Tag: reading

Supercollider Colloquium Panels Prep

Courses

My own preparation for choosing what presentations I want to prioritize.

Strikethroughs are proposals I could not find.

  1. Abstract
  2. Contents of thesis – body of artwork, written paper, exhibition. (format, medium, formal+aesthetic considerations, presentation/exhibition setting).
  3. Research questions.
  4. Project objectives.
  5. Theoretical/critical background and framework. (Key terminologies, concepts, related artistic+bibliographic references).
  6. Research methodologies. (methodology, methods, media, rational re: questions and interdisciplinary framework).
  7. Resources+facilities.
  8. Potential challenges and limitations.
  9. Significance of project. (field of study, goals, place of work in field).
  10. Other issues
  11. Bibliography

9:00 AM

1a

Karly McCloskey (IAMD) Chimera: Queering the Myth of the One

Primary Advisor: Judith Doyle

  • Research Questions: In what ways can organic materials inform the Speculative Fabulation world-building process? How can speculative writing provide a lens to the natural world in its damaged contemporary condition? How can I address truths through the imagination?
  • Resources: The Mushroom at the End of the World, Anna Tsing. Arts of Living on a Damaged Planet (editor Anna Tsing). Ursula K. Le Guin, Donna Haraway, Margaret McFall-Ngai, Karen Barad. Matters of Care: Speculative Ethics in More Than Human Worlds, Maria Puig de la Bellacasa. Queer Phenomenology Sara Ahmed.
  • Framework+mediums: Speculative Fabulation(Donna Haraway), contamination as collaboration, chimera: multiple organisms in one form. Research as ceremony (Sean Wilson). Speculative fabulation poetry book from perspective of chimera. Animation/filmmaking, photography, drawings.

Interested bib:

Barad, Karen. What is the Measure of Nothingness: Infinity, Virtuality, Justice. Hatje Cantz, 2012.
Bellacasa, Maria Puig de la. Matters of Care: Speculative Ethics in More Than Human Worlds. University of Minnesota Press, 2017.
Tsing, Anna, et al. Arts of Living on a Damaged Planet. University of Minnesota Press, 2017.
Tsing, Anna. The Mushroom at the End of the World: On the Possibility of Life in Capitalist Ruins. Princeton University Press, 2015.
Tuck, Eve, and C. Ree. “A Glossary of Haunting.” Handbook of Autoethnography, edited by Stacey Holman Jones, et al. Left Coast Press, Inc., 2013, pp. 639-658.
Wilson, Shawn. Research is Ceremony: Indigenous Research Methods. Fernwood Pub., 2008

Bradbury, Ray. The Martian Chronicles. Simon & Schuster Paperbacks, 2012.
Butler, Octavia. Dawn. Warner Books, 1997.
Guin, Ursula K. Le. The Left Hand of Darkness. Penguin Books, 2000.
Ovid. Metamorphoses. Translated by Charles Martin, W.W. Norton, 2010.

Duran, Franci. “It Matters What.” Vimeo, uploaded by Franci Duran, 2019. https://vimeo.com/318309832
Haraway, Donna. “Speculative Fabulation.” Youtube, uploaded by Pill Me Druggin’ You, 1 September 2017, https://www.youtube.com/watch?v=K1atjLfbNxE.

Kelley, Mike, and John C. Welchman. Foul Perfection: Essays and Criticism. MIT Press, 2003.
Kristeva, Julia. Powers of Horror: An Essay on Abjection. Translated by Leon S. Roudiez. Columbia University Press, 1982.

1b

Sebastian Pines (IAMD) Penning the Ghosts of Ourselves: An Exploration Into Spectral Play

Primary advisor:

  • Research questions: How can game design use affect theory to create an introspective emotional experience through play and evoke an embodied experience of memory? How can the creation of artifacts of play through gameplay become pieces of hauntological media? What is the hauntological potential of autobiography in the creation of spectral selves through guided writing as well as meditations on trauma and lost futures?
  • Framework+Mediums: Hauntology – Michał Krzykawski’s analysis of Jacques Derrida, Affect Theory, Phenomenology – Gaston Bachelard. Queer Game Design. Feminist Autobiography as Research – Informed and applied through my lens as a queer feminist. Creation as Research – Iterative Design. Analogue game text w/ illustrations. Single-player autobiographical journalling role-playing game that has players connecting their bodies to the structure of a haunted house, using their emotions and memories to populate the house with spectres.

Interested bib:

Davis, Colin. “E´tat Pre´sent: Hauntology, Spectres and Phantoms.” French Studies, vol. LIX, no. 3, 2005, pp 373 – 379.
Kemper, Jonaya. “Wyrding the Self.” What We Do When We Play? , edited by Eleanor Saitta, Johanna Koljonen, Jukka Särkijärvi, Anne Serup Grove, Pauliina Männistö, & Mia Makkonen. Solmukohta, 2020.
Krzykawski, Michał. “J’accepte: Jacques Derrida’s Cryptic Love by Unsealed Writing.” AVANT, vol VIII, no 2, 2017, pp 39-50.

9:55am

2a

Elyse Longair (IAMD) In Defense of the Simple Image (2020 Vision)

Primary Advisor: Julian Jason Haladyn

  • Research questions: In our hyper-saturated post-produced world, what is the function of the simple image? Can fragmented images of the past, constructed through collage, question our notions of time and shape our thinking of the future?
  • Framework+Mediums: Collage as methodology, sampling and remix, archive, appropriaton. Busch and Klanaten, Levine. “In Defense of The Poor Image,” Martha Rosler’s compositions, Max Ernst materiality of collage, Gerhard Richter’s Atlas. 50 images, science-fiction collage, electro-acoustic soundtrack.

Interested bib:

Candy, S. (2010). The Futures of Everyday Life: Politics and the Design of Experiential Scenarios. Retrieved from
https://www.researchgate.net/publication/305280378_The_Futures_of_Everyday_Life_Politics_and_the_Design_of_Experiential_Scenarios
Evans, David (ed.). Appropriation. Whitechapel, London; Cambridge, Mass;, 2009.
Steyerl, Hito. “In Defense of the Poor Image.” E-Flux, no.10,2009, pp.1-9. https://www.e-flux.com/journal/10/61362/in-defense-of-the-poor-image/

Busch, Dennis, and Robert Klanten. The Age of Collage: Contemporary Collage in Modern Art. Gestalten, Berlin, 2016.
Benjamin H. D. Buchloh. “Gerhard Richter’s ‘Atlas’: The Anomic Archive.” October , vol. 88, 1999, pp. 117–145. JSTOR , www.jstor.org/stable/779227. Accessed 10 Aug. 2020.
Elizegi, Rebeka, and Blanca Ortiga. Collage by Women 50 Essential Contemporary Artists. Promopress, 2019.

2b

Nina Bakan (CCP) Making Kin in Collaboration: Subverting Alterity Through Art as Social Practice

Primary Advisor:

  • Research questions:
  • Framework+Mediums:

10:55am

3a

Jenna Chasse (CCP) realfucking–fuckingreal

Primary Advisor:

  • Research questions:
  • Framework+Mediums:


Nadine Valcin (DF) Our Home and Haunted Land: A Meditation on Space and Public Memory

Primary Advisor:

  • Research questions:
  • Framework+Mediums:

1:10pm

4a

Nicole Melnicky (IAMD) My Imaginary Queer Utopia: A Manifesto

Primary Advisor:

  • Research questions: What does an imaginary Queer Utopia look like? How does the feminine body politic shape queer utopia? How does the metaphorical phoenix allow us to rise up from our unjust LGTBQ2S+ pasts, histories and politics; to enact better and more liberated ways of living, in world that is free? How does queer time, place, and space allow us to discover and define our identities? How does the queer body move through phenomenological space towards future paradigms?
  • Framework+Mediums: autoethnographic writing, camp/kitsch/pride, Susan Sontag, Sara Ahmed, Artists: Saya Woolfalk, Nick Cave, Jeffrey Gibson, Jade Yumang, Athi-Patra Ruga, Lady Gaga, Betsey Johnson. Haruki Murakami. Garment creation+design.

Interested bib:

Ahmed, Sara. Living a Feminist Life. Durham: Duke University Press, 2017.
Ahmed, Sara. Queer Phenomenology: Orientations, Objects, Others. Durham: Duke University Press, 2006.
Ahmed, Sara. Willful Subjects. Durham: Duke University Press, 2014
Berlant, Lauren. Cruel Optimism. Durham: Duke University Press, 2011.
Berlant, Lauren. Desire / Love. Brooklyn: Punctum Books, 2012.
Berlant, Lauren. Edelman, Lee. Sex, or The Unbearable. Durham: Duke University Press, 2014
Freeman, Elizabeth. Beside You in Time: Sense Methods & Queer Socialbilities in the American 19th Century. Durham: Duke University Press, 2019.
Halberstam, Judith. The Queer Art of Failure. Durham: Duke University Press, 2011.
Leibovitz, Annie. Sontag, Susan. Women. New York: Random House, 1999.
Sontag, Susan. Notes on “Camp.” London: Penguin Modern, 1964.
Tongson, Karen. Relocations: Queer Suburban Imaginaries. New York: New York University Press, 2011.


Alexander Rondeau (CCP) From the Bush: QT2S Cultural Production in Northeastern Ontario

Primary Advisor:

  • Research questions:
  • Framework+Mediums:

2:55pm

5a

Shunrong Cao (IAMD) Diagnosing yourself: A Celebration of Stolen Memories and Forgotten Daydreams

Primary Advisor:

  • Research questions: how to build connections between the audiences and visualizations using cognitive engagement? how to use art and technology to unpack an immersive and interactive space for social dreaming and influence people’s experience of living? How can we use cognitive engagement to build connections between the audiences (/participants) and the visualizations? How can art and technology together unpack an immersive and interactive space for social dreaming and influence people’s experience of living? How can sculptural devices and digital interfaces to detect and translate the invisible biological signals into visualizations in an effective way?
  • Framework+Mediums: Info Visualization, Cognitive Science, Immersive and Interactive System, Magic-Realism and Social Dreaming. Practice based research, research through creation. Case studies Miwa Matreyek, Charlotte Davies, Chris Milk. Prototyping. interactive installation that projects viewer’s body as visualization w/ layers and responds to viewer input (finger pressure, breath, heart rate). Fiction narratives.

Interested bib:

Zlatev, J. (2012). Cognitive semiotics: An emerging field for the transdisciplinary study of meaning. Public Journal of Semiotics, 4 (1), 2–24.
Oulasvirta, A., Kurvinen, E. & Kankainen, T. (2003, July). Understanding contexts by being there: case studies in bodystorming. Personal and Ubiquitous Computing, 7 (2), 125–134.
Mika, Satomi and Hannah, Perner-Wilson. How to get what you want (website https://www.kobakant.at/DIY/ ).
Huhtamo, Erkki. Seven ways of misunderstanding interactive art. 2008, [Online; accessed Dec 2018].
Maria-Elena, Angulo. Magic Realism: Social Context and Discourse. Routledge. October 24, 2018.
Anthony, Dunne and Fiona, Raby. Speculative Everything: Design, Fiction, and Social Dreaming. MIT, 2014.
Judith, Halberstam. “Dude, Where’s My Phallus? Forgetting, Losing, Looping”. The Queer Art of Failure. Duke University Press, 2011.
Sara, Ahmed. “The Orient and Other Others”. Queer Phenomenology: Orientations, Objects, Others. Duke University Press, 2006.

5b

Lilian Leung (DF) Future Through Memory: Virtual Storytelling in Chinatown

Primary Advisor:

  • Research questions:
  • Framework+Mediums:

9:55am

8a

Noa Billick (IAMD) THIS PAPER IS MADE OF BOOKS: The Extendible Nature of Books, Humour, and Narratives

Primary Advisor:

  • Research questions: How does the artist, as form of book, make existence more extendable? Am I a book? Is anything I make a book because I say it is? What are the limits of a book – are there limits at all? How does the book object act as symbol and archive? How is the print book object culturally important – would we care if they disappeared? Are books a symbol of memory? What’s so funny about a book?
  • Framework+Mediums: … discover the difference between intentional and messy archival practices; display and “tie-up” loose-ends, fragments, and unfinished things; frame, with the help of books, the togetherness of sentimentality and memory. affect theory, archive theory, narrative theory, humour. Study/practice of reading/making books. Balance, care, mend, storytelling, archive, memory, collecting, sentimentality, humour, book, affect, symbol, extension.

Interested bib:

Aldama, Frederick Luis, Toward a Cognitive Theory of Narrative Acts. University of Texas Press, 2010.
Barad, Karen, et al. What is the Measure of Nothingness?: Infinity, Virtuality, Justice. vol. no. 99.;no. 099;, Hatje Cantz, Ostfildern, 2012.
Bellacasa, María Puig de La. Matters of Care: Speculative Ethics in More than Human Worlds. University of Minnesota Press., 2017.

Farrelly, Liz, Zines, 1st Edition. Booth-Clibborn, 2001.
Klanten, Robert, Adeline Mollard, and Matthias Hubner, Behind the Zines: Self-Publishing Culture. Gestalten Verlag, 2011.

Adamson, Glenn, The Invention Of Craft. Berg Publishers, 2013.

Derrida, Jacques. Arhive Fever : a Freudian Impression. Translated by Eric Prenowitz, The
University of Chicago Press, 1996.
Singh, Julietta. No Archive Will Restore You. Punctum books, Earth, Milky Way, 2018.

Books, Lark, Masters: Book Arts: Major Works by Leading Artists. Lark Crafts, 2011.
Castleman, Riva, and Museum of Modern Art, A Century of Artists Books. New York, Museum
of Modern Art, 1994.
Drucker, Johanna, The Century of Artists’ Books, 2nd ed. New York: Granary Books, 2004.
Pryor, Mark, The Book Artist. Amherst, Seventh Street Books, 2019.
Salamony, Sandra, and Peter and Donna Thomas, 1,000 Artists’ Books: A Showcase of Fine
Hand-Bound Structures. Quarry Books, 2012.

Grosswiler, Paul, The Method Is the Message: Rethinking McLuhan Through Critical Theory. Montréal, Black Rose Books, 1998.
McLuhan, Marshall, Understanding Me: Lectures and Interviews. MIT Press, 2005.


Ivana Radman-Livaja (IAMD) Exploring Narratives Among Interspecific and Anthropocentric Tendencies

Primary Advisor: Jason Baerg

  • Research questions:How can book design be used to create a narrative and dialogue about the consequences of the Anthropocene? How can we create a stronger relationship with ourselves and the land by understanding the full extent of our normalized, negative actions?
  • Framework+Mediums: past/present, natural/artificial. Singh (mastery – human dominance over others), Puig de la Bellacasa (care pos/neg), Tsing et al (Ghosts, ruined landscapes), Yates (multispecies).

Interested bib:

Bennett, Jane. Vibrant Matter: a Political Ecology of Things. Duke University Press, 2010.
Desnos, Rebecca. Plants Are Magic. Vol. 1, Rebecca Desnos, 2017.
Franklin, Kate, and Caroline Till. Radical Matter: Rethinking Materials for a Sustainable Future. Thames & Hudson, 2018.
Halberstam, Judith. The Queer Art of Failure. Duke University Press, 2011.
Haraway, Donna Jeanne. Staying With the Trouble: Making Kin in the Chthulucene. Duke University Press, 2016.
Logan, Jason. Make Ink: A Forager’s Guide to Natural Inkmaking. Abrams, 2018.
Puig de la Bellacasa, María. Matters of Care: Speculative Ethics in More than Human Worlds. University of Minnesota Press., 2017.
Singh, Julietta. No Archive Will Restore You. Punctum Books, 2018.
Tsing, Anna Lowenhaupt. The Mushroom at the End of the World: on the Possibility of Life in Capitalist Ruins. Princeton University Press, 2015
Wilson, Shawn. Research Is Ceremony: Indigenous Research Methods. Fernwood Publishing, 2008.
Yanagi, Soetsu. The Beauty of Everyday Things. Penguin Books, 2018.
Yates, Julian. Of Sheep, Oranges, and Yeast: a Multispecies Impression. University of Minnesota Press, 2017.


Deborah Barnett (IAMD) Leaf Love Leaves Love

Primary Advisor:

  • Research questions:
  • Framework+Mediums:

10:55 am

9b

Aisulu Baibolova (IAMD) The Post-Soviet: Mankurt’s Way Home

Primary Advisor:Immony Mèn, S) Peter Morin

  • Research questions:Can lived experiences be used as counter to existing and/or former policies within colonial systems? In what ways did the Soviet Union change Indigenous Central Asian peoples’ cultures and perspectives? What does it mean to reflect that in my work? Can a mankurt come back to their roots and finally remember their past and what will it take? What does it mean to remember the past?
  • Framework+Mediums: Postcolonial critique of soviet approach to indigenous peoples in central asia, modernization, ethnic nationalism. Bishkek, Kyrgyzstan formerly known as Frunze, Kirghizia (Central Asia), ghosts of Soviet Past. Chinghiz Aitmatov’s novel The Day Lasts Longer Than A Hundred Years (Mankurt, person who has lost touch with background and kinship). Immersive tech, ar/vr. speculate, contextualize. Displacement, colonial structures, transnationalism. Glen Coulthard: Red Skin, White Masks: Rejecting the Colonial Politics of Recongition, Gayatri Chakravorty Spivak: Other Asias, Can the Subaltern Speak? Linda Tuhiwai Smith’s Decolonizing Methodologies. Artists: Lisa Reihana, Talant Ogobayev, Gulnur Mukazhanova, Asel Kadyrkhanova, Said Atabekov, Gulnara Kasmalieva and Muratbek Djumaliev, Slavs and Tatars (art collective), Lab C (Kyrgyzstan research space, urban history etc).

Interested bib:

Coulthard, Glen Sean, and Taiaiake Alfred. Red Skin, White Masks: Rejecting the Colonial Politics of Recognition. University of Minnesota Press, 2014. Accessed August 12, 2020. www.jstor.org/stable/10.5749/j.ctt9qh3cv.
Madina Tlostanova. 2012. Postsocialist ≠ postcolonial? On post- Soviet imaginary and global coloniality, Journal of Postcolonial Writing, 48:2, 130-142, DOI: 10.1080/17449855.2012.658244
Smith, Linda Tuhiwai, 1950. Decolonizing Methodologies : Research and Indigenous Peoples. London ; New York : Dunedin : New York : Zed Books ; University of Otago Press ; distributed in the USA exclusively by St Martin’s Press, 1999.
Tuck, Eve and K. Wayne Yang. 2012. Decolonization is not a metaphor. Decolonization: Indigeneity, Education & Society, vol.1, no. 1, , pp. 1-40.


Priya Bandodkar (DF) Activating Indofuturism: Applying a lens adapted from Afro-and-Indigenous Futurism

Primary Advisor:

  • Research questions:
  • Framework+Mediums:

1:10pm

10a

Leeay Aikawa (IAMD) Still small voice – in search for Authenticity

Primary Advisor:

  • Research questions:
  • Framework+Mediums:

10b

Rebecca Casalino (CCP) “Proud Deviants and Queer Multiples”

Primary Advisor:

  • Research questions:
  • Framework+Mediums:


Natalie Chuck (IAMD) The Politics of Intimate Space

Primary Advisor: Maria-Belen Ordonez, S) Kathy Kiloh

  • Research questions: How do tropes in American romcom films from the mid-to-late 20th century assert heteronormative standards and expectations of real-world intimate attachments? Is storytelling through invisible bodies, in this case playwriting and audio recital, an effective way to communicate alternative forms of intimacy? How do techniques from fictionalized ordinary encounters, such as those presented in romantic comedy narratives, elicit embedded reflexive responses about intimacy from an audience? How can these techniques be subverted and recycled to address intimacy between non-heteronormative and non-white bodies?
  • Framework+Mediums: explore fictionalized forms of intimacy in the urban setting of Toronto, critiquing the ways that Western media’s representations over the last fifty years have created a mold for the concepts of love and intimacy. 6 audio episodes (play-script w/ short digial animation) narrating ex of intimate relationships, narration influenced by romcom and softcore porn tropes. Aim to subvert normative tropes. Kipnis (desire), Gandolfo (transgression), Berlant (attachments). Released online, staggered, live listen-ins via zoom. Storytelling, scrip writing, vignetttes, auto-ethnography.

Bellacasa, M. P. (2017). Matters of care: Speculative ethics in more than human worlds. Minneapolis: University of Minnesota Press.
Berlant, L. G. (2012). Cruel optimism . Durham, NC: Duke University Press.
Berlant, L., & Warner, M. (1998). Sex in Public. Critical Inquiry, 24 (2), 547-566.
Ferens, D., & Sikora, T. (2016). Ugly Bodies: Queer Perspectives on Illness, Disability and Aging. InterAlia, 11 .
Gandolfo, D. (2009). The City at Its Limits.
Halberstam, J. (2011). The Queer art of failure . Durham: Duke University Press.
Kipnis, L. (2004). Against love: A polemic . New York: Vintage Books, a division of Random House.
Kipnis, L. (2014). Men: Notes from an ongoing investigation . New York: Picador.
Stewart, K. (2007). Ordinary Affects . Durham, NC: Duke University Press.
Tuck, E. (2009). Suspending Damage: A Letter to Communities. Harvard Educational Review, 79 (3), 409-428.

1:55pm

11b

Matana Geraghty (IAMD) The Need to Convey Experience

Primary Advisor:

  • Research questions:
  • Framework+Mediums:

Generated reading list:

Anthony, Dunne and Fiona, Raby. Speculative Everything: Design, Fiction, and Social Dreaming. MIT, 2014.
Ahmed, Sara. Queer Phenomenology: Orientations, Objects, Others. Durham: Duke University Press, 2006.
Barad, Karen, et al. What is the Measure of Nothingness?: Infinity, Virtuality, Justice. vol. no. 99.;no. 099;, Hatje Cantz, Ostfildern, 2012.
Bellacasa, María Puig de La. Matters of Care: Speculative Ethics in More than Human Worlds. University of Minnesota Press., 2017.
Berlant, Lauren. Cruel Optimism. Durham: Duke University Press, 2011.
Desnos, Rebecca. Plants Are Magic. Vol. 1, Rebecca Desnos, 2017.
Farrelly, Liz, Zines, 1st Edition. Booth-Clibborn, 2001.
Ferens, D., & Sikora, T. (2016). Ugly Bodies: Queer Perspectives on Illness, Disability and Aging. InterAlia, 11 .
Franklin, Kate, and Caroline Till. Radical Matter: Rethinking Materials for a Sustainable Future. Thames & Hudson, 2018.
Kelley, Mike, and John C. Welchman. Foul Perfection: Essays and Criticism. MIT Press, 2003.
Kipnis, L. (2004). Against love: A polemic . New York: Vintage Books, a division of Random House.
Kipnis, L. (2014). Men: Notes from an ongoing investigation . New York: Picador.
Klanten, Robert, Adeline Mollard, and Matthias Hubner, Behind the Zines: Self-Publishing Culture. Gestalten Verlag, 2011.
Halberstam, Judith. The Queer Art of Failure. Durham: Duke University Press, 2011.
Haraway, Donna Jeanne. Staying With the Trouble: Making Kin in the Chthulucene. Duke University Press, 2016.
Stewart, K. (2007). Ordinary Affects . Durham, NC: Duke University Press.
Tsing, Anna Lowenhaupt. The Mushroom at the End of the World: on the Possibility of Life in Capitalist Ruins. Princeton University Press, 2015
Yates, Julian. Of Sheep, Oranges, and Yeast: a Multispecies Impression. University of Minnesota Press, 2017.

Week 2 Reading, Critical Theory Seminar (2)

Courses, CTS

The Conditions of the Question: What Is Philosophy? Gilles Deleuze

18/09/20 3:40 PM start time

Deleuze, Gilles The Conditions of the Question: What Is Philosophy? In Critical Inquiry; Spring 1991; 17, 3; pg. 471-478

PRE-READ (SCAN)

When does a person ask about philosophy? Question requires trust, vulnerability, between friends. Like us, concepts need friends, and for evolution of philosophy, their friend must be diverse. A philosopher must be a friend to his creations (concepts). “The question of philosophy is […] the single point where the concept and creation are linked together.” The concept is not a representation, or knowledge, but a reality. It is self-positing. Encyclopedia, pedagogy, commercialization, the third age is a disaster of thought regardless of social benefits. (83 words, paraphase).

QUESTIONS

Aiming for a quick(er) read using reading strategies. Check end notes, first+last para, topic sentences, getting gist of it. On second read I want to take notes on the things I am interested in and have questions about, with only the quotes that grip me, the details that jump for me (paraphase), and jots of my own thoughts/questions. (30 mins).

After scan, I am interested in concepts being described as friends and the relationship of community supports impacts this thinking. I am also interested the way philosophy posits itself in relation to other disciplines, especially as a very old discipline in comparison to very new (and insecure) ones like creative research. The ideas I am reading about today are exciting and tap into things I feel like I understand on an intuitive level, I am interested in how these ideas are made accessible, how they are taken out of academia and used in “low-brow” creations.

READING NOTES

  • (Published 1991) Deleuze – prof of philosophy, University of Paris, Capitalism and Schizophrenia / Anti-Oedipus 1983 + A Thousand Plateaus 1987, Cinema / The Movement-Image 1986 + The Time-Image 1989, The Logic of Sense 1990, Expressionism in Spinoza 1990.
  • transitions from friend to enemy, trust to mistrust
  • friend = intimacy, or = potentiality?
  • “infinite sharing and patience” (Blanchot, L’Amitie 1971)
  • “art brings spiritual entities into existance”
  • “….must begin by fabricating and creating [concepts], positing them and making them convincing to those who have recourse to them.” (nietzche).
  • “[philosophy] is neither contemplation, nor reflection, nor communication,” these are tools that are universal in all disciplines.
  • philosophy has a desire to dominate disciplines
  • Aristotle’s substance, Descartes’ cogito, Leibniz’s monad, Kant’s condition, Schelling’s potency, Bergon’s duree
  • philosophy is enduring—sociology, epistemology, linguistics, psychoanalysis, logical analysis, computer science, advertising, marketing—try to use “concept” but faith and trust philosophy endures in creating concepts
  • hegel – concept – figures of creation, moments of self-positing, not related to general or abstract, stretch philosophy into other disciplines because it took on common tools.
  • post kant- encyclopedia, subjectivity – pedagogy, analyse conditions

INTERESTING CITATIONS AND DEFINITIONS

Maurice Blanchot

POST-READ

Talking about a philosopher’s relationship with concepts as friends (either in intimacy or honouring potentialisty) didn’t really include a kind of jovial friendship type relationship but more of a responsibility. When talking about friends on a greater scale, involving others, I don’t know if I got friends of friends as much as rivals, a combating of ownership rather than appreciation of concept from different angles. I guess that there are concepts that go round the world and interact with everybody and are free to, and the philosopher does not feel jealously in this because the philosopher has trust and faith that the relationship that is had (friend/creator) is unshaken although not untested. I guess it’s such a difficult thing to look deeply at ones self (as a discipline) that it comes off as cagey. Compare this to a younger creative research discipline actively bringing in ideas from other disciplines (musemology in artefacts) to give shape to itself. Although I guess much of this writing about disciplines is a defense.

18/09/20 4:46 PM end time

Week 1, Contemporary Research Methods

Courses, CRM

September 14: Introduction to Contemporary Research Methods


Personal intros followed by an introduction to the course structure as well as a brief discussion of contemporary research methods across Art, Design, Media, Curatorial Practice and the Social Sciences.

We will review and elaborate on the course readings and assignment evaluation.

Suggested readings for week 1: pick a reading from below

Biggs, M. A. R. (2002). The Role of the Artefact in Art and Design Research. International Journal of Design Sciences and Technology, 10 (2), 19-24.

Stone-Sunstein, Bonnie and Elizabeth Chiseri-Strater. 2007. ‘The Interview: Learning How to Ask. In Fieldworking: Reading and Writing Research.

Butt, Danny. 2017. Artistic Research in the Future Academy. Intellect. UK. (chapter 5 and conclusion)

07/09/20 9:00 PM

Biggs, M. A. R. (2002). The Role of the Artefact in Art and Design Research. International Journal of Design Sciences and Technology, 10 (2), 19-24.

PRE-READ SUMMARY:

By definition research (Arts and Humanities Research Board of the UK) must advance knowledge, understanding, insight. What is the role of the artefact, do artefacts have capability to embody knowledge? Comparisons w/ archaeological and museum exhibits. Comparisons of criticisms of embodiment from museological studies, w/ claims for embodiment made by artists. Conclusion: interpretation is combo of intrisic and extrinsic factors, control must be exercised over extrinsic factors by providing context. Utility of words for explicatory purposes rather than because words have primacy over objects. Content rather than the form that is important.

QUESTIONS:

why do artefacts have capability to embody knowledge? what are their limitations? what do archaeologists say vs artists? How is context provided? What does “utility of words” apply to?

READING NOTES:

  • Practice as research must…
    • define a series of research questions that will be addressed, or problems that will be explored during course of research; define objective in terms of answering those questions or reporting results of research project.
    • Specifiy a research context for questions/problems. Why is it important that these questions/problems are answered/explored? What other research is being / has been conducted in this area? What contribution will this project make to the advancement of knowledge, understanding and insights in this area?
    • Specifiy research methods. State how you are going to set about answering/exploring the questions/problems. Explain rationale for chosen research methods and why they are most appropriate.
  • principal feature of practice as research is use of objects as argument for interpretation by the viewer instead of objects as evidence to be later reported on. implies that artefact can embody answer to research question.
    • “question and answer” difficult for art bc creativity seeks to problematise the familiar. resolved by rephrasing questions as “how can X be problematised” and “how can Y be raised as an issue”
    • contextualising issue of why it is important that particular questions/problems be answered/explored, dificult for art bc practitioners whose aim is “expression of the self”. Differentiate between activities for personal development vs activities significant for oters in the field. Personal development does not contribute to “advancement of knowledge, understanding and insight”. Personal development as precursor to research.
    • part of identifying context is finding out “what other research is/has been conducted in this area,” making further contribution should be significant to at least this group of co-researchers. additionally, may be educational, theoretical, critical, practical context for audience that should find outcomes significant. “why it is important” is not answered by saying research “will be” significant to identified audience but “should be” significant.
    • idealised notion that to be worthy research must have large impact. moma exhibit vs library exhibit, one has more value because of rigor of selection + audience size.
  • museum studies embodiment of knowledge – all knowledge of pre-literate socities comes from interpertation of archaeological artefacts, key aspects of speculative.
    • intrinsic vs extrinisic: part of panathanaic frieze taken by Lord Elgin (Elgin Marbles) as part of grand tour for aesthetic benefit, in 20th century becomes subject of post-colonial arguments. Issues of colonialism now embodied in Elgin Marbles. Different interpertations come w passage of time, though there are intrinsic qualities in the frieze some meanings are extrinsic, projected though culture or means of exhibition.
    • Foucault in The Order of Things and The Archaeology of Knowledge critiques assumption that there are natural or obvious categories of objects. Arugments and assumptions raised as consequence of analysis of objects must also include account of classificatory approach towards objects that allows argument to be sustained.
  • Cannot have research outcome that consists solely of artefacts (paintings) because the relationships between the paintings themselves and between the paintings and other artefacts or actitivities in the world are not intrinsic to the objects.
    • Wollheim, “physical object” hypothesis, “seeing-in”. Physical object hypthothesis implicit in exhibitions where objects are left to speak for themselves. Wittgenstein “seeing-as”
    • Vergo differentiates between “aesthetic” exhibitions and “contextual” exhibitions. Former-little additional information, process of understanding is experiential. Latter-complementary to “informative, comparative and explicatory” material. Vergo critical of aesthetic view, viewers may not share same social/cultural knowledge, context of object affects interpertation of object (valuable, poisonous, fake), being told nothing is not neutral but allows viewer to project prejudices. Aesthetic exhibitions give autor no control over object’s reception. If aim of research is to communicate knowledge or understanding then reception cannot be uncontrolled.
    • interpertation is intentional, actively creating a perception. Novel interpertations often draw attention to aspects embodied or projected about which we were not previously aware. Ex. colonial attitudes we now see as implicit in 1816 exhibit of Elgin Marbles were not apparent to audience celebrating their rescue from the destruction by the Ottomans.
    • interpertation can be manipulated by way which objects are displayed, juxtaposition and presentation in relation to others, non-display can be seen as intervention.
    • context affects our reading of objects, therefore objects alone cannot embody knowledge, this is comparable to meaning of individual words. Words have meanings in context of sentances, alongside oter words, and in social context in wich utterances are accompanied by actions. Interpertation of words and of works of literature changes over time owing to changes in intertextual context.
  • counter-argument to objections re outcomes of art research being accompanied by combination of artefacts and words/text on the grounds that it gives words/text primacy over artefacts (“heresay of paraphrase”). Combination gives efficacy to communication.
  • For contextualisation, particular content is essential, not medium. Must explain the way the research embodies contribution to advancement of knowledge understanding and insight.

INTERESTING CITATIONS AND DEFINITIONS

Durling, D. & Friedman, K. eds. (2000). Doctoral Education in Design: foundations for the future, Staffordshire University Press , Stoke-on-Trent.
Vergo, P. ed. ( 1989). The New Museologv, Reaktion Books, London.
Wittgenstein, L. (1953). Philosophical Investigations, Basil Blackwell, Oxford.
W’ollhcini, R. (1980 [1968]). Art and its Objects, 2nd Edition, Cambridge University Press, London.

Putatively: Generally regarded as such; supposed.
Phenomenology: Phenomenology is the study of structures of consciousness as experienced from the first-person point of view. The central structure of an experience is its intentionality, its being directed toward something, as it is an experience of or about some object. An experience is directed toward an object by virtue of its content or meaning (which represents the object) together with appropriate enabling conditions.

POST-READ


This reading is an arugment for additional material that provides context to research outcomes. This is easiest to provide with written material that outlines certain aspects ie: outlining question/problem, describing other similar research and who the research will be useful to, explaining rational for methodology. This allows researcher/artist to take control over interpertation and makes communication of outcomes more effective.

07/09/20 10:16 PM

Disability Studies Re: Models of Disability

Reading, Research, Uncategorized

via DAC discord

Michelle R. Nario-Redmond, Jeffrey G. Noel & Emily Fern (2012): Redefining
Disability, Re-imagining the Self: Disability Identification Predicts Self-esteem and Strategic
Responses to Stigma, Self and Identity, DOI:10.1080/15298868.2012.681118

https://www.hiram.edu/wp-content/uploads/2017/03/FINAL-DISABILITY-IDENTITY-PRINT-2012.pdf

The Social Identity Approach to Disability: Bridging Disability Studies and
Psychological Science
Thomas P. Dirth and Nyla R. Branscombe

https://www.apa.org/pubs/journals/features/bul-bul0000156.pdf

Siebers, Tobin. Disability Theory. University of Michigan Press, 2008. JSTOR, www.jstor.org/stable/10.3998/mpub.309723. Accessed 30 Aug. 2020.

https://www.jstor.org/stable/10.3998/mpub.309723

Black Madness: : Mad Blackness By: Therí Alyce Pickens DOI: https://doi.org/10.1215/9781478005506ISBN (electronic): 978-1-4780-0550-6 Publisher: Duke University Press Published: 2019

https://read.dukeupress.edu/books/book/2594/Black-Madness-Mad-Blackness

A (Head) Case for a Mad Humanities: Sula‘s Shadrack and Black MadnessHayley C. Stefan

https://dsq-sds.org/article/view/6378