabulary to speak her language yet, I think I will quickly attune to her behavior and formal language.</div>
<div style="padding-left: 30px;">
<br /></div>
<div style="padding-left: 30px;">
I do know how to rudimentarily use Excel, meaning I know how to plug in simple formulas, sort and average grades and such.</div>
<div style="padding-left: 30px;">
<br /></div>
<div style="padding-left: 30px;">
<strong>QUANTITATIVE ::</strong> I began using LIWC, Linguistic Inquiry and Word Count (Dr James Pennebaker/psychologist, studies trauma and recovery and the influence of writing), and DICTION (Roderick Hart/political analysis), quantitative software, this past December. It has been self-trained, jump in with both feet to see if I can figure it out. DICTION in general is a little more dummy proof than LIWC. In terms of statistics, the lingo sort of lost me, but the patterns and anomalies in the numbers were evident. Additionally problems with rogue essays, entries that skewed all the numbers, because they were so anomalous, were one of the things that lead me to taking this course. How do I deal, throw out, adapt, dampen, the eccentric entries that affect otherwise strong trends? I recognize there were be statistical formulas to assist in dealing with this kind of stuff, but am not familiar as to where to turn. A statistics class I assume is in my near future. I also came to recognize that normative numbers are population dependent and have to be verified. For example DICTION’s normative numbers is based on fifty years of political speeches, journalism, and supreme court summations. Well that’s nice, but it is important to note that this population for the last fifty years has been predominantly male, therefore the normative numbers are based on a male population. This must be considered when using their numbers comparatively with one’s own population study, which may be female, male, or mixed. So language models generated from normative numbers are artificial constructs, population dependent, useful, but always suspect.</div>
<div style="padding-left: 30px;">
<br /></div>
<div style="padding-left: 30px;">
<strong>QUALITATIVE ::</strong> I have not done any “qualitative” research in terms of social science models—ie ground theory and such. All is new. No quantitative/qualitative/statistical training under my belt yet.</div>
<div style="padding-left: 30px;">
<br /></div>
<div style="padding-left: 30px;">
<strong>Q2 – WordStat7</strong></div>
<div style="padding-left: 30px;">
Free in terms of the one month demo, I would like to test run WordStat7 that works alongside QDA. Specifically I would like to explore how it works with a couple of the optional dictionaries [add ons]—LIWC, which focuses on function words [articles, pronouns, tense, etc] that hold content words into comprehensible content. I am also interested in the sentimental/value dictionaries. In each case, I am not attempting to analyze individual content of artists’ essays, but patterns that emerge intersubjectively.</div>
<div style="padding-left: 30px;">
<br /></div>
<div style="padding-left: 30px;">
As I mentioned verbally in our introductions I am interested in the function writing might have for visual artists. Currently there is a pattern that a significant number of visual artists that are prolific in production, known in the artworld and sustain their making practice through their lifespan, also write. So I am interested in are their patterns that might be evident in large collections of their writings. James Pennebaker, the daddy of LIWC, was hunting for the relationship between writing and healing from traumatic events. This lead me to wonder if artists’ writing have some kind of psychological function in assisting with (?) resilence? LIWC aided by the system of WordStat7 looks as though it might aid in looking for psychological patterns across a large body of artist essays. LIWC by itself, is a tad challenging since it only spits out numbers.</div>
<div style="padding-left: 30px;">
</div>
<div class="blogger-post-footer">www.kathrynkelley.blogspot.com</div>kathkellhttp://www.blogger.com/profile/00915802275878023041noreply@blogger.com1tag:blogger.com,1999:blog-30543810.post-17001528746573312942015-05-03T13:56:00.000-05:002015-05-03T23:58:01.108-05:00Mondrian White on White Pivotal Set, Oompa Loompas, A Buzz and Holler,
plus Racks of Disemboweled Cadavers. LOVELY<b>Texas Tech's <i>Mother Courage</i>, April 29
First Performance
A slanted critical review of sorts </b><br>
<br>
<div class="separator" style="clear: both; text-align: left;">
<a href="http://3.bp.blogspot.com/-zIhVcXo47Ic/VUZ862ZZYHI/AAAAAAAAaY8/5Jcm_GS4nVM/s1600/Willy-Wonka_oompa-Loompas_1971.JPG" imageanchor="1"><img border="0" src="http://3.bp.blogspot.com/-zIhVcXo47Ic/VUZ862ZZYHI/AAAAAAAAaY8/5Jcm_GS4nVM/s640/Willy-Wonka_oompa-Loompas_1971.JPG" width="500"></a></div>
<br>
As I squirmed in my seat for three hours, fifteen minutes, my anticipation and pleasure resided in what occurred between scenes, which began each time with a buzz, and holler that activated Oompa Loompas to reposition the set. Providing mid-scene intrigue were the racks of disemboweled cadavers with their dangling entrails.<br>
<br>
<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/rfX7Ya-vF0Q" width="560"></iframe><br>
The white portable set (below. figure 1) was like modernist geometric painting including extreme color reduction. It called to mind Kazimir Malevich’s 1918 painting, <i>White on White</i> (figure 2), and his contemporary’s, Piet Mondrian, paintings and spatial forms (figure 3). The play’s set was modularly built into columns with 4x4 footprints and heights ranging from 10 to 16 feet. Though not visible, their base included wheels, allowing for quick almost Tetris-like repositioning. Each column included a door-sized passage, but like the wheels, they were kept out of audience view. The interiors were lined with white non-reflective fabric so if per chance the passage were slightly exposed to the audience, it would go unnoticed. These passages functioned to hide stagehands that would mid-scene provide characters with prop and mics.<br>
<br>
<div class="separator" style="clear: both; text-align: left;">
<a href="http://1.bp.blogspot.com/-SauvJ27t54I/VUZrvP2HSUI/AAAAAAAAaYM/XWn9TRiXBqQ/s1600/set.png" imageanchor="1"><img border="0" src="http://1.bp.blogspot.com/-SauvJ27t54I/VUZrvP2HSUI/AAAAAAAAaYM/XWn9TRiXBqQ/s1600/set.png" width="300"></a></div>
<div class="separator" style="clear: both; text-align: left;">
<i>figure 1: set detail</i></div>
<div class="separator" style="clear: both; text-align: left;">
<i><br></i></div>
<div class="separator" style="clear: both; text-align: left;">
<a href="http://1.bp.blogspot.com/-reALlDjC5P8/VUZryBWrd_I/AAAAAAAAaYU/rjmAT3HzPP4/s1600/white%2Bon%2Bwhite.png" imageanchor="1"><img border="0" src="http://1.bp.blogspot.com/-reALlDjC5P8/VUZryBWrd_I/AAAAAAAAaYU/rjmAT3HzPP4/s1600/white%2Bon%2Bwhite.png" width="300"></a></div>
<div class="separator" style="clear: both; text-align: left;">
<i>figure 2: Malevich, White on White</i></div>
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<i><br></i></div>
<div class="separator" style="clear: both; text-align: left;">
<a href="http://4.bp.blogspot.com/-vrYEhyV8pEc/VUZr0H-pedI/AAAAAAAAaYc/tHY-EQ8EXWE/s1600/mondrain.png" imageanchor="1"><img border="0" src="http://4.bp.blogspot.com/-vrYEhyV8pEc/VUZr0H-pedI/AAAAAAAAaYc/tHY-EQ8EXWE/s1600/mondrain.png" width="300"></a></div>
<i>figure 3: Mondrian</i><br>
<br>
The neutral white and geometric simplicity diminished scenic distractions so that the plays action was perceptually foregrounded. It also reduced the need and risks in replication or accuracy of the temporal and geographical setting. In fact, it decontextualized the play from the early seventeen hundreds scripted setting. The only ground to situate the viewer in the temporal location was the design of the costumes and key props.<br>
<br>
In the decontextualized space, the repositioning of the columns indicated scene changes. With each shift, various flat panels, reminiscent of the columns’ Mondrian-like surfaces, were lowered from the ceiling to further reshape the space, as a sign to cue scenic change. The transitions were made in full audience view. Despite the physical repositioning, it was each scene’s action that dictated how the space should be interpreted—pub or pasture, day or night, plus indicating Mother Courage’s migratory habit. I found the set and its repositioning aesthetically soothing. It counterbalanced the emotive connotations associated with theatrically required projections of voice and gesture.<br>
<br>
The play would have been significantly served by decontextualizing it beyond just the white set to release its primary read from being tethered to seventeen hundreds. Converting all the costuming and props to white with the exception of each characters vest, sash or a single item of distinction, while maintaining their antiquated design, would have effectively diminished the chronological anchor. This would have emphasized the characters’ actions and script in ways that would transcend the time period becoming more applicable for today. It would correlate the plot in terms of our own cultural and global climate with its dragged out “incursions,” leftovers of our War on Terror, and other political interventions. Only in unpacking the play for this paper has the probable intention of the director’s selection of Mother Courage revealed real correlations. <br>
<br>
Raytheon, a weapons guidance system corp, is a most profitable stock. I shall neither confirm nor deny that I may own some. Perhaps it has even assisted in temporarily freeing me to pursue my PhD. Am I equally complicit and compromised by the benefits of war, as Mother Courage was? Do I stand on carcasses of others as I reach for yet another degree? Had the play more clearly de-tethered from its historical fix, I would have arrived at the uncomfortable position that reveals me as part of our contemporary war economy. This would have been quite poignant because it would turn my harsh judgment of Mother Courage around on myself. I like to be unsettled, moved from my willful blindness and American arrogance. I wish the play itself had done this for me, it did not. I maintain my buffered ego and denial. Plus perhaps I also bought Tesla stock when it first hit the market. Ha. Apparently, I am into clean energy and bombing, <b>just call me Mother Courage</b>. <br>
<br>
It would be perfect to end this post at the last line, but then I would have to re-title it. I ramble on with the review for class criteria hoop jumping and to get to the Oompa Loompas, the play’s best part ☺. But first a little more on the set. The drop down paintings as contextual staging were problematic. The only painting that assisted the play in terms of progressing the story was the replica of Goya’s painting, May Third. The first and last paintings where exceptionally disruptive—perceptually fixating. The first glowed neon orange—visually eye riveting, screaming. The last was a gargantuas muddy brown blob OZ head. Its scale made it impossible to ignore. I assume, though unrecognizable to me, it referenced a historical painting, but it was just shit ugly and distracted me from the story.<br>
<br>
On the other hand, I loved the clothes racks packed with cadaverous heads and their disemboweled torsos with dangling entrails. Then again, perhaps I own Raytheon stock. Sigh. In a manner, the cadavers correlated with the staging in that they decontextualized the play from the “real” and its temporal location in history. The clothing store-like racks linked the story to contemporary culture, perhaps pointing to the costs of our consumer-based economy. I appreciated the way the abstraction and repetition suggested the horrors and carnage of war with the multiple racks signaling ongoing death counts. <br>
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The acting and singing left me wanting. As fine an actress as Mother Courage was, she was not even remotely my favorite character. The very best thing about the play was the Oompa Loompas, apparently recast from <i>Willie Wonka and the Chocolate Factory</i>. Though neither short nor bearded, they dressed hygienically, donned in all white paper industrial-like coveralls, including white foot booties that muffled the sound of their walking. They functioned between scenes, just as they did in the movie when cued by Wonka and set to the task of scene transition by rolling off the Blueberry Girl for squishing or the other "bad" children for obvious consequences.<br>
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Likewise, in <i>Mother Courage</i>, a buzzer, followed by a holler, “scene change,” activated the scenic inbetweens. The Oompas moved silently with calculated intent as they danced the white columns to new positions. It was just freaking beautiful. The music played softly in accompaniment, but I was so fixate on their coordination and efficient movements it really didn’t register. I would have been happy with three hours of that or at least twenty-two minutes. In either case, I would need a hint of a conceptual intent. Seriously, I might have preferred the play’s narrative without bodily action. With the characters garbed in white costume, proplessly standing behind a series of white podiums, lined up in a row, voicing their lines. And then holding still and silent as the Oompa Loompas, initiated with the buzzer and pre-emptive holler, “scene change,” did their thing. Even with unaltered script, this would have teleported the viewer from the past to the future of now. Oh, I would have been so engaged. Sometimes “less is more” though that would require a butt-load of risk and courage.
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Ha, and would the Oompa Loompas songs be relevant to Brecht’s script? I think so. It is worth a test, in creating a new version of <i>Mother Courage</i> worth doing.<br>
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NOTE: Perhaps interdisciplinary in development, Mother Courage seemed to fit my stereotype of conventional three parts play and one part musical.<div class="blogger-post-footer">www.kathrynkelley.blogspot.com</div>kathkellhttp://www.blogger.com/profile/00915802275878023041noreply@blogger.com0tag:blogger.com,1999:blog-30543810.post-49245812378138427402015-04-18T08:39:00.003-05:002015-04-18T09:19:58.073-05:00three different presentation/papers three sequential days. brow wipe. sightwo of the three went well. the third i got bogged down, distracted a stymied on the conference's old laptop, finding the buttons and touch pad clumsy. sigh. next time i just break the rules and plug in my mac. then i can not only run my presentation from my phone and stand anywhere, but can also see my notes simultaneously! my presentations are typically dependent on visuals, they actually provide unsaid information, now they also include key stats, which in my mine, numbers are better seen than said.<br />
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here is partial sampling of my three on three. remember you are not getting the verbal commentary, just a half snippet. PS I love Janine Antoni, Robert Morris, and Schneeman's work. How could they not be freaking influential on my primary practice. PSS I am not a historian, but a practicing studio artist, plus grad student, and I teach/present from this perspective.<br />
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<i><span style="font-size: large;">in the written text of female visual artists are there linguistic traces of self-limiting social positioning?</span></i><br />
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<span style="font-size: large;"><i>Robert Morris | agile evasion of disciplinary definition = transgenred</i></span><br />
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<span style="font-size: large;"><i>the body is never neutral, never silent</i> </span>[contemporary art history]<br />
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ps. disclaimer - imagery was used for educational purpose in educational setting. outside of a grade, honoring, and self-respect, there was no fiscal benefit.<br />
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<a href="http://www.pinterest.com/pin/create/extension/?url=https%3A%2F%2Fwww.blogger.com%2Fblogger.g%3FblogID%3D30543810%23editor%2Ftarget%3Dpost%3BpostID%3D4924581237813842740&media=https%3A%2F%2Fimages-blogger-opensocial.googleusercontent.com%2Fgadgets%2Fproxy%3Furl%3Dhttp%253A%252F%252F4.bp.blogspot.com%252F-xPcLY7K1LvM%252FVTJdiWIN3bI%252FAAAAAAAAaV8%252FlEzxJ1zhDSE%252Fs1600%252FSlide26.jpg%26container%3Dblogger%26gadget%3Da%26rewriteMime%3Dimage%252F*&xm=h&xv=sa1.35&description=" style="background-color: transparent; background-image: url(data:image/png; border: none; cursor: pointer; display: none; height: 20px; left: 193px; opacity: 0.85; position: absolute; top: 8129px; width: 40px; z-index: 8675309;"></a><a href="http://www.pinterest.com/pin/create/extension/?url=https%3A%2F%2Fwww.blogger.com%2Fblogger.g%3FblogID%3D30543810%23editor%2Ftarget%3Dpost%3BpostID%3D4924581237813842740&media=https%3A%2F%2Fimages-blogger-opensocial.googleusercontent.com%2Fgadgets%2Fproxy%3Furl%3Dhttp%253A%252F%252F4.bp.blogspot.com%252F-xPcLY7K1LvM%252FVTJdiWIN3bI%252FAAAAAAAAaV8%252FlEzxJ1zhDSE%252Fs1600%252FSlide26.jpg%26container%3Dblogger%26gadget%3Da%26rewriteMime%3Dimage%252F*&xm=h&xv=sa1.35&description=" style="background-color: transparent; background-image: url(data:image/png; border: none; cursor: pointer; display: none; height: 20px; left: 193px; opacity: 0.85; position: absolute; top: 8129px; width: 40px; z-index: 8675309;"></a><div class="blogger-post-footer">www.kathrynkelley.blogspot.com</div>kathkellhttp://www.blogger.com/profile/00915802275878023041noreply@blogger.com0tag:blogger.com,1999:blog-30543810.post-46544471518120177822015-03-08T11:09:00.000-05:002015-03-08T14:26:26.207-05:00I love my hands and want to keep functional every freaking finger and my opposables for these are my assets that render me recognizably human, well at least semi-hairless primate.<div class="separator" style="clear: both; text-align: left;">
<span style="text-align: start;">I love my hands and want to keep functional every freaking finger and my opposables for these are my assets that render me recognizably human, well at least semi-hairless primate. And, though I also love the scholarly thing, I miss using my hands gnarly and exhaustively each day.</span></div>
<div>
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-Z4JiSjiB_C8/T_iOQiq6HII/AAAAAAAANVA/BqnAJvGLHSc/s1600/photo%2B3-709890.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-Z4JiSjiB_C8/T_iOQiq6HII/AAAAAAAANVA/BqnAJvGLHSc/s1600/photo%2B3-709890.JPG" height="300" width="400" /></a></div>
<span style="font-family: inherit;"><br /></span>
<br />
<span style="font-family: inherit;">THE SHORT VERSION of a smidgen of the remembered</span><br />
<span style="font-family: inherit;"><br />I sat in a waiting room, not one I had been in before. With my head slightly tilted I watched the man five seats down on my left. He was clean cut, dark haired, casual but
well dressed, perhaps twenty-five. He flipped through the slick pages of a
magazine. Something seemed not quite right. I was fixed on his hands when it dawned
on me that his fingers were toes. </span>The uniform loss of digits on both hands seemed suggestive of machine precision, an industrial accident. <span style="font-family: inherit;">The expletive fingers
still absent, the others had been adapted from his big toes and its second. The pointer toe digit and his opposable toes, now thumbs, flipped pages. No redness, residual mangling or
scar. The fat pads of the toes had diminished with their changed use. Perhaps
he now balances with upon his feet with little toe prosthetics. </span><br />
<br />
<span style="font-family: inherit;"><br /></span>
<br />
<div style="text-align: center;">
<span style="font-family: inherit;"><a href="http://4.bp.blogspot.com/-B7SU4m3V_iM/T_iOP0AaDbI/AAAAAAAANUo/JwPJDbGkQ9c/s1600/photo%2B1-706678.JPG" imageanchor="1" style="font-family: inherit; margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-B7SU4m3V_iM/T_iOP0AaDbI/AAAAAAAANUo/JwPJDbGkQ9c/s1600/photo%2B1-706678.JPG" height="400" width="300" /></a></span></div>
<div style="text-align: center;">
<br /></div>
<span style="font-family: inherit;">The teenage boy seated next to me interrupted my stare as he leaned
nearer to me. I turned noting the professionally bandages wrapped on each wrist. Nodding down with an ask, almost
boastful he exclaimed how he hadn't cut deep enough when he tried to kill himself, but instead had severed and damaged both nerves and tendons. It was a
unexpected disclosure. His mother sat with her head down, jaw and body tight. A
bodily gesture I recognized as agonized anger and shame. I neither wanted to reward the boy's boastful call for attention nor judge him harshly with my bodily attentions.
So, I attempted gentle eye contact and nods as he talked and I listened.</span><br />
<span style="font-family: inherit;"><br /></span>
<br />
<div style="text-align: center;">
<span style="font-family: inherit;"><a href="http://1.bp.blogspot.com/-nUvXFU024uc/T_iOQGsq5fI/AAAAAAAANU0/6rdDC0A5Bk4/s1600/photo%2B2-708260.JPG" imageanchor="1" style="font-family: inherit; margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-nUvXFU024uc/T_iOQGsq5fI/AAAAAAAANU0/6rdDC0A5Bk4/s1600/photo%2B2-708260.JPG" height="400" width="300" /></a></span></div>
<br />
<span style="font-family: inherit;">T</span>he door opposite the check-in sliding window, the<span style="font-family: inherit;"> exit from which I had entered, opened. A woman was rolled
in a wheelchair, she was situated and parked. The roller bent and said
something quietly in her ear and then departed. Each of her arms, parallel and fully extended
forward, were splinted and freshly bandaged. Both of her legs where like wise encased and extended. All four limbs </span>shot out<span style="font-family: inherit;"> straight forward as if frozen in the act of warding off the impact of an oncoming car. Her entry left the room very silent as the toe-fingered
man, the wrist-sliced teen, the angry mom and myself tried not to full on stare. </span><br />
<span style="font-family: inherit;"><br /></span>
<br />
<div style="text-align: center;">
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-BqUBkERgkLQ/VPyiMjT9_fI/AAAAAAAAaHI/R5s3SoSsyz0/s1600/IMG_2013.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-BqUBkERgkLQ/VPyiMjT9_fI/AAAAAAAAaHI/R5s3SoSsyz0/s1600/IMG_2013.JPG" height="400" width="300" /></a></div>
<br /></div>
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">The door, adjacent to the window, cracked opened, my name was called. I was lead to room five, the door shut as I waited to meet with my hand neurosurgeon. I’d with met him once before during my six hour ER visit,
not in a waiting room but behind curtain number three, where I chattered
scatologically, </span>nervously, <span style="font-family: inherit;"> incessantly for my full stay. It was my form of deflection while
my finger was prepped with a digital block (a freaking long needle stuck in my fingers crouch between two and three) and the surgeon scrubbed its INSIDE. OMG, having the inside of your own body scrubbed is a thousand kinds of wrong, no matter that you can't feel it. Finally I was
carefully stitched up, wrinkle by wrinkle aligned. All the while, two chain saw accident workers, who'd bounced the rotating teeth off their shins, apparently a common accident, waited.
And I listened as the one covered gurney was extricated with each curtain being
shut </span>sequentially and its sound announcing<span style="font-family: inherit;"> the dead body's passing.</span><br />
<span style="font-family: inherit;"><br /></span>
<br />
<div style="text-align: center;">
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-FRCx5VnfdOE/UHCbteDeOKI/AAAAAAAARmY/fEHgXt1gY6k/w640-h480-no/blogger-image--820790771.jpg" imageanchor="1" style="font-family: inherit; margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-FRCx5VnfdOE/UHCbteDeOKI/AAAAAAAARmY/fEHgXt1gY6k/w640-h480-no/blogger-image--820790771.jpg" height="300" width="400" /></a></div>
<br /></div>
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Sure, I had twenty-two stitches zipping up my recessive
index finger, not toe, to pull things back together from the inadvertent butterfly fillet resulting from wrestling with my black gator,* but I was pretty sure my
finger would be fine. I hadn't cross cut my tendons and nerves, just sliced up
the middle of them from my nailed tip to knuckle, exposing the bone. Sigh, though if you pinch the back of your finger, you'll see this did not involve a lot of hurt, just OMG, I see my bones. </span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">I had never
consciously considered before that I should probably seriously protect my hands
and fingers, for they are dear assets. That my eight digits, two
opposables, and language make me uniquely operationally as human had previously gone unthunk
(yes). It was only
sitting in the waiting room witnessing a single day in the office of a hand neurosurgeon that these thoughts surfaced to my consciousness.</span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-ibMsrpcSQYc/UHCbuTaIYzI/AAAAAAAARmg/dquSPlULXiw/w360-h480-no/blogger-image-695445926.jpg" imageanchor="1" style="font-family: inherit; margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-ibMsrpcSQYc/UHCbuTaIYzI/AAAAAAAARmg/dquSPlULXiw/w360-h480-no/blogger-image-695445926.jpg" height="400" width="300" /></a></div>
<span style="font-family: inherit;"><br /></span>
<br />
<div style="text-align: center;">
</div>
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">And I wasn't even sculptress yet! But, it was my pre-lesson
in noncommercial tool safety before I owned a table saw, bandsaw, miter saw, chop saw, jigsaw, circular saw. </span><br />
<span style="font-family: inherit;"><br /></span>
<br />
<div style="text-align: center;">
<span style="font-family: inherit;"></span><br />
<a href="http://2.bp.blogspot.com/-1ATwxWMOE4o/Tr3Eh3rfMhI/AAAAAAAAIj8/TBAHxQkfd-4/s1600/photo%2B3-763556.JPG" imageanchor="1" style="font-family: inherit; margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-1ATwxWMOE4o/Tr3Eh3rfMhI/AAAAAAAAIj8/TBAHxQkfd-4/s1600/photo%2B3-763556.JPG" height="400" width="300" /></a></div>
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">I love my hands and want to keep functional every freaking
finger and my opposables for these are my assets that render me recognizably human,
well at least semi-hairless primate.</span><br />
<span style="font-family: inherit;"><br /></span>
<br />
<div style="text-align: center;">
<span style="font-family: inherit;"><a href="http://1.bp.blogspot.com/-ljMWeKCceGE/UOSmAzv8JmI/AAAAAAAAVBQ/C178E4Hdk3w/s640/blogger-image-1336232586.jpg" imageanchor="1" style="font-family: inherit; margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-ljMWeKCceGE/UOSmAzv8JmI/AAAAAAAAVBQ/C178E4Hdk3w/s640/blogger-image-1336232586.jpg" height="300" width="400" /></a></span></div>
<br />
<br />
<span style="font-family: inherit;">* </span><b style="font-family: inherit;">gator</b><span style="font-family: inherit;"> = gatorboard = a type of foamcore with a thin sheath of bulsa
wood in it; my blade = exacto knife; and the bite = slippage while running its blade along a metal ruler's edge and </span>inadvertently<span style="font-family: inherit;"> up my </span>index<span style="font-family: inherit;"> finger. </span><span style="mso-spacerun: yes;"> </span><span style="font-family: inherit;">Slicing the back of your finger actually
doesn't hurt (go ahead pinch the back of your finger...nada). Only three things
hurt: 1. when they vigorously scrubbed INSIDE my finger (WTHeck..seriously no
one should scrub under your skin!!!), the digital block (the needle they stick
between your fingers and then twist around injecting the deadening)
and OT sessions.</span><br />
<span style="font-family: inherit;"><br /></span>
<br />
<div style="text-align: center;">
<span style="font-family: inherit;"><a href="http://2.bp.blogspot.com/-ru9Zek5Gwag/Si2J9ptpIpI/AAAAAAAABU8/gtlHAqS0vTE/w734-h674-no/IMG_7346.jpg" imageanchor="1" style="font-family: inherit; margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-ru9Zek5Gwag/Si2J9ptpIpI/AAAAAAAABU8/gtlHAqS0vTE/w734-h674-no/IMG_7346.jpg" height="366" width="400" /></a></span></div>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td><a href="http://4.bp.blogspot.com/-QD9SKt90RqQ/Si2O4ZxFAHI/AAAAAAAABV4/ueFtoRFq8eI/w772-h515-no/watch.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: inherit;"><img border="0" src="http://4.bp.blogspot.com/-QD9SKt90RqQ/Si2O4ZxFAHI/AAAAAAAABV4/ueFtoRFq8eI/w772-h515-no/watch.jpg" height="266" width="400" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-family: inherit; font-size: small;">Photograph by Katy Anderson</span></td></tr>
</tbody></table>
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<div class="blogger-post-footer">www.kathrynkelley.blogspot.com</div>kathkellhttp://www.blogger.com/profile/00915802275878023041noreply@blogger.com0tag:blogger.com,1999:blog-30543810.post-10044470484521582142015-03-03T09:31:00.000-06:002015-03-06T07:30:26.030-06:00[performative utterance] + [prostituted prop] + [performative principles] = art as research [SITE}<div class="separator" style="clear: both; text-align: right;">
<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrSHgcj-Lw2sFOXoRiiB71RYmuUKxbvyJipKHTW12LIVCChhJX2Y-zFTRSF7sVrdPa9EvzOEBm2OqLMquXk4yW-XUQGW6igj_rBIGAZSw8FhqpMQjSVkS_lKhX0qS4CStzbSWx7w/s1600/title.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrSHgcj-Lw2sFOXoRiiB71RYmuUKxbvyJipKHTW12LIVCChhJX2Y-zFTRSF7sVrdPa9EvzOEBm2OqLMquXk4yW-XUQGW6igj_rBIGAZSw8FhqpMQjSVkS_lKhX0qS4CStzbSWx7w/s1600/title.png" height="132" width="400" /></a></div>
<br />
<hr />
<br />
<blockquote class="tr_bq">
<i>A long time ago I got in the habit, never since broken, of writing down things instead of talking. It is possible that I was lead into art making because talking and being in the presence of another person were not requirements.</i> — Robert Morris, 2013 [Lecture @ University of Chicago] </blockquote>
Robert Morris’ artistic praxis finds ground in art as research. In this vein, his substantial body of work exhibits a thoughtful exploration of the art object as performative, the viewer’s position as interventional, and the thought theme, agency, called into question. It seems a logical intent to unpack how these explorations of the performative, intervention, and agency via his use of substitution, imitation and exchange are evident in his performance, Site (1964). Additionally, his praxis and resultant works fluidly cross genre boundaries between sculpture, performance, dance, text, criticism, and art history in a way that disrupts the regulatory fiction of disciplinary coherence.<br />
<br />
I am not yet ready to throw down the gauntlet of a definitive argument, but the above paragraph is the direction I am heading. Though if I must throw down a specific gauntlet, it will be that Robert Morris’ artistic praxis and resultant works fluidly cross genre boundaries between sculpture, performance, dance, text, criticism, and art history in a way that disrupts the regulatory fiction of disciplinary coherence. Of course, I totally stole this and repurposed it from Judith Butler’s constitutive notion of gender coherence. I have simply overlaid it relative to disciplinary coherence. Perhaps this makes Robert Morris’ praxis less inter-disciplinary and more transGENRE*. Ha. I will have to reread Butler [Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory] to see if it is a fit. Could be an interesting part of the argument, since Greenbergian Modernism is so freaking patriarchal, isolates the genre’s as uniquely discrete, and Morris pushed up against this in his praxis and essays.<br />
<blockquote class="tr_bq">
<i>A sane mind should not be guilty of a logical fallacy</i>. — Henri Poincare, 1902<br />
<i>The abolition of logic, the dance of the impotents of creation!</i> — Dada Manifesto, 1918<br />
<i>Illogical judgments lead to new experience. </i>— Sol LeWitt, 1969</blockquote>
*Abstract Appendix
TRANSGENRE
[stolen from Wikipedia and shoved through the notions of Judith Butler | italics denote my word substitutions]<br />
<br />
<ol>
<li> Of, relating to, or designating a <i>practice</i> whose identity does not conform unambiguously to conventional notions of <i>genre</i> <i>disciplinarity</i>, but combines or moves between these.</li>
<li><i>Practices</i> who were assigned a <i>disciplinary genre</i>, usually at birth and based on their <i>physiological neural activation</i>, but who feel that this is a false or incomplete description of themselves.</li>
<li>Non-identification with, or non-presentation as, the <i>genre</i> (and assumed <i>genre</i>) one was assigned at birth.</li>
<li>A <i>transgenre</i> practices may have characteristics that are normally associated with a particular <i>discipline</i> and identify elsewhere on the traditional <i>genre continuum</i>, or exist outside of it as other, a<i>genre</i>, <i>genre</i> neutral, <i>genre</i> ueer, non-binary, third <i>genre</i> etc. <i>Transgenre</i> practices may also identify as bi<i>genre</i>, pan<i>genre</i>, or along several places on either the traditional <i>transgenre</i> continuum or the more encompassing continuums that have been developed in response to recent, significantly more detailed studies. Furthermore, many <i>transgenre</i> <i>practices</i> experience a period of identity development that includes better understanding one’s self-image, self-reflection, and self-expression. More specifically, the degree to which individuals feel genuine, authentic, and comfortable within their external appearance and accept their genuine identity is referred to as <i>transgenre</i> congruence. </li>
</ol>
[http://en.wikipedia.org/wiki/Transgender]<br />
<br />
Footnotes later...assume ideas are being borrowed and mashed together.<div class="blogger-post-footer">www.kathrynkelley.blogspot.com</div>kathkellhttp://www.blogger.com/profile/00915802275878023041noreply@blogger.com0tag:blogger.com,1999:blog-30543810.post-46708634953196709742015-03-01T12:31:00.000-06:002015-03-01T12:47:37.353-06:00Judith Butler and transGENRE (ha)Just playing with labels and understanding the fluidity of the less than fixed disciplines within the academy.<br />
<br />
I don’t care for the term interdisciplinary. It is too loose, too overused and misused. It also infers a dividedness. An interdisciplinary artist would appear to dip her toe in discrete finite disciplinary pools; but this seems not quit accurate. Artists, the list to numerous to list, that are prolific in production, persistent in practice through life, and are known not just locally but more globally, tend to have a transgenre practice (even if what is publicly presented is mongenred). Like life and practice, the lines become blurry in their fictions.<br />
<br />
At first with the unpacking of Butler’s notions of the constitutive nature of gender, I transferred it the nature of interdisciplarity as a kind of transgenre practice. So I move from Butler’s transgendered people to transGENRE practices.<br />
<br />
TRANSGENRE [stolen and morphed from Wikipedia http://en.wikipedia.org/wiki/Transgender]<br />
<br />
<ol>
<li>Of, relating to, or designating a practice whose identity does not conform unambiguously to conventional notions of genre or disciplinary roles, but combines or moves between these.</li>
<br />
<li>Practices who were assigned a disciplinary genre, usually at birth and based on their physiological neural activation, but who feel that this is a false or incomplete description of themselves.</li>
<br />
<li>Non-identification with, or non-presentation as, the genre (and assumed genre) one was assigned at birth.</li>
<br />
<li>A transgenre practices may have characteristics that are normally associated with a particular discipline and identify elsewhere on the traditional genre continuum, or exist outside of it as other, agenre, genre-neutral, genrequeer, non-binary, third genre, etc. Transgenre practices may also identify as bigenre, pangenre, or along several places on either the traditional transgenre continuum or the more encompassing continuums that have been developed in response to recent, significantly more detailed studies. Furthermore, many transgenre practices experience a period of identity development that includes better understanding one’s self-image, self-reflection, and self-expression. More specifically, the degree to which individuals feel genuine, authentic, and comfortable within their external appearance and accept their genuine identity is referred to as transgenre congruence <br />[http://en.wikipedia.org/wiki/Transgender]</li>
</ol>
<br />
——————<br />
<br />
Of course once I finished this play, I went to google only to discover the usual, transgenre is not a new notion. Of course I knew this would be so for even Plato (and Bart Simpson) thunk (!) all my thoughts before me.<br />
<br />
I found <a href="http://www.arj.no/2012/03/12/disciplinarities-2/" target="_blank">Alexander Refsum Jensenius</a> unpacking of the differences within disciplinary labels and providing a nice little visual<br />
<blockquote class="tr_bq">
<i>interdisciplinary —> multidisciplinary —> Cross disciplinary —> interdisciplinary —> transdisciplinary </i></blockquote>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.arj.no/wp-content/2012/03/interdisciplinary.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://www.arj.no/wp-content/2012/03/interdisciplinary.png" height="96" width="400" /></a></div>
<br /><div class="blogger-post-footer">www.kathrynkelley.blogspot.com</div>kathkellhttp://www.blogger.com/profile/00915802275878023041noreply@blogger.com0tag:blogger.com,1999:blog-30543810.post-60103361279490056532015-02-19T11:21:00.001-06:002015-02-19T11:37:41.255-06:00There is a forgetfulness between self and context...The foot twitches; the mind thinks. The mind thinks; the foot twitches. The mind twitches; the foot thinks. The foot thinks; the mind twitches. Perhaps.An unfootnoted musing for a toe dipping short term project<br />
<br />
Option A—the easy way: <b>Analysis of interdisciplinary product (outcome)</b>—Robert Morris and Carolee Schneeman<br />
<br />
Option B—the less easy*: <b>Analysis of Intermodal process (income)</b>—Contemporary intermodal artistic practice of writing and ___ The unnoticed role of writing as a collaborator in non-literary artistic production<br />
<br />
It is my hypothesis that successful artists (prolific, persistent [life long practice], and known) have an intermodal (interdisciplinary) practice that involves their known mode of production and the mode of writing (often unnoticed).
Not with emphasis on individual or even team, but in terms of broader population patterns, I would like to consider the artistic mode of writing in terms of what functions it may play in sustaining and/or substantiating an artist’s primary practice. Specifically for this project I would like to consider how psychological findings on rates of healing, mental and physical health, and vocational success might inform or support an intermodal practice of writing and ___ for the artist. Secondarily, I would like to begin looking at theories of situated (embodied) cognition that might equally shed light on the function of writing. I believe these are some how linked in why an intermodal (interdisciplinary?) artistic practice incorporating writing and another primary artistic mode may assist the artist in being prolific, persistent, and known. What are the relevant implications for the artist?<br />
<br />
If I need to wrap it around specific artists, how about ? Agnes Denes, Yvonne Rainer, and Twyla Tharp—all have available writing samples worth review in light of the psychological research on writing.<br />
<br />
Background thinking inside my head<br />
<br />
<blockquote class="tr_bq">
<b>The foot twitches; the mind thinks. The mind thinks; the foot twitches.<br />The mind twitches; the foot thinks. The foot thinks; the mind twitches.
</b>Perhaps.</blockquote>
<br />
Martin Heidegger suggests, “<b>There is a forgetfulness between self and context</b>.”<br />
<br />
If the non-literary artist’s practice is situated, grounded and worked out primarily in the encounter and engagement of material and social context, if art making/art product is dependent on the primacy of embodied experience, does the act of writing somehow bridge the gap between the social and material encounter with the portion of consciousness that is language bound [commonly called the self]? Current radical trends in neuro-cognition suggest language based conception is like a residual aftermath of situated (embodied) conception, cognition. Does effective artistic production require an intermodal practice, a more substantial play between encounter/body and mind? Does the sustainment, development and success in an explicit artistic mode require sub or parallel mode in writing?<br />
<br />
I am not suggesting that this intermodal practice is in evidence or needed for all artists, perhaps it is personality or personal process dependent. I just know there is an overwhelming amount of “famous” visual artists in the last 100 years that write.<br />
<br />
*less easy simply means there is no well trodden trail for me to follow.<div class="blogger-post-footer">www.kathrynkelley.blogspot.com</div>kathkellhttp://www.blogger.com/profile/00915802275878023041noreply@blogger.com0tag:blogger.com,1999:blog-30543810.post-85312519648786956992015-01-27T20:45:00.000-06:002015-02-10T21:43:38.722-06:00abstraction and ambiguity -- two magnets, one mom and a refrigeratordoor -- take three<div class="tr_bq">
If you follow me much, than you know I hide behind ambiguity and abstraction. This is true for my work that inhabits both real (art) and cyber space (blogged writings)--by god I stitch with tie wire self referential forms from dilapidated combine tubes. I hide in plain sight. I stand stripping naked yet rarely exposed...well, unless you've read my entire freaking blog and intuitively fill in the emptied nail holes (read between the lines) I've left behind. Those of you that push the putty, fill the holes, hear the humor in my own piddley passage. I think eventually you find some ground from which to see me. Pretty sure you do.</div>
<br />
Buttttt. As always I have a big (somewhat skinny) but. And that but is that I'd like to be hintfully more clear. So I sit in a creative nonfiction graduate workshop grappling with my big but. I bite my lip in retort, post oral class reading. It seems so blatantly clear to me...alas...this is definitely not the first time I've run into my own big butted ambiguity and abstraction...<br />
<br />
<blockquote class="tr_bq">
Sigh.<br />
Yup, in elementary school I was always circularly corralled in the dumb oral reading groups. Gosh, even I knew the why for the way words twisted off my lips [then as now], my cheeks burned cherry red, and all cognitive conceptions canceled. Even the former, two and a half decade long, legal love unit was perpetually shocked and mildly mocked my blatantly blabbed butchery. I remember multiple sullen Saturday morns when he trudged next to me trying to break a part "especially." It simply would do nothing but mutate in its roll from my tongue. And he'd repeat -- Eeeee. Spesh. Aaa. LEE. <span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);">Eeeee. Spesh. Aaa. LEE. No, really Kathy! I was thirty three. Sigh. Eeeee. Spesh. Aaa. LEE.</span> Especially. Finally now, today, unmalformed it flows as the unit strolls by in my head as I go <span style="-webkit-text-size-adjust: auto; background-color: rgba(255, 255, 255, 0);">Eeeee. Spesh. Aaa. LEE.</span> Ha. </blockquote>
<blockquote class="tr_bq">
Oh yes, I did flunk sophomore "Five-Hundred Word Theme" with a forty-seven, repeated again for a C. Dormed and degree bound, first one, I was stuck in remedial writing--same freaking textbook I survived with an F then a C. OMG. I deferred my remainder, English courses that is, to the end, hoping I might be raptured before then. Dang my unrapturedness. </blockquote>
<blockquote class="tr_bq">
A decade later, hired as director of communication, I explained that I might edit BUT would not write. I would not write. I was clear. Of course, I also told them I would not wear a dress either. I’ve quite a few big buts. </blockquote>
<blockquote class="tr_bq">
So I find it infinitely humorous on degree three, that at least three art historians, really, one, two, three--Brauer, Padget, and Jacobs--suggested I had a knack to write and criticize. Head that direction. Ha, the blatantly blabbed butchery bound to each page was simply ignored, for the compression of critical content couched in hidden humors they got. A, A, A, A, A, A, A, A and another. I contemplated degree four in writing and critical theory. Five seconds then done. I was tribe bound with a legal love unit, so that was to be ignored. Hugh. Huh. Hmmm. Welp, here I am. </blockquote>
Now sans one legal love unit, I write with little shame. But, but, BUT could I just be a tad more freaking textually clear?!<br />
<br />
That said, here is rewrite three in which I try to ground my ungrounded graduate reader, post my oral presentation. Next week I’ll do a re-right again, trying to work further around my big ambiguous but that blocks my way.<br />
<br />
--- Draft three ---<br />
<br />
Two magnets, one mom and a refrigerator door<br />
<blockquote>
Your eyes shift down from their low casting across the long table’s surface to the one with blush burned cheeks. With eyes averting, you wait for something small, something smart, worth the wasted while. Waiting. Waiting. My cheeks burn all the more in the stalled stretching span. The words on the page coarsely twist off my lips. Stupidity overwhelms me in that first unrecoverable instance.
<br />
<br />
My nose flares with a frustrated hmmph. In fact, there are no words on the page to twist off my lips, and you, you, and you, with your already penned publishes, gathered here in round three of each of your piling up English degrees, have yet to sit.
<br />
<br />
Hunched over my desk, I look to my right. I hesitate, hating that damn black bulldog clip thingy. It sits silently clasping itself, clinging impotently and unused to my wall mounted magnetic strip. Waiting, I calculate and cull from Paper Clips, Sausage, Candy Cigarettes, Silk: ‘Thingy-ness’ in Flash Nonfiction—but the black bulldog clip’s thingy-ness remains verbless and voiceless. There is no fusion of form or frame for content or cognition. No muse at all, just a damn mute thingy. It watches me subjectlessly grope my way through the assigned text. I turn the page hoping for more from the next. I stop. I wait. I try not to do smart. Smart is stupid. It stalls me, binding up as yet unwritten moments. I stare empty eyed at that stupidly smart bulldog clip, clamped shut, failing to give voice. I hold there, for a memory of my own, for histories released. I wait; I waffle, like an unmoored blank page a drift to the floor.
<br />
<br />
And, I mull down on my unwritten, unadmitted, why. That why that planted my ass right here for yet another but final degree. It sits heavy, I try to leverage it to push the pen. Nothing. Instead, I cultivate convincing myself to just freaking mimic the process I forced, a mere forty-eight hours ago, on my drawing students, set with the remedial task of blind contours. Literally positioning each with a laterally outstretched penciled arm, reaching slightly behind them to mark their easeled, bulldog clamped pad. They stare into a stool perched peer’s face, a mere socially inappropriate two feet in front of them, stretching the non-penciled arm forward, finger extended, pointedly poking and tracing the multiple contours of a face not their own. Leaving a mere lead trace, the pencil and padded hand translates with one continuous threading line. So focused, they work until their shoulders’ scream with exerted burn. Arms windmill around the room and then each set returns to their page. The drawings develop; find face in a process not a product. It’s a way of unlearning their cognitively compressed perceptual knowings. One eye large, one small and displaced below the nose, the ear a cheek, the chin so small, the nose laps over the mouth. Each distortedly different—fragility and frustration processed, released. Those that forego fixation on the final outcome, find face. The drawings oddly read as real. On the other hand, those penciled from the cognitively coerced are worth only two magnets, one mom, and a refrigerator door.
<br />
<br />
My mind returns me to put pen to page in a parallel process, to write. Of course, this is a lie. I thumb my digital device, swiping away my glossed knowings, my false facades and my repetitive reviews of the LIKES on my most recent Facebook update. Hmmmph. I point to the damn convoluting contours of that impotent clip and my mind's eye fingeringly follows my own blind unfaked fragility and frustration with this forced first draft. I feel the residual taint of my own feared stupidity and am left with missing my mom, two magnets and her refrigerator door.
</blockquote>
<br />
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<blockquote class="tr_bq">
Funny after drafting this up I find myself reading Alexander Smith, circa 1892, <i>On Writing Essays</i>. Ha, while speaking of the essayist Montaigne, he notes, </blockquote>
</blockquote>
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<blockquote class="tr_bq">
<i>"The essayist plays with his subject, now whimsical, now in grave, now in melancholy mood. He lies upon the idle grassy bank ... letting the world flow past him, and from this thing and the other he extracts his mirth and his moralities... as I walk through the woods... His habit of mind is leisurely; he does not write from any special stress of passionate impulse; he does not create material so much as he comments upon material already existing ... His main gift is an eye to discover the suggestiveness of common things... If you wish to preserve your secret, wrap it up in frankness... He laughs at himself and his reader ... you suspect mockery or banter in his tones. He is serious with the most trifling subjects, and he trifles with the most serious."</i> </blockquote>
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<blockquote class="tr_bq">
Of course I live in 2015, am female, and at the moment, less than idle. But I miss the idle and speaking to the common place of the moment. I miss laughing at myself and being my own egotistical primary source.<i> </i>] </blockquote>
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<div class="blogger-post-footer">www.kathrynkelley.blogspot.com</div>kathkellhttp://www.blogger.com/profile/00915802275878023041noreply@blogger.com0tag:blogger.com,1999:blog-30543810.post-88556754948906899822015-01-27T08:40:00.000-06:002015-01-27T09:30:03.284-06:00Two magnets, one mom, and a refrigerator door <br />
Your eyes shift down from their low casting across the long table’s surface to the one with blush burned cheeks. With eyes averting, you wait for something small, something smart, worth the wasted while. Waiting. Waiting. My cheeks burn all the more in the stalled stretching span. The words on the page coarsely twist off my lips. Stupidity overwhelms me in that first unrecoverable instance.<br />
<br />
My nose flares with a frustrated humph. In fact, there are no words on the page to twist off my lips, and you, you have yet to sit.
I look to my right.<br />
<br />
I hesitate, hating that damn black bulldog clip thingy. It sits silently clasping itself, clinging impotently and unused to my wall mounted magnetic strip. Waiting. Its thingy-ness remains verbless and voiceless. There is no fusion of form or frame for content or cognition. No muse at all, just a damn mute thingy. It watches me subjectlessly grope. I stop. I wait. I try not to do smart. Smart is stupid. It stalls me, binding up as yet unwritten moments. I stare empty eyed at that stupidly smart bulldog clip, clamped shut, failing to give voice. I hold there, for a memory of my own, for histories released. I wait; I waffle, like an unmoored blank page a drift to the floor.<br />
<br />
And, I mull down on my unwritten party line as to why I am here. It sits heavy, I try to leverage it to push the pen. Nothing. Instead, I cultivate convincing myself to just freaking mimic the process I forced a mere forty-eight hours ago on my drawing students, set with the remedial task of blind contours. Literally positioning each with laterally outstretched penciled arms, reaching slightly behind them to mark their easeled, bulldog clamped pad. They stare into a stool perched peer’s face, a mere socially inappropriate two feet in front of them, stretching the non-penciled arm forward, finger extended, pointedly poking and tracing the multiple contours of a face not their own. Leaving a mere lead trace, the pencil and padded hand translates with one continuous threading line. So focused, they work until their shoulders’ scream with exerted burn. Arms windmill and then return to the page. The drawings develop; find face in a process not a product. It’s a way of unlearning cognitively compressed perceptual knowings. One eye large, one small and displaced below the nose, the ear a cheek, the chin so small, the nose laps over the mouth. Each distortedly different—fragility and frustration released. Those that forego fixation on final outcome, find face. The drawings oddly read as real. On the other hand, those penciled visually and cognitively coerced are worth only two magnets, one mom, and a refrigerator door.<br />
<br />
So I put pen to page in a parallel process, but to write. Of course, this is a lie. I thumb my digital device, swiping away my glossed knowings, my stupidly false facades and my repetitive reviews of the LIKES on my most recent update. Hmmmph. I point to the damn convoluting contours of that impotent clip and my mind's eye fingeringly follows my own blind continuity of unfaked fragility and frustration with this forced first draft.<br />
<br />
I am left with missing my mom.
<div class="blogger-post-footer">www.kathrynkelley.blogspot.com</div>kathkellhttp://www.blogger.com/profile/00915802275878023041noreply@blogger.com0tag:blogger.com,1999:blog-30543810.post-82026963242787610762015-01-22T17:58:00.001-06:002015-01-23T11:52:49.623-06:00forced first draft...damn. possibly titled I need my momI need my mom.<br>
<br>
Your eyes shift down from their low casting across the long table’s surface to the one with blush burned cheeks. With eyes averting, you wait for something small, something smart, worth the wasted while. Waiting. Waiting. My cheeks burn all the more in the stalled moment. The words on the page coarsely twist off my lips. Stupidity overwhelms me in that first unrecoverable instance.<br>
<br>
My nose flares with frustrated hmmph, in fact, there are no words on the page to twist off my lips and you have yet to sit.<br>
<br>
I look to my right, hating that damn black bulldog clip thingy. It sits silently clasping itself, clinging impotently and unused to my wall mounted magnetic strip. Waiting. Its thingy-ness remains verbless and voiceless with no fusion of form or frame for my content or cognition. No muse at all, just a damn mute thingy. It watches me subjectlessly grope. I stop. I wait. I try not to do smart. Smart is stupid. It stalls me, binding up as yet unwritten moments. I stare empty eyed at that stupidly smart bulldog clip, clamped shut, failing to give voice. I hold there, for a memory not my own, for histories released. I wait; I waffle, like an unmoored blank page a drift to the floor.<br>
<br>
And, I mull down on my unwritten party line as to why I am here. It sits heavy, I try to leverage it to push the pen. Nothing. Instead, I cultivate convincing myself to just freaking mimic the process I forced a mere forty-eight hours ago on my drawing students, set with the remedial task of blind contours. Literally positioning each with laterally outstretched penciled arm, reaching slightly behind them to mark their easeled, bulldog clamped pad. They stare into a stool perched peer’s face, a mere socially inappropriate two feet in front of them, stretching the non-penciled arm forward, finger extended, pointedly poking and tracing the multiple contours of a face not their own. Leaving a mere lead trace, the pencil and padded hand translates with one continuous threading line. So focused, they work until their shoulders’ scream with exerted burn. The drawings develop, find face in a process not a product. It’s a way of unlearning glossed wrong knowings. One eye large, one small and displaced below the nose, the ear a cheek, the chin so small, the nose laps over the mouth. Each distortedly different, fragility and frustration released. Those that forego fixation on final outcome, find face. The drawings oddly read as real. On the other hand, those penciled visually and cognitively coerced are worth only two magnets, one mom, and a refrigerator door.<br>
<br>
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<a href="http://drawing.washsam.com/wp-content/uploads/2015/01/IMG_6080.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://drawing.washsam.com/wp-content/uploads/2015/01/IMG_6080.jpg" height="300" width="400"></a></div>
<br>
<br>
So I put pen to page in a parallel process, but to write. Of course, this is a lie. I thumb my pad, swiping away my glossed knowings and my stupidly false facades and the repetitive reviews of the likes on my most recent Facebook update. Hmmmph. I point to the damn convoluting contours of that impotent clip and with mind's eye fingeringly follow my own blind continuity of unfaked fragility and frustration.<br>
<br>
Damn it, I miss my mom.
<div class="blogger-post-footer">www.kathrynkelley.blogspot.com</div>kathkellhttp://www.blogger.com/profile/00915802275878023041noreply@blogger.com0tag:blogger.com,1999:blog-30543810.post-3585671332122061692014-12-23T20:25:00.000-06:002014-12-28T11:37:53.836-06:00holiday break has lead to decisions, decisionsThis summer I replaced the hermitage, micro-forest and my mini-meadow that sat at the edge of the Sam Houston National Forest for PhD studies, a 1929 cottage and lots of renovations. I am trying to take it back to at least feel retro. I am stuck on the floor. Trust me the green makes since for this house. Having peel many a door frame back to wood, green was the original color and is the current color of the exterior. Sigh.<br>
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The light green tile are a smudge darker and with a hint of olive than what appears in photos</div>
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Original plaster walls match the light green tile.</div>
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Ha. This room is two colors--dark green and light green like the tiles</div>
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Crazy pants, but the previous owners painted almost every room a different color. <span style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif;">The bedroom is maroon and yellow. It is starting to grow on me. </span><span style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif;">The turquoise dining room will definitely have to be given a new color.</span></div>
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The study is reddish maroon and gray. Hmmm. </div>
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The 85 year old kitchen cabs are cool but needed a new face, <span style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif;">so I built new fronts and sanded the structure down to wood.</span></div>
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I saved the original hardware and will re-attach the doors with them.</div>
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This summer while school was out, the neighbors really wanted to help.<span style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif;">They got power tool lessons. Sad day, they moved :(</span></div>
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There were somethings I couldn't do that had to be done. So I hired out.</div>
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I will have this baby spruced up and retro hip.</div>
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I probably should be making art, but renovations are taking priority currently. <span style="font-family: 'Helvetica Neue Light', HelveticaNeue-Light, helvetica, arial, sans-serif;">I do ponder my balls and consider my next art move for the coming summer.</span></div>
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and chairs</div>
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<div class="separator" style="clear: both; text-align: center;"><br></div><div class="blogger-post-footer">www.kathrynkelley.blogspot.com</div>kathkellhttp://www.blogger.com/profile/00915802275878023041noreply@blogger.com1tag:blogger.com,1999:blog-30543810.post-56333402565624243252014-11-26T18:58:00.000-06:002014-11-26T19:00:26.312-06:00stitching remnant tubes; stitching dataWill I be able to maintain a dual practice, art and scholarship, or is scholarship simply an evolution in my medium?<br />
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<b>Art practice</b>: stitching together consumer refuse into a coherent aesthetic experiential phenomena.
Interdisciplinary<br />
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<b>PhD studies:</b> collating and commingling scholarly research residue from discrepant disciplinary domains into coherent bodies of knowledge that might inform the aesthetic experimental practice and phenomenon.<br />
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Clearly there are parallels equally weighty (ha) if one does not account for perpetual sweat, grime and dirty finger nails evident in my artistic practice.<div class="blogger-post-footer">www.kathrynkelley.blogspot.com</div>kathkellhttp://www.blogger.com/profile/00915802275878023041noreply@blogger.com0tag:blogger.com,1999:blog-30543810.post-4666491972557239242014-11-23T00:01:00.001-06:002014-12-24T21:34:47.353-06:00weaving the unraveled as I ravel the strands' textual influences ofthe term<em>Carnal Knowledge: Towards a ‘new Materialism’ through the Arts</em> (2013), “Introduction” by Barbara Bolt<br />
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The idea of the performative power of materiality that Bolt introduces has raised one possible strand of research relative to the function of visual and performative artists’ writings. Still just raw mental musings spurred by this reading is the notion that there may be correlations between the material nature of making, the physicality, and the need to consciously process via written language, some kind of needed balance or play between the physical co-collaboration with matter and the artist’s internal associative cognition. And is there a relationship to the physicality of the act of writing (and typing) that still grounds the artist’s larger practice in the material world? Is there a drive for artists relative to writing that anchors it in physicality? I am not suggesting that there is necessarily a content relationship between that which is made and the writing. For instance a line from one of Anne Truitt’s first published journals correlates more with the act of being an artist than negotiating a particular artwork: “My hope was that if I did this (writing) honestly I would discover how to see myself from a perspective that would render myself whole in my own eyes.” (1974) Additionally, I wonder if the more an artist’s body of work is abstracted and removed from direct representation or is ephemeral, if there is an increase in the frequency or drive for writing. Perhaps writing undoes the illusion of “muteness” and the “irrationality of matter” in a fashion that instead allows the artist to be in a more overt co-collaboration with the performative nature of matter </blockquote>
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Barbara Bolt, “Introduction: Toward a “New Materialism” Through the Arts,” in <em>Carnal Knowledge: Towards a ‘new Materialism’ through the Arts</em>, ed. Estelle Barrett and Barbara Bolt (London: I.B. Tauris, 2013), 1-13.</blockquote>
<em>Extraordinary Measures: Disability in Music, </em>Ch 6 “Disability Within Music-Theoretical Traditions” by Joseph Straus<br />
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Straus’ summation and application of the idea of metaphor and the body to art, in his case music, derived from Lakoff and Johnson’s research, seems also to be a relevant research direction in regards to exploring the function of writing for the visual artist. The relevance has become more evident as I have gone to Straus’ source texts by Lakoff and Johnson, which then led me to explore research around human acquisition of knowledge via metaphorical thinking—in that we understand this from that and that from this and rarely a direct understanding of this is this. This metaphorical thinking also seems to harken back to Judith Butler’s discussions of the cultural constitutions of gender and identity via the trappings of performativity, as well as Melanie Klien’s Object Theory. I haven’t quite woven this together in my mind yet but metaphorical thinking and making, language as a container, writing as a container, performing artist (as in Judith Butler’s performing gender), and co-collaboration with the material world (Bolt) perhaps need the act and process of writing to hold together the multivariance practice of being artist.</blockquote>
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Additionally in terms of Straus’ discussion of “musical abnormality requiring normalization,” a controlling, managing and neutralizing dissonance, there may be a relevance to the topic of writing’s function for the visual artist. This notion of dissonance calls to mind the potential cognitive dissonance that might be a repeating event for the practicing artist. By cognitive dissonance, I mean that mental unease that arises when conflicting notions must be simultaneously held and artificial resolved to smooth the mental distortions (anxieties?). For instance, an artist might grapple with a critical art review that infers that she is no artist at all, yet she is a practicing artist. Perhaps even, depending on one’s familial history, a negotiation of the desire for a purposeful vocation yet simultaneously experiencing art as frivolous entertainment. Or even more disruptive, for me, is the dissonance that arises from the role making fills to move the self from a position of consumer to producer, yet the production results in something for consumers to consume. Essentially cognitive dissonance is that chaos Elizabeth Grosz alludes as the source of the drive and negotiation via the framing and deframing, the territorializting and deterritorializing of chaos except this is occurring within the mind relative to one’s shifting constructed identity as one attempts to perform according to what seems and “feels” “right” and “real.” The framing and deframing to manage the chaos is a sort of dissonance management with attempts at normalization, reducing the mental deformities that occur when life, self, etc, are unstable. Grosz suggests that this process of managing chaos stems from the impulse to organize space. So as the artist works with material space, does the artist simultaneously need a way to organize the space of the mind? And is this ordering of space a function and source for the compulsion of visual artists to write?</blockquote>
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Joseph Nathan. Straus, “Disability Within Music-Theoretical Traditions,” in <em>Extraordinary Measures: Disability in Music</em> (Oxford: Oxford University Press, 2011), 104-24.</blockquote>
I am equally impacted and influenced by Judith Butler and Elizabeth Grosz’ writings. It is not yet directly clear as to how all these threads from the four authors fully relate to the visual artist’s practice of writing, but I think that if I follow each thread—new materialism, metaphor, dissonance, performativity and the impulse to organize space—they may weave together in a revelatory and useful manner as I unravel the function of writing for the visual artist. Or in the words of Grosz I may use them to frame and deframe, territorialize and deterritorialize the chaos of the impulse to write, to order linguistic and mental space.<div class="blogger-post-footer">www.kathrynkelley.blogspot.com</div>kathkellhttp://www.blogger.com/profile/00915802275878023041noreply@blogger.com0tag:blogger.com,1999:blog-30543810.post-82486629810304609722014-11-16T13:49:00.001-06:002014-11-16T13:56:09.671-06:00Silence or nothing more than a vibrating string robbed of selfHa. I normally work in silence. In rare moments I will turn on a tune and let it run through me. In these irregular passages, if it strikes my system just so, either brushing away, smoothing over, mental clutter so that my thoughts flow more fluidly coherent or I slip away into the sounds imagings of elsewhere, there is a pleasure of sorts. But most the time, mechanical or voiced music, buzzes like an incessant gnat disrupting my mental musings. I laughed today as I tripped over Vladimir Jankelevitch's textually voiced thought:<div><br></div><div><i>"Music acts in human beings, on their nervous systems and their vital processes...The man inhabited and possessed by this intruder, the man robbed of self, is no longer himself; he has become nothing more than a vibrating string, a sounding pipe."</i></div><div><br></div><div>Is not cinema (TV) not almost the same?</div><div><br></div><div class="blogger-post-footer">www.kathrynkelley.blogspot.com</div>kathkellhttp://www.blogger.com/profile/00915802275878023041noreply@blogger.com0tag:blogger.com,1999:blog-30543810.post-20487777280478696552014-11-11T16:26:00.001-06:002014-11-30T10:07:44.350-06:00Visceral making was my first move out of silence.Visceral making was my first move out of silence, a move made at a time when I was unsure how to speak into or even grasp my own lived experience, when my body had a more cogent language than my mind.<br>
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That has now been partially purged in the pursuit of a clarity in purpose and voice. So I continue the move out of silence, but it will never stray too far from the language of the visceral.<br>
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Where that will lead and how it will resolve is an adventure to strike out upon. </div>
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Clearly (ha), there will be no retrospective based on the 14.7 tons of work and residue taken to the dump and a large part of the remainder burned.<br>
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Tear wipe. Palm smack to forehead. Dang. Seriously, seven loads, 14.7 tons. Since I harvest from the waste stream, I do not feel overly guilt returning it. But dang if it didn't hurt to dispose of it all.<br>
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Ha. Even purged seven years worth of my steel tip work books.<br>
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A tad of the purged<br>
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Waaaa! It is what it is and it needed done. Shipping or hauling and storing is simply not in my budget. And though I've set myself upon a scholarly path, I am sure that my body will always speak more cogently than my mind.</div>
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And to quote my dad, "Make new work."</div>
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<div class="blogger-post-footer">www.kathrynkelley.blogspot.com</div>kathkellhttp://www.blogger.com/profile/00915802275878023041noreply@blogger.com0tag:blogger.com,1999:blog-30543810.post-86814014028895312782014-11-06T10:23:00.003-06:002014-11-08T02:16:54.151-06:00subjugate that! first scholarly neophyte research question to pursue relative to my dissertation interestsRESEARCH QUESTION:<br />
Are contemporary female visual artists using self subjugating language?<br />
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—-end of requested—-<br />
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Language sampling source and narrowing the playing field:<br />
<a href="http://en.wikipedia.org/wiki/Kristine_Stiles" target="_blank">Kristine Stiles</a> and <a href="http://arthistory.berkeley.edu/person/1786359-peter-selz" target="_blank">Peter Selz</a>’s text, <i><a href="http://www.amazon.com/gp/product/0520257189/ref=pd_lpo_sbs_dp_ss_1?pf_rd_p=1944687602&pf_rd_s=lpo-top-stripe-1&pf_rd_t=201&pf_rd_i=0520202538&pf_rd_m=ATVPDKIKX0DER&pf_rd_r=0VXZR7308FHZQDDANE8R" target="_blank">Theories and Documents of Contemporary Art: A Sourcebook of Artists’ Writings</a></i>, 2nd Ed, published in 2012, in addition to male artist writings and interviews, the text contains seventy-seven writings by female artists and twenty-four interview transcripts with female artists. The female samples will be used as source material for analysis relative to the research question.<br />
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Sampling source narrows female category to<br />
<br />
<ol>
<li>visual artists practicing within the last 100 years </li>
<li>artists established as relevant to the art world by art historians via inclusion of artists’ writings and interview transcripts in published anthologies </li>
<li>artists who vary in conceptual and physical practices </li>
<li>to a manageable quantity </li>
</ol>
<br />
Based on this source material, a logical follow up presents itself as: Are the patterns relative to self-perceived position expressed differently in a female visual artists’ writings versus her use of language in an interview?<br />
<br />
The research and methodologies will draw from the field of psychology/linguistics and a literature review searching for pre-existing material, methods, or lines of questioning in the fields of art theory and/or art criticism that might be relevant or theoretically transferable into the study of the language use of visual artists.<div class="blogger-post-footer">www.kathrynkelley.blogspot.com</div>kathkellhttp://www.blogger.com/profile/00915802275878023041noreply@blogger.com0tag:blogger.com,1999:blog-30543810.post-75276422739235192932014-11-02T09:42:00.000-06:002014-11-03T19:06:28.851-06:00Responsive Textabation #6 - female hysteria and theatrical realism<blockquote class="tr_bq">
<i>Realism’s putative (commonly regarded) object, the truthful representation of social experience within a recognizable, usually contemporary, moment, remains a problematic issue for feminism, not least because theatrical realism, rooted in domestic melodrama, retains the oedipal family focus even as ….</i>
—Elin Diamond, “Realism and Hysteria: Toward a Feminist Mimesis,” Discourse, Special Issue on the Emotions, 13, no. 1 (1990-91): pg. 60. </blockquote>
This quote immediately follows Elin Diamond’s declaration of two arguments on which the essay hinges. In both statements, she links realism, the theatrical, the feminine (and theory), hysteria and “truth to life.” Each of these connections in her arguments and the entirety of the essay continually spring from and return to the notion of realism. In the above quote, Elin begins a several paragraph long framing of what she means by realism and establishes its relationship to the theatrical representation of life, feminism, Freud, and such. This is a necessary move for the reader to understand how she is using realism as Elin unpacks how these notions are expressed, confounded, and reacted to primarily in the plays of <i>Hedda Gabler </i>(1890) and <i>Alan’s Wife</i> (1893).<br />
<br />
It appears from this semester’s readings that this framing of terms within the context of the essay’s argument is a common and functional move the author establishes early. I haven’t quite got this move down in terms of smooth integration yet but am getting there. For me the most interesting portion of her essay was not the unpacking of the plays as premisatorial (made up word) examples but the establishment of realism, hysteria, links to Freud and the theatrical. This was fascinating because it can be transferred and overlaid on other topics. I've found this to be true in most the essays that apply theory to particulars--it is the defining structure of the terms and theories within the context of the author's essays that are infinitely transferable and the specifics are, well, just specific and less useful (for me).<br />
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—-Kathy’s usual blather—-<br />
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It seemed Elin worked extensively and clearly around her two declaratives statements (thesis) but never directly linked the premisatorial examples back to the definitives. She has probably established premises that can lead us to these by inference especially for someone working in her domain, perhaps it is obvious. But to the newly immersed, I am not seeing a logical connected conclusion in terms of her initial claims. For example, how does “Realism’s putative object” “remain ... a problematic issue for feminism”? Has she established a) how this is problematic for feminism (inferred yes, but established) b) how does it remain problematic (I assume she means currently problematic; again I can sort of get there on my own, but has she established how it is <u>still</u> problematic)? The apparent lack of clear establishment of premisatorial linkage to her argument may also reside in my reading with a full, spilling over and tired brain, and that I simply gloss over support that actually exists in the essay. I am not trying to beat on Elin but am trying to see what works and doesn’t for a reader so that I can adjust my own authorial practice with this beast called scholarly writing.<br />
<br />
---inappropriately personal correlations---<br />
<br />
The former unit, unconsciously embraced and expressed this mimesis of the female character (discussed in Elin's essay) subtly but definitively as real and applicable to past and contemporary female counterparts. Not noted as fault but simply a residual indoctrination from a systemic ancestral heritage of diagnosable crazy-making linked with the familial female. Not a fault in the same way a blemish on the surface of a mirror is not the fault of the mirror but instead an artifact of its production. None the less, hysteria and any expression of strong emotion was irrevocable linked and a common source of undercurrents of anxiety visibly expressed within the structure of the familial. Shame, spank, inappropriate correlation to pen, perhaps, but none the less a twenty three year framework of my lived reality. The label of female hysteria upon the expression of emotions is a habit not fully my own and I am still trying to shake its cling from my heels. When under mental load, commonly called stress (i.e. like the first semester of adjusting to PhD load and adapting to academic reading and writing), I unnecessarily re-edit (ruminate?) my history in terms of new mental frameworks. A coping mechanism, I am sure and a fault/blemish I claim as my own.<div class="blogger-post-footer">www.kathrynkelley.blogspot.com</div>kathkellhttp://www.blogger.com/profile/00915802275878023041noreply@blogger.com0tag:blogger.com,1999:blog-30543810.post-87988887109686489822014-10-27T09:23:00.002-05:002014-11-06T14:33:29.167-06:00Responsive Textabation #5 -- Metaphor and the binary as structures understanding the abstract (so freaking true)Because I cannot leave well enough alone, I will discuss two quotes. The first quote is included because it is the essential framework for the essay to be communally comprehendible and fulfills the assignment. The second quote is chosen because it can be easily mapped over culture and the position of artist/theorist as a dissonant function of that culture, followed by the culture practices within the academy to control, reintegrate and normalize the artist/theorist and the resultant deformations to the system caused by dissonance. This mapping seems relevant to the inclusion of interdisciplinarity routes for art and theory within the academy.
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<i>
“… that metaphor is the inescapable means by which we map knowledge across the domains of physical embodiment and abstract conceptualization:
Metaphor pervades our normal conceptual system. Because so many of the concepts that are important to us are either abstract or not clearly delineated in our experience (the emotions, ideas, time, etc.), we need to get a grasp on them by means of other concept that we understand in clear terms (spatial orientations, objects, etc.). This need leads to metaphorical definition in our conceptual system.
Lakoff and Johnson have argued that metaphors tend to cluster … “image schemas,” such as CONTAINERS, PATHS … FORCES … BALANCE …”</i>
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<br />
— Straus, Joseph Nathan. “Disability Within Music-Theoretical Traditions.” Extraordinary Measures: Disability in Music. Oxford: Oxford UP, 2011. 107. </blockquote>
In this quote referencing the work of Lakoff and Johnson, Straus establishes the essential need for and function of metaphor in understanding abstract ideas and experiences such as music. He presents ideological clusters—containers, paths, forces, balance—based on similarities of metaphorical constructs that he will use to explain the uniformity, variation and risk that occurs in music. Further, the metaphorical construct of the human body and the correlating ideological clusters of container, paths, force and balance, Straus indicates are already implicit in the language and practice of music. He goes on to discuss ideas extrapolated as a result of mapping the human body metaphor over music—that the form of music like the body is categorized into binaries—normal and abnormal, formed and deformed, mobile and paralyzed, balanced and imbalanced, enabled and disabled. So Straus specifically identifies the metaphor, the metaphorical language and binaries and the pros and cons of their use in how they have traditionally been applied to music theoretically and practically. His entire essay hinges on the reader understanding these terms and relationships. Additionally by quoting Lakoff and Johnson, Straus frames his application and unpacking of metaphor and the resultant language in a pre-existing peer vetted knowledge base versus being a manifestation of his mere opinion. Straus legitimizes his essay with this move and other similar references within the piece—BAM, scholarly and not an opinion, editorial or touchy feely piece.
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<br />
—-the end of the requested—-<br />
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That we cannot pin down the abstract experience and thus produce knowledge and apply it through systems of parallel almost equivalents and opposition relationships is profoundly interesting. We are limited to only understand “this” from “that” and definitely the not “that.”<br />
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—-Kathy’s blah, blah, blah, reactive need.
Second quote (paragraphs 2 + 3 of page 118)—Waaaa, too tired to show how artists are the cultural abnormalities—blockages, perforations, dissonance—within the body of culture and the academies role to harness these deformations to prevent cultural implosion or paralysis. So the academy functions as the cultural bodies normalizing system thus allowing for a degree of artistly dissonance, absorption of what is useful, and regulating/repressing/remedying the disability. Within the academy additional dissonances began deforming the already normalized domains, this in “Turn” has been regulated through the creation of interdisciplinary studies the regulate and normalize evolving Theory and differences expressed as cries of oppression from otherness. This is purely my opinion in response to the metaphor of the reading and not scholarly justified. I’ve a Bonaventure paper to finish that has to establish <i>Immersion (Piss Christ)</i>, <i>The Dinner Party</i>, and <i>A Fire in My Belly</i> as an inherently beautiful things that leads one back into union with divine mystery, God, despite congressional and religious right moral uproar. Dang straight, it is doable, but I’ve got to get it written up in a coherent and scholarly fashion as I parrot congressional documents, spew sacred texts and justify St. Bonaventure. Sigh.<br />
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<blockquote class="tr_bq">
<i>There may be no better example with which to think about the aesthetics of human disqualification than the medical photography.</i>
—Tobin Siebers, “The Aesthetics of Human Disqualification,” in Disability Aesthetics (2010), 44. </blockquote>
[My bad, I have addressed Tobin as female, he is male] This statement comes late in her essay after she has effectively linked a sequence of relationships—human disqualification based on disability by assumed inferences of inferiority, philosophical aesthetics as structured on an acceptance and rejection of object/other based on wholeness and difference (defect), biology as a disqualifier being a cultural construct. Seibers has cogently made a case for her argument “that … disqualification is justified through the accusation of mental or physical inferiority based on aesthetic principles” in her discussion of the philosophy of aesthetics, Hitler’s tauting of Great German Art vs Degenerate Art, and the public reaction to Alison Lapper Pregnant: “Why Shouldn’t My Body Be Considered Art?” The quote from page 44 of her chapter highlights as important and leads into her final support for her argument. Though she has already fully supported her argument and driven the point home with her previous examples, this statement claims that this will be her strongest support yet—“no better example.” Unfortunately, this section appears highly forced to fit into her established aesthetic argument structure. The topic is a viable application of cultural production of the positioning of disabilities as a qualifier for inferiority and thus a human disqualifier, but she does not link it adequately to her aesthetic argument. It is common in an argument to work in three examples of support. Medical photography is one of her three and her inability to structure cogently with the previous portion of her argument weakens the entire chapter. The intended function of this quote as highlighting her final argument’s support as being the strongest instead weakened her previously established ideas.
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—-<br />
Crap, I do this all the time when trying to manipulate that initial notion or important point I thought belonged at one time to fit into my current structure in which it no longer fits.<br />
<blockquote class="tr_bq">
<i> …a writer writes … he intended several urgent and vivid points, many of which he sacrificed as the book’s form hardened … The part you must jettison … was to have been the very point … (perhaps it was) the passage on which the rest was to hang, and from which you drew the courage to begin.</i>— Annie Dillard, The Writing Life.</blockquote>
<div class="blogger-post-footer">www.kathrynkelley.blogspot.com</div>kathkellhttp://www.blogger.com/profile/00915802275878023041noreply@blogger.com0tag:blogger.com,1999:blog-30543810.post-89365550220598611942014-10-12T12:44:00.000-05:002014-10-12T21:31:50.225-05:00Bonaventure :: In Light of the Sixth Sense<div class="separator" style="clear: both; text-align: left;">
What if the addition of balance into Bonaventure's schemes collapses the active field or substrate of the material world, knowledge and reason -- landscape, bodyscape, mindscape -- into a single material based substrate and this is the intellect? The intellect as <b>reflected light</b> (of the creator --supreme light) that encompasses Bonaventure's superior light, interior light, exterior light, and inferior light. What if balance and touch inform interpretatively all the other senses so that they are in fact the common senses?</div>
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Looking for relational connections when the sense of balance </div>
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Reframing Bonaventure notions knowledge based as a reflection of toying with the sensory schema created through the addition of balance into my limited/cursory readings of Bonaventure.</div>
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Hmmm. Bonaventure in light of the sixth sense!?? Reflected light vs inferior light because all principles of temperance, justice, proportion, grace, mercy are prescribed/mapped/in existence as a result of sensory impression, sensation, reaction and then interpretively and metaphorically applicable to human interaction, "right action," survival. Hmmm, if I am physically out of balance the whole system may collapse, be damaged or cease to exist; whereas, if I keep weight distributed proportionately, I remain upright, mobile and fully functioning = principles of justice.<br />
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Balance has two functions...most the key philosophical standards proportion, temperance, justice, truth, mercy, compassion are a direct translation of the physiological acts dependent on balance and touch and the consequences of remaining unharmed and at ease.
Perhaps touch and balance create interpretable data from sight sound smell and taste. Touch and balance are the COMMON SENSE. YES?
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If you see something I should add, adjust verbiage, not quite right, do comment so I can tweak. PLEASE.<br />
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Then the question is how to convert this restructuring as scholarly mental experimentation vs an opinion paper...kind of like an editorial? CITATION. Damn. I hate that...but ok...so create specific citations for the parts that belong to bona venture, create specific citations for the scientific aspects of the sense of balance, acknowledge the cursory readings of Plato, Aristotle, Augustine, Plotinuse, Ficini that may be manifesting in my notions since I will always work under the influence of all that i have perceived consciously and unconsciously...sigh.<br />
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<div class="blogger-post-footer">www.kathrynkelley.blogspot.com</div>kathkellhttp://www.blogger.com/profile/00915802275878023041noreply@blogger.com0tag:blogger.com,1999:blog-30543810.post-13038612503500825512014-10-11T20:39:00.001-05:002014-10-11T21:00:03.808-05:00Responsive Textabation #4 -- The Material World... OMG YES! Plato, Plato, Plato! Why, oh why, did you not read Bolt and Bennett on the Material Turn? Oh, yeah you're dead!<blockquote class="tr_bq">
<i>Thus, through the colonization of the arts by cultural theory,
arts very materiality has disappeared into the textual,
the linguistic and the discursive. According to this
conception, art is constructed in and through language.
There is noting outside of discourse and language is its vehicle. </i> </blockquote>
<blockquote class="tr_bq">
Barbara Bolt, “Introduction.”
<i>Carnal Knowledge: <br />Towards a ‘New Materialism’ Through the Arts.</i> 2013. (4) </blockquote>
In the initial stages of <i>Toward a “New Materialism” Through the Arts</i>, Bolt simultaneously introduces “New Materialism” through the identification of failings or lacks in historical and recent philosophical and sociological stances regarding the mind/body/culture connections to the material world. She progresses chronologically from Plato to the contemporary constructivist position. In this quote, she begins dissecting the problematic structure in constructivist’s notion that seem to deny material existence and its implication on man’s experience, thought, and generative processes. In sketching out the inherent problems in the series of significant Western stances, she guides us into what “New Materialism” is and how it might reframe our approach to art.<br />
<br />
——
I think I love you in a purely carnal Platonic scholarly way Barbara Bolt, maybe even more than Judith Butler, and we only just met! And thank you Bolt for clearing my path of understanding with Bennett for me.<br />
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Don't worry Barbara Bolt, you are still one of my new heroes for so accurately describing my lived experience as artist. Glad to know I am riding the wave of "New Materialism"
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<br />
---- bahahaaaa ----<br />
<blockquote class="tr_bq">
<i>Whilst materialist feminist theory has struggled to disentangle matter from discourses on matter, it may be argued that the art is a material practice and that materiality of matter lies at the core of creative practices.</i> -- Bolt. (5) </blockquote>
What is inherently funny is that Bolt along with her primary function of this statement in her argument uses this sentence to associate “New Materialism” directly with materialist feminist theory. She actually never directly links the two, but simply connatively attaches them by physical proximity in the first sentence of this paragraph. So how does this statement really function? Ha. It makes the reader associate “New Materialism” with materialist feminist theory as though feminists are the author of this approach. Admittedly if one watches the video documentation of Womanhouse 1971, potentially this link could be substantiated. Bolt never substantiates the significant role of feminism, particularly feminism as it played out in the artworld, to the surfacing of “New Materialism.” Perhaps it is an assumed, and I as scholarly outsider riding the fringe of the academic herd as neophyte, just can't see what should be smacking me in the face as a given.<br />
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—— —— —— —— —— —— ——<br />
<blockquote class="tr_bq">
<i>The story will highlight the extent to which human being<br />and thinghood overlap, the extent to which the us and the it <br />slip-slide into each other. </i><br />
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– Jane Bennett, “The Force of Things.”<br />
<i>Vibrant Matter: A Political Ecology of Things.</i> (4)</blockquote>
Bennett approaches the slippery topic and nature of nonhuman thingness that is enlivened with “agentic capacities” of a particular efficacy in the moment we open ourselves to receive it with its narrative vitality. Got it? No? The above quote is a transitional summative statement in her process. Within Bennett’s transition, she recaps the way that the thinginess of an object is established as the human and thinghood intersect, penetrate and enliven one another as the object becomes Other. Even in this clarification it is difficult to pin down the expansiveness of what she means by thingness. As seen in my explanation of her summation, the elusive nature of her subject remains elusive—I linked thingness to her notion of object as Other, but her definition is far broader in that thingness is not only Object but an actant, which is neither an object or subject but an operator, therefore, potentially negating thingness’ capacity to be Other but something other. Bennett’s recap is both summative and illusive and thus the transition into explanations framed on experiential examples—“The story will highlight.” Ultimately, this whole chapter functions to establish what she means by thingness, the capacity of thingness, and its reflective traits that reveal our capacity to be both enlivener of materiality, operator, and object, nonhuman. This elusive understanding will be important to grasp the speculative implications of thingness through the rest of her book.<div class="blogger-post-footer">www.kathrynkelley.blogspot.com</div>kathkellhttp://www.blogger.com/profile/00915802275878023041noreply@blogger.com0tag:blogger.com,1999:blog-30543810.post-9073743875509138192014-10-10T09:50:00.006-05:002014-10-13T10:35:42.749-05:00I need the excess and defect of my body. I need my body, mind, and soul to function as one.I am missing my unreasonably irrational self. I am missing the making. Sure I like the reading Judith Butler, Plotinus, Benjamin and Barthes, even Bonaventure (just because he is so clear), and I may be ready to dip my feet into some of Merleua-Ponty's Phenomenology where the body and mind aren't so split. But I need my body! My mind needs my body. I'd like to find time to work out my thinking in real space not just with mental mutated movements. I've a hankering for cutting
a sewing some rubber. Besides when I actually engage my pig-pen producing body, I always sleep like a baby. All this heady stuff and sitting on my bum all day and into the night reading makes sleeping a new challenge. If my brain isn't working the data, it is fretting whether I can cut it. Dang. I know I can cut rubber. I need me some production and a tad less scholarly spectation.<br />
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<a href="https://scontent-b-lga.xx.fbcdn.net/hphotos-xfa1/v/t1.0-9/523690_10151178879548726_1156787935_n.jpg?oh=68f0cee4b2b289bb7aeadc87b4b2e7fe&oe=54BC06AA" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://scontent-b-lga.xx.fbcdn.net/hphotos-xfa1/v/t1.0-9/523690_10151178879548726_1156787935_n.jpg?oh=68f0cee4b2b289bb7aeadc87b4b2e7fe&oe=54BC06AA" width="218" /></a><br />
<span class="text_exposed_show" style="color: #141823; display: inline; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 14px; line-height: 19px;"><br /></span>
<span class="text_exposed_show" style="color: #141823; display: inline; font-family: Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 14px; line-height: 19px;">Yes these are my hands--working some rubber that was especially greasy. Why dirty makes me infinite happy, I don't know. perhaps in plato's words it is that I give my self over to excess and defect. My body and mind are an integral system and it is all limping along as I am over embedded in the head.
I need my hands with some time so they can go back to looking like they did six months ago; i need my arm muscles to not go all girl on me.</span><div class="blogger-post-footer">www.kathrynkelley.blogspot.com</div>kathkellhttp://www.blogger.com/profile/00915802275878023041noreply@blogger.com0tag:blogger.com,1999:blog-30543810.post-25983819047603394682014-10-09T07:33:00.001-05:002014-10-09T07:33:16.124-05:00I see dead people: Bonaventure in the light of the sixth senseNo silly, not ghosts or therapists. My next history of aesthetics will be trying to work the sense of balance, the sixth sense, into Bonaventure's system which is categorically and metaphorically based on the five senses. In his system the overarching structure is divided into ways of knowing (genes the relationship to the senses. These overarching divisions are superior light, inferior light, interior light, exterior light and, now with my add, reflected light. <div><br></div><div>One function of the sense of balance is an awareness of one's body parts in relationship to one another...this is an early transferable to social function, body of Christ, etc. should be interesting. Have to flesh it out still but it seems a fun puzzle to work in to ways of knowing. I may even see if I can split the mechanical arts in terms of craft (art for bodily function-ease of body) and dramatic arts (art for pleasure-ease of mind). ? </div><div class="blogger-post-footer">www.kathrynkelley.blogspot.com</div>kathkellhttp://www.blogger.com/profile/00915802275878023041noreply@blogger.com1