This is a picture of Matt, he is one of my mentor students, at last nights mentor session he was interviewed live on a local talk radio station, this picture is him doing the interview on speaker phone during the mentor session.
As you all know I have an intense discomfort with public speaking, and I am unsure how much of my discomfort is because of the "public" nature of it, and how much is the scripted, or anticipation that I am going to be speaking to a group (as opposed to a spontaneous act.)
The reason Matt was being interviewed by this sports station was that last Thursday when he went to the Blazers vs Sonics game he was randomly asked to do some kind of a half time shooting baskets thing. (I don't know a lot about this, but I suspect most people do.) Any how he agreed and the task was to make 4 or 5 specific kinds of baskets (lay up, college 3 point, nba 3 point... I don't remember the others, I'm just trying to remember what he said) anyhow if he could make all these shots with in 30 seconds he could then do a bonus shot- a half court (as I understand it that is really hard.) He made all the shots including the half court in under 30 seconds! I gather this is terrific. The reason the radio station wanted to interview him is that all he won was a ten day car rental, and someone else was trying the same shots for a car. Apparently he is a local hero, and the fans want him to get a better prize.
OK here is the deal, Matt did a great job with the interview, but he was shaking, and I could empathize with him completley- I could see him feeling just the way I do when I "have to speak" his body was having its own reaction. He was able to pretty much spontaneously perform an amazing skill based feat in front of thousands of people in an exceptional fashion, but a phone interview with a local radio station made him nervous.
This has me really thinking that maybe the nerves are less about the size of the group and more about the expectation of performance having time to fester.
Type rest of the post here
Tuesday, February 26, 2008
Nerves of steel
Thursday, February 14, 2008
Kizzy
This is a different kind of bus story.
The stop I have gone to for years on 22nd is gone now, I forget and just walk up to it anyway.
On this particular morning I decided to walk down burnside to 20th and catch the bus there. As I was approaching 20th on the opposite side of the street I needed , I saw this guy at the bus stop pull out a pen and write something on a sign pasted up in the tailors shop by the stop.
Based on his body language, I made a little bet with my self... he wrote something nice.
When I finally got to the stop, I checked out the sign, it was an 8and a half inch paper saying "sorry we can't open today, we are sick" and what was "graffiti ed" on it was "get well soon", with a smilely face. I said to the guy I'd seen write it, woha that is so great, thank you. He said, "yeah I felt a little like I was maybe vandalizing but opposite, I hope when they come they see this they know we care, they are just these old people running this shop, they put the bus schedules up in the window for us, they don't have to do that, they are really cool." I put quotes around this but this is just what I remember, he said it all a lot better.
We ended up talking a lot on the bus together, he made me feel really good about life, and my day. He doesn't call himself a social practice artist, he is just living the way he does. He let me make him feel good too. When he got off the bus, he came over and gave me a hug. It didn't feel like reflexive gesture, it felt really right.
My meeting with Kizzy this morning really made me feel both validated about social practice, and also like an idiot. Kizzy works in a home for disabled people, and is studying music theory on the side, he is in into sampling and hip hop. He is living his life, and is a social art practitioner in the way he lives. I know that I have an "reasonable agenda" for getting a degree, but this really begs the question of how will I enhance in a proportionately meaningful way what I can contribute because of my MFA experience? I'm not meaning to dis the whole MFA thing at all, I am just wondering , or feeling a responsibility to define it for my self as something more. I'm really privileged to be in this place for what is a very short time. Meeting Kizzy today made me realize that I need to dig in or branch out in order to add something to this opportunity.
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Sunday, January 27, 2008
Gas Station Kismet, maybe
I smoke, ok I know I shouldn't and I'm always just quitting, but I do. As it happens there is a small advantage, I end up going to the local gas station on a regular basis to buy cigarettes. I have over the years developed relationships with the people who work there, (I could tell a lot of stories here now, but I won't.)
Tonight when I went in to buy my smokes, Hannah (who works at the station) told me that it is really weird to her that there are three women who buy american spirits, yellow (me) orange and blue, and "its like you are all the same as each other and different from everybody else." She likes us all. I told her that I would love to meet these women. Hanna is totally comfortable facilitating a meeting between us all. I explained a little bit about social practice, and how if she wanted look at this as a project that she was doing, I would help, maybe host a dinner. She was totally game.
This image is Hannah's contact information. I've blacked most of it out, to protect her privacy.
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USGS field trip.
This is a picture of ground water, really!
On Friday Varinthorn and I were taken by Karl Lee (a hydrologist with the USGS) on a 5 hour field trip. We accompanied him as he checked data at sites along Johnson Creek and Crystal Springs.
We learned how the BES contracted with the USGS to collect scientific data to help them understand how building on the flood planes, and past work done by the WPA to change the nature of this waterway has contributed to the flooding and problems around Johnson Creek. The BES is using this science to design new projects that will abate some of the flooding. We saw areas where BES has bought houses on the flood plane (through the willing sellers program) torn them down and planted these areas which can now function again as flood planes. We also saw a site where they have made the creek snake around so that more water encounters more earth for absorption, as well as plenty of room for flood plane. (I'm a still a little ignorant and I don't think that is exactly right, please be generous)
We learned about ground water (even saw some at Holgate Lake-see photo above) We saw both low and high tech equipment for measuring temperature, flow, and quantity. Our collective heads were reeling with new information.
Karl was an amazing tour guide, he not only took us out in the field, but also gave us a tour of the office, the lab and the storage room, where he showed us some of the equipment they use in the field ..... and a santa suit.
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Thursday, January 10, 2008
Words and Meanings
I used to have a "magic" dictionary. As you might know all dictionaries are not created equal. So often the word one is looking up is either not there, or is there with a definition that is too narrow, not worded well, or generally not helpful. The reason my dictionary was magic is that it always contained exactly the definition I needed to expand my thinking. I lost it in the fire and have never found another up to the job. In the read more section below I have cut and pasted definitions of words from our critical theory readings. I don't know how it is for the rest of you but I know that some of these words I have looked up several time before, but for some reason the meanings don't attach well, so I look them up again. Others were completely new to me.. "monad".
The list is not alphabetical, instead it is ordered chronologically (as I encounter these words in the readings.)
I will continue to add to this list through the term, and will not limit myself to the theory readings.
One thing I find very interesting is how many of the words I look up (in general) have definitions listed first that apply to science or medicine. It seems to me that this makes them metaphoric..... but I guess they're not if they are in the dictionary.... but then again... all dictionaries are not created equal....
I must say again; I love words, that isn't to suggest that I know a lot of them, or what they mean, but I love that we all use them almost as though they are solid and indisputable objects, when in fact they are components of a completely fluid medium, with infinite meanings. Perhaps I can describe the magic I see in words/language by making a rather lame and obvious comparison. If you are in my house and the lights go out and I offer you a torch, you might think that I am either a little reckless, or just dramatic, but if you are British you will understand I mean a flash light. I know this is a stupid example, but if you are to take on what I think about words and language being perceived as firm and almost physical things.... picture this, you are in my house the power goes out and I hand you an actual torch! This will color the way you think about me, my house that evening. I believe that even when there is a lingual miscommunication that is cleared up later, an image, or an experience has irrevocably happened. The way we interpret the words we hear or read, become part of our experience and history.
The fact that we all use words means to me that we are all artists and social sculptors, via this fact alone! Joseph Beuys expressed a strong belief in the power/importance of language, and I agree. But my feelings about this predate my knowledge of him. Language is so abstract and fundamentally creative, the public at large is considered to be uncomfortable with abstraction and creativity, but in fact they are fluent in both when they use language!
By the way, all the definitions in the read more section were taken from the web, mostly from encarta, but also wikapedia.
dialectic
noun
Definition:
1. tension between conflicting ideas: the tension that exists between two conflicting or interacting forces, elements, or ideas
2. investigation of truth through discussion: the investigation of the truth through discussion, or the art of investigating truths through discussion
3. debate resolving conflict: debate intended to resolve a conflict between two contradictory or apparently contradictory ideas or parts logically, establishing truths on both sides rather than disproving one argument ( takes a singular verb )
4. Hegelian process: the process, in Hegelian and Marxist thought, in which two apparently opposed ideas, the thesis and antithesis, become combined in a unified whole, the synthesis
5. Socratic method for revealing truth: the methods used in Socratic philosophy to reveal truth through disputation
[Late 16th century. Via Latin dialectica Greek dialektikē (tekhnē) "(art) of discussion or debate" dialektikos "of conversation" dialektos (see dialect)]
semiotic
- study of signs: the study of signs and symbols of all kinds, what they mean, and how they relate to the things or ideas they refer to
study of symptoms of diseases: the study of identifying the ways that various symptoms indicate the diseases that underlie them
mnemonic
mne·mon·ic [ ni mónnik ]
noun (plural mne·mon·ics)
Definition:
memory aid: a short rhyme, phrase, or other mental technique for making information easier to memorize
adjective
Definition:
1. acting as mnemonic: acting as a memory aid
2. relating to mnemonics: relating to the practice of improving the memory, or to systems designed to improve the memory
[Mid-18th century. mnemonics, or Greek mnēmonikos "relating to memory" mnēmon- "mindful"]
mne·mon·i·cal·ly adverb
antinomy
an·tin·o·my [ an tínnəmee ] (plural an·tin·o·mies)
noun
Definition:
1. philosophy paradoxical result: a contradictory and illogical conclusion produced by two apparently correct and reasonable statements or facts
2. law legal discrepancy: a contradiction between two laws, principles, or authorities
[Late 16th century. Via Latin antinomia Greek, literally "against law" nomos "law, rule"]
an·ti·nom·ic [ ànti nómmik ] adjective
diacritical
di·a·crit·i·cal [ d ə kríttik'l ]
adjective
Definition:
marking a change or modification: indicating a change or modification in something, especially in the way a printed letter is to be pronounced or stressed
di·a·crit·i·cal·ly adverb
pathos
pa·thos [ páy thòss, páy thàwss ]
noun
Definition:
1. quality that arouses pity: the quality in something that makes people feel pity or sadness
2. expression of pity: feelings of pity, especially when they are expressed in some way
[Late 16th century. Greek, "feeling, disease"]
epistemology
e·pis·te·mol·o·gy [ i pìstə mólləjee ]
noun
Definition:
theory of knowledge: the branch of philosophy that studies the nature of knowledge, in particular its foundations, scope, and validity
[Mid-19th century. Greek epistēmē (see epistemic)]
e·pis·te·mo·log·i·cal [ i pìstəmə lójjik'l ] adjective
e·pis·te·mo·log·i·cal·ly adverb
e·pis·te·mol·o·gist noun
simulacrum
sim·u·la·crum [ sìmmyə láykrəm, sìmmyə lákrəm ] (plural sim·u·la·cra [ sìmmyə lákrə ])
noun
Definition:
1. representation or image: a representation or image of something
2. something vaguely similar: something that has a vague, tentative, or shadowy resemblance to something else
[Late 16th century. Latin simulare (see simulate)]
imbricate
im·bri·cate [ ímbrə kàyt ]
adjective
Definition:
1. architecture made of overlapping tiles: consisting of overlapping tiles or slates
2. botany zoology overlapping like roof tiles: describes plant or animal parts that overlap in a regular pattern
transitive and intransitive verb (past and past participle im·bri·cat·ed, present participle im·bri·cat·ing, 3rd person present singular im·bri·cates)
Definition:
overlap or be overlapping: to lay things so that they overlap in layers in a similar way to roof tiles, or be laid in this way
[Mid-17th century. Latin imbricat-, past participle of imbricare "cover with pantiles" imbric- "roof tile" imber "rain"]
im·bri·cat·ed adjective
im·bri·ca·tion [ ìmbrə káysh'n ] noun
The Heresy of Paraphrase" is the title of a chapter in The Well-Wrought Urn, a seminal work of the New Criticism by Cleanth Brooks. Brooks argued that meaning in poetry is irreducible, because "a true poem is a simulacrum of reality...an experience rather than any mere statement about experience or any mere abstraction from experience." Brooks emphasized structure, tension, balance, and irony over meaning, statement, and subject matter. He relied on comparisons with non-verbal arts in order to shift discussion away from summarizable content:
The essential structure of a poem (as distinguished from the rational or logical structure of the 'statement' which we abstract from it) resembles that of architecture or painting: it is a pattern of resolved stresses. Or, to move closer still to poetry by considering the temporal arts, the structure of a poem resembles that of a ballet or musical composition. It is a pattern of resolutions and balances and harmonizations, developed through a temporal scheme.
Proper criticism responds with suppleness and delicacy to such patterns, rather than paraphrasing their propositional content.
Central to "The Heresy of Paraphrase" was a vigorous critique of conventional distinctions between form and content:
The structure meant is certainly not 'form' in the conventional sense in which we think of form as a kind of envelope which 'contains' the 'content.' The structure obviously is everywhere conditioned by the nature of the material which goes into the poem. The nature of the material sets the problem to be solved, and the solution is the ordering of the material...The relationship between the intellectual and the non-intellectual elements in a poem is actually far more intimate than the conventional accounts would represent it to be: the relationship is not that of an idea 'wrapped in emotion' or a 'prose-sense decorated by sensuous imagery.
Though Brooks applied this theory to his reading of poetry from many periods, subsequent literary scholars have suggested that the doctrine was shaped by the aesthetics of modernist literature. They point out that the New Criticism emerged at the peak of T.S. Eliot's influence as both poet and critic. Archibald Macleish's "Ars Poetica" (written eleven years before The Well Wrought Urn) is often cited as prefiguring Brooks' doctrine:
A poem should be palpable and mute
As a globed fruit
Dumb
As old medallions to the thumb
Silent as the sleeve-worn stone
Of casement ledges where the moss has grown -
A poem should be wordless
As the flight of birds
A poem should be motionless in time
As the moon climbs
Leaving, as the moon releases
Twig by twig the night-entangled trees,
Leaving, as the moon behind the winter leaves,
Memory by memory the mind -
A poem should be motionless in time
As the moon climbs
A poem should be equal to:
Not true
For all the history of grief
An empty doorway and a maple leaf
For love
The leaning grasses and two lights above the sea -
A poem should not mean
But be.
Though many of the aesthetic assumptions of the New Criticism are now challenged or dismissed, the "heresy of paraphrase" is still commonly used to refer to reductive or utilitarian approaches to poetry.
materialist
ma·te·ri·al·ist [ mə tree əlist ]
noun (plural ma·te·ri·al·ists)
Definition:
1. somebody concerned about possessions: somebody who values material wealth and possessions rather than spiritual or intellectual things
2. supporter of philosophical materialism: a supporter of the philosophical theory that physical matter is the only reality and that psychological states can be explained as physical functions
adjective
Definition:
Same as materialistic
Althusserianism:
(Pronunciation: altuˡseʁ) (October 16, 1918 – October 22, 1990) was a Marxist philosopher. He was born in Algeria and studied at the École Normale Supérieure in Paris, where he eventually became Professor of Philosophy.
Althusser was a lifelong member and sometimes strong critic of the French Communist Party. His arguments and theses were set against the threats that he saw attacking the theoretical foundations of Marxism. These included both the influence of empiricism on Marxist theory, and humanist and reformist socialist orientations which manifested as divisions in the European Communist Parties, as well as the problem of the 'cult of personality' and of ideology itself.
Althusser is commonly referred to as a Structural Marxist, although his relationship to other schools of French structuralism is not a simple affiliation and he is critical of many aspects of structuralism.
Contents
neologism
ne·ol·o·gism [ nee óllə jìzzəm ] (plural ne·ol·o·gisms) or ne·ol·o·gy [ nee ólləjee ] (plural ne·ol·o·gies)
noun
Definition:
1. new word or meaning: a recently coined word or phrase, or a recently extended meaning of an existing word or phrase
2. coinage of new words: the practice of coining new words or phrases, or of extending the meaning of existing words or phrases
[Early 19th century. French néologisme néo- "new" + Greek logos "word"]
ne·ol·o·gist noun
ne·ol·o·gis·tic [ nee òllə jístik ] adjective
ne·ol·o·gize intransitive verb
superstructure
su·per·struc·ture [ spər strùkchər ] (plural su·per·struc·tures)
noun
Definition:1. upper part of ship: the part of a ship above the main deck
2. visible part of building: the part of a building above its foundations
3. part developed on base: a physical or intellectual structure built on or developed from a fundamental form, base, or concept
4. politics institutions associated with particular economy: in Marxist theory, the complex of social, legal, and political institutions that are an extension and reflection of the type of economy operating in a particular society
su·per·struc·tur·al [ spər strúkchərəl ] adjective
valence
va·lence [ váylənss ] (plural va·lenc·es) or va·len·cy [ váylənssee ] (plural va·len·cies)
noun
Definition:
1. combining power of atoms: the combining power of atoms or groups measured by the number of electrons the atom or group will receive, give up, or share in forming a compound
2. combining antigenic determinants: the number of different antigenic determinants with which a single antibody molecule can combine
3. combining power of verb: the ability of a verb to combine grammatically with noun phrases in a given clause
[Late 19th century. Variant of valency]
telos
/telloss/
• noun (pl. teloi /telloy/) Philosophy or literary an ultimate object or aim.
ORIGIN Greek.
volatilize
Main Entry:
vol·a·til·ize Listen to the pronunciation of volatilize
Pronunciation:
\ˈvä-lə-tə-ˌlīz, British also və-ˈla-\
Function:
verb
Inflected Form(s):
vol·a·til·ized; vol·a·til·iz·ing
Date: 1657 transitive verb: to make volatile; especially : to cause to pass off in vaporintransitive verb: to pass off in vapor
— vol·a·til·iz·able Listen to the pronunciation of volatilizable \-ˌlī-zə-bəl\ adjective
vol·a·til·i·za·tion Listen to the pronunciation of volatilization \ˌvä-lə-tə-lə-ˈzā-shən, British also və-ˌla-\ noun
perennate
Main Entry:
pe·ren·nate
Pronunciation:
\ˈper-ə-ˌnāt, pə-ˈre-ˌnāt\
Function:
intransitive verb
Inflected Form(s):
pe·ren·nat·ed; pe·ren·nat·ing
Etymology:
Latin perennatus, past participle of perennare, from perennis
Date:
circa 1623
: to live over from one growing season to another a perennating rhizome
per·en·na·tion Listen to the pronunciation of perennation \ˌper-ə-ˈnā-shən\ noun
symp·to·ma·tol·o·gy [ sìmptəmə tólləjee ] (plural symp·to·ma·tol·o·gies)
noun
Definition:
1. study of symptoms: the study of the relationships between symptoms and diseases
2. set of symptoms: the set of symptoms that are associated with a disease or that affect a patient
[Late 18th century. Greek sumptōmat-, stem of sumptōma (see symptom)]
monad
mo·nad [ mṓ nàd ] (plural mo·nads [ mō méntə ])
noun
Definition:
1. microbiology single-celled microorganism: a microorganism consisting of just one cell, especially a flagellate protozoan. Genus Monas.
2. chemistry atom with valence of one: an atom or chemical group that has a valence of one
3. philosophy basic entity in metaphysics of Leibnitz: in the metaphysics of Leibnitz, an indivisible indestructible unit that is the basic element of reality and a microcosm of it
[Mid-16th century. Directly or via French monade late Latin monad- Greek monos "single"]
mo·nad·ic [ mō náddik ] adjective
mo·nad·i·cal [ mō náddək'l ] adjective
mo·nad·i·cal·ly [ mō náddəkəlee ] adverb
mo·nad·ism [ mṓnə dìzzəm ] noun
putative
pu·ta·tive [ pytətiv ]
adjective
Definition:
1. generally accepted: generally believed to be or regarded as being something
the putative father of the child
2. thought to exist: believed to exist now or to have existed at some time
[15th century. Directly or via French late Latin putativus putare "prune, think over"]
pu·ta·tive·ly adverb
Word History
The Latin word putare "to prune, think over," from which putative is derived, is also the source ofEnglishaccount,amputate,compute,count1 (of numbers),deputy,dispute,impute,recount, andreputation.
Kalos kagathos
From Wikipedia, the free encyclopedia
Kalos kagathos (καλὸς κἀγαθός, IPA: [kalos kaːgatʰos]), sometimes written kalokagathos or kalos kai agathos, is an idiomatic phrase used in ancient Greek literature (including philosophy and historiography), attested to since Herodotus and the classical period.[1] The phrase is adjectival, composed of two adjectives, καλός and ἀγαθός (of which κἀγαθός is the crasis with καί, "and"). The derived noun is kalokagathia (καλοκαγαθία)
[edit] Uses
The phrase could be used both in a generic sense, or with certain specific force. As a generic term, it may have been used as the combination of distinct virtues, which we might translate as "handsome and brave", or the intersection of the two words "good" or "upstanding". Translations such as "gentleman" or "knight" have traditionally been suggested to convey the social aspect of the phrase, while "war hero" or the more cynical "martyr" are more recent versions, and emphasise the military element.
It became a fixed phrase by which the Athenian aristocracy referred to itself; in the ethical philosophers, the first of whom were Athenian gentlemen, the term came to mean the ideal or perfect man.
kalos kai agathos, the singular balance of the good and the beautiful.
[edit] Καλός
The adjective καλός encompasses meanings equivalent to English "good", "noble", and "handsome". The form given by convention is the masculine, but it was equally used of women (the feminine form is καλή) and could also describe animals or inanimate objects.
Plato, in his work Republic, used the term τό καλόν (the neuter form) in his attempts to define ideals - although it should be noted that his protagonist (some would say 'mouthpiece') in the dialogue, Socrates, stated that he did not fully comprehend the nature of this καλόν.
[edit] Αγαθός
This second adjective had no particular physical or aesthetic connotations, but described a person's bravery or ethics. Again, around the 4th Century, it had become politically meaningful, and carried implications of dutiful citizenship.
historicism
his·tor·i·cism [ hi stáwrə sìzzəm ]
noun
Definition:
1. theory that natural laws govern history: the belief that natural laws beyond human control determine historical events
2. belief in uniqueness of historical periods: the theory that each period of history has its own unique beliefs and values and can only be understood in its historical context
his·tor·i·cist noun
positivism
pos·i·tiv·ism Listen to the pronunciation of positivism
Pronunciation:
\ˈpä-zə-ti-ˌvi-zəm, ˈpäz-ti-\
Function:
noun
Etymology:
French positivisme, from positif positive + -isme -ism
Date:
1847
1 a: a theory that theology and metaphysics are earlier imperfect modes of knowledge and that positive knowledge is based on natural phenomena and their properties and relations as verified by the empirical sciences b: logical positivism2: the quality or state of being positive
— pos·i·tiv·ist Listen to the pronunciation of positivist \-vist\ adjective or noun
— pos·i·tiv·is·tic Listen to the pronunciation of positivistic \ˌpä-zə-ti-ˈvis-tik, ˌpäz-ti-\ adjective
pos·i·tiv·is·ti·cal·ly Listen to the pronunciation of positivistically \-ti-k(ə-)lē\ adverb
epistemology
Main Entry:
epis·te·mol·o·gy Listen to the pronunciation of epistemology
Pronunciation:
\i-ˌpis-tə-ˈmä-lə-jē\
Function:
noun
Etymology:
Greek epistēmē knowledge, from epistanai to understand, know, from epi- + histanai to cause to stand — more at stand
Date:
circa 1856
: the study or a theory of the nature and grounds of knowledge especially with reference to its limits and validity
— epis·te·mo·log·i·cal Listen to the pronunciation of epistemological \-mə-ˈlä-ji-kəl\ adjective
— epis·te·mo·log·i·cal·ly Listen to the pronunciation of epistemologically \-k(ə-)lē\ adverb
epis·te·mol·o·gist Listen to the pronunciation of epistemologist \-ˈmä-lə-jist\ noun
Jürgen Habermas
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Western Philosophy
20th century
Jürgen Habermas
June 18, 1929 (1929-06-18) (age 78)
Düsseldorf, Germany
School/tradition
Critical theory
Main interests Social theory · Epistemology
Political theory · Pragmatics
Notable ideas
Communicative rationality
Discourse ethics
Deliberative democracy
Universal pragmatics
Influenced by
Weber · Durkheim · Mead · Marx
Dilthey · Parsons · Kant
Heidegger · Piaget · Horkheimer
Adorno · Marcuse · Arendt · Peirce
Austin
Influenced
Benhabib · Forst · Fraser · Honneth
Mockus · Hoppe · Feenberg
Wingert ¤Georg Henrik von Wright
Jürgen Habermas (IPA: [ˈjʏʁgən ˈhaːbɐmaːs]; born June 18, 1929) is a German philosopher and sociologist in the tradition of critical theory and American pragmatism. He is best known for his work on the concept of the public sphere, which he has based in his theory of communicative action. His work has focused on the foundations of social theory and epistemology, the analysis of advanced capitalistic societies and democracy, the rule of law in a critical social-evolutionary context, and contemporary politics -- particularly German politics. Habermas's theoretical system is devoted to revealing the possibility of reason, emancipation and rational-critical communication latent in modern institutions and in the human capacity to deliberate and pursue rational interests.
semantic
se·man·tic [ sə mántik ]
adjective
Definition:
1. linguistics relating to word meanings: relating to meaning or the differences between meanings of words or symbols
2. linguistics of semantics: relating to semantics
3. logic relating to truth: relating to the conditions in which a system or theory can be said to be true
[Mid-17th century. Via French Greek sēmantikos "significant" sēmainein "signify" sēma "sign, mark"]
interstice Show phonetics
noun [C usually plural] FORMAL
a very small crack or space:
somatic
so·mat·ic [ sō máttik ]
adjective
Definition:
1. affecting body as distinct from mind: relating to or affecting the body, especially the body as considered to be separate from the mind
2. anatomy relating to outer walls of body: relating to the outer walls of the body, not the inner organs
3.cell biology of somatic cell: relating to a somatic cell
illocutionary
il·lo·cu·tion·ary Listen to the pronunciation of illocutionary
Pronunciation:
\ˌi-lə-ˈkyü-shə-ˌner-ē, ˌi(l)-lō-\
Function:
adjective
Etymology:
2in- + locution
Date:
1955
: relating to or being the communicative effect (as commanding or requesting) of an utterance “There's a snake under you” may have the illocutionary force of a warning
essentialism
Main Entry:
es·sen·tial·ism Listen to the pronunciation of essentialism
Pronunciation:
\-ˌli-zəm\
Function:
noun
Date:
1927
1 : an educational theory that ideas and skills basic to a culture should be taught to all alike by time-tested methods — compare progressivism 2 : a philosophical theory ascribing ultimate reality to essence embodied in a thing perceptible to the senses — compare nominalism 3 : the practice of regarding something (as a presumed human trait) as having innate existence or universal validity rather than as being a social, ideological, or intellectual construct
es·sen·tial·ist Listen to the pronunciation of essentialist \-list\ adjective or noun
Scylla
Scyl·la [ síllə ]
noun
Definition:
mythological sea monster: in Greek mythology, a sea monster who attacked sailors. In later times, Scylla was thought to be a rock on the Italian side of the Straits of Messina.
be between Scylla and Charybdis to be faced with the necessity of choosing between two equally undesirable or unpleasant things
Charybdis
Cha·ryb·dis [ kə ríbdiss ]
noun
Definition:
monster in Greek myth: in Greek mythology, a monster in the form of a dangerous whirlpool at the mouth of the cave of the sea monster Scylla
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Tuesday, January 8, 2008
May We Speak For YOU?
May We Speak For You? from sanone on Vimeo.
click read more for details
At the candle light after our presentations at the end of last term Laurel and I were expressing our shared relief that we made it through our presentations with out having heart attacks. We both hate public speaking. That is the genesis of this project. I told Laurel about a performance I did many years ago where I simply spoke for the artist who was actually performing. She just sat their fuming and I expressed what she was frustrated about for her. It was odd, I didn't feel shy at all, because I was speaking for her, not me. So we had the idea to go out in public and speak for other people, hoping that this might help us get over our fear of public speaking.
Ralph came along and videoed what happened. He has ever operated a video camera before.
We showed this to the SP group on Monday and got some really good critique. It is interesting that even though the video was less than ideal, the editing very slap dash and the project was just a first exploratory effort, I think because we had the video the group was able to give us a lot of valuable and specific criticism. Even the criticism of the documentation itself: meaningless shots, lots of moving around, bad sound (also using the low res of vimeo didn't help) gave me lots to think about more consciously before we do it again. As I said this was just our first exploration of this project, and we were both, well I'll just say I was (I shouldn't really speak for Laurel, though I think we are largely in agreement) really pleasantly surprised by some of the things that happened.
For instance the escalating enforcement of rules applied to us at pioneer courthouse square was not only comical and informative, but seemed to create a dynamic relationship between the guards, some people we were speaking for and ourselves. There was, for the hour or how ever long we were there, a relationship that evolved between us all. What was especially successful to me about the chain of events at the square was that even though we were frustrated, there was humor, and the guards seemed increasingly aware of the absurdity of the rules they were being asked to enforce, but never seemed to blame us for putting them in that position.
Another interesting thing that happened was us speaking for the protesters, who are not part of the union, but paid by the union to stand there four hours a day holding up their sign and passing out fliers. The irony of speaking for people who are speaking for someone else is a beautiful bit of theater. I am not sure exactly why this resonates so loudly for me, but I suspect it is just the idea of lots of communication and energy being expended to convey messages that the active participants have no personal stake in. This is really rich, and I think we accidentally touched on a potential lens to look at the media through. I will continue to ponder this.
Kind of along the same lines, but going the opposite direction; "Charles" asked us when we were in front of city hall to speak about his frustration that the civil union legislation was being held back. He and his boyfriend had gotten engaged and were hoping to follow through soon. As I paraphrased his statement through the megaphone he came towards me and then standing in front of me, he agreed! This seems an interesting other side of the media.... people feeling heartened by their own message, agreeing with them selves.
I feel like we learned a lot, and got a lot of good raw material the day we started this project. Laurel and I also talked about how we might expand it, kind of a how far can we follow up sort of idea. We think we might try to find Ben (our main "client" at the square). We might go to the seventh floor and meet the people who administer the square and look out the window they were watching us from. Maybe we will find out more about the working situation for the protesters and the union that hired them.
We also want to continue our original idea of public speaking. We talked afterwards about some ways we could fine tune it, one idea was a dry erase board with a "topic" posted. Another was having note cards and pens for people to write what they wanted us to talk about.
The most helpful criticism we received from our colleagues addressed the fact that it wasn't really clear that we were "public speaking". We were just conversing through the megaphones. Some things I wrote in my notes were: A more clear system (I think this is really true) to indicate that we are "broadcasting". Maybe a pirate radio sort of set up, or an LCD message board with transcribed projection of text. And as I mentioned there was a lot of criticism of our documentation. I am not sure exactly how we will want to design this going forward, but this is by far the best discussion I have had about anything I am doing since I started the program. I believe we got such good (negative) feedback because we had so much documentation to respond to. This is really interesting to me because I have mixed feelings about the importance of documentation, but I have never before considered its role as a tool for getting feedback and growing my practice.
One last thing I will say about this, I don't know how it will look going forward, but I feel it now has another purpose. It appears that "public speaking" can function as a serendipitous heuristic device that allows the community to plot the trajectory of our next move.
Saturday, December 29, 2007
RECYCLE REUSE REGIFT!
PU held a give a way, it was very successful due in large part to some rather excellent merchandising! To see the slide show and read more please click here!
Type rest of the post here
Monday, December 10, 2007
Fall Term Summary
At the orientation before the term started there were two points that were iterated repeatedly. First, this first term in particular is the time to experiment, and Second, the term is only 10 weeks long, don't dink around!
To read full text click below..
Working with a view to social practice as my core medium was in it self a new and thus experimental endevour, so I interpreted the call to experiment by starting many things with out knowing how or when they would finish. I will admit some frustration at not feeling like I have anything to "show" ie: finished projects. But when I back up and take a longer view, I see that I have generated many projects and ideas to work on. I see too that, much like life, a social practice project doesn't always fit into a ten week academic period, so I am trying to learn a new way of measuring my progress that has more to do with the time and thought put in to the process and less with the "deliverables" at any given moment. Ten weeks is a VERY short time.
Besides making progress towards learning a new way of working, the biggest challenges and accomplishments I have made this term include;
Using technology:
Having to post to this blog has presented two challenges, first and most obvious is figuring out how to do it technically. Yes its pretty straight forward, but understanding the options for functionality and how to use them has taken me a fair bit of time. The reason understanding how to use these options is important leads to the second challenge that “blogging” presents; Understanding/finding a “voice” that feels both true and comfortable to me. I am still not clear how I feel about posting my work journal in a public format. It seems to me oxymoronic. The way I interpret it, my work journal is not something that is appropriate for public viewing. Not because it is too personal, or x rated, but because it is too wordy, too abstract, involves hand drawn symbols and clues, and would frankly be both cumbersome and boring for others to look at. So I am left with the impulse to put “finished” thoughts or documentation of “finished” work on my blog. I know this is not what I'm asked to do, but there you have it, thats been my dilemma. I am slowly making progress with it....
The second big challenge/accomplishment this term came with the requirement to speak to everyone (using technology) about my work. This was both extremely difficult and valuable. I absolutely hate that we have to do this every term, and I am also absolutely grateful we have to do this every term. I have an almost childlike determination to “nail” this, I know its only through practice that I will become able to be mindful (if never comfortable) and engaged with it.
The third challenge/accomplishment is the one most directly related to my practice. As I mentioned at the beginning of this post, working with social practice as my core medium is new. I am both challenged, and excited by the plethora of possibilities. Even as I am trying to get my feet under me with my own projects, Harrell presents connections and potential projects that we as a group, and I individually want to pursue. I am really starting to understand the importance of knowing my own priorities, strengths and limits. This is REALLY a new world. I am having to learn how to think about thinking differently, learn how to operate more spontaneously in the present and have more trust in my self. I haven't' dialed this yet. But I have to, because absent learning how to make more hours in the day, I will fail if I don't. I don't mean to make this sound apocalyptic, because it isn't, its doable., and desirable! It is also however a steep learning curve. This is the most difficult, and potentially most rewarding aspect of my MFA experience so far. I am looking now at how I bring my self to all of this. I am happy (not exactly the right word) about this challenge, and I am also mindful that I come to all of this with a rich past that I want to include, and build on. My job is to figure out how to do that, for myself, and also to contribute to the group.
The last thing I will say in this summary is that I am so inspired and impressed by my fellow students. I'm not competitive, but I am aware (and appreciative) of the bar being set higher and higher.
Tuesday, November 27, 2007
Friday, November 9, 2007
Thursday, November 8, 2007
WAR RUGS
Here is a link to one really good site for Afghan War Rugs
I have just recently found a lot of sites, gotten some contacts and can now really start researching this topic for my Rug Project. The only problem is hours in the day! I am finding my ability to "multi focus" is somewhat lacking. Not only do I have many projects and interests, each project has multiple moving parts!
Tuesday, November 6, 2007
SAW
SAW... Shelter for Abandoned words is a new project that aims to direct attention to the abus
e, and negligent stewardship of words. It is just developing. You can track its progress by going to the SAW BLOG (sounds like saw log, I hope it doesn't put you to sleep!)
This project is sponsored by Parallel University
If you regularly read the Social Practice group blog, you will see this same post, I am having a little bit of confusion around duplication vs dissemination of information, if anyone has any thoughts about this I'd love to hear them.
Thursday, November 1, 2007
Live Recordings
mIn our contemporary art history class tonight there was a really great exchange, not surprisingly the question of “what is art” came up, as it always does. (what other disciplines spend so much time trying to define themselves?) This discourse was largely around the supposed dichotomy between social practice, and studio practice as models. I came home and started thinking about what is common between art forms that are not questioned as art now. And it occurred to me that one element is presentation in one way or another that frames them exclusively, either a white box scenario, or a ticket bought to experience them in a venue specifically dedicated to their “performance”. I am not suggesting that these parameters exhaustively encompass everything "generally accepted to be art", just that work presented in these ways tends to be more easily(or set up to be) engaged with as “art”. What these contexts have in common the more I thought about it, was less about what they include, and more about what they exclude, they exclude distraction.
What if we/I/one were to go to an event, say a protest, festival or some other public event, (or for that matter just a busy place like a shopping mall, or sports event) and offer people either blindfolds or sound blocking headphones to experience the event. by excluding sound, or vision could we intensify the senses left in tact? Would this be a way to replicate the expected context of art, so that a “common” experience could be similar to the experience of art? Could this be a viable strategy to highlight the art in everyday experience?
It seems to me this would be like offering a live sound or visual performance.
Type rest of the post here
Tuesday, October 30, 2007
Parallel University
This is the Mission Statement for Parallel University. "PU" is a project in and of its self, and also a platform for much of the work I am doing for my MFA. Soon the PU blog will be up and running, when it is I will post a link here.
Parallel University Mission Statement
Established in 2007 Parallel University is dedicated to lending the illusion of imposed structure, and qualitative benchmarks to the self directed learning of its students. Parallel's core belief is that all people at all times create reality and value in our world visa vis their activities, intentions, and choices. Parallel University is a bridge between the received understanding that institutional validation, acquired via adherence to externally designed/imposed structures is required for self worth, and the less frequented perspective that it is the actions and intentions of individuals that create, and grant validation to, the institutions and structures they participate in.
Any credit attributed to Parallel University for knowledge gained or skills attained during the period of enrollment are strictly denied. All benefits, be they growth, knowledge, or skills are wholly and completely the responsibility of the student.
Mascot: Ruby slippers
Motto: You've always had the power
Type rest of the post here
Notes for meeting with Fritz Haeg
OCT. 29th
Points of departure from lecture:
1 Objects as vessels (personal topic: love of making and doing, how to bridge/mutually express the physical with the experiential, also objects as vessels of memory, and memory as object. place for personal symbology/poetry within a group dynamic and collaborative creation?)
2 Giving something a name (personal topic: sweat shop vs more than free trade, parallel university- working title vs “official naming”at what point does the name define the design)
3 Role of the private home (personal topic: relevance of a physical space)
4 Website as project (personal topic: mixed feelings about technology, resistance to its assumed status, pull of its possibilities, fear of its influence in (driving) the design process)
5 Teaching (personal topic: graceful interface(purposeful, gainful, confusion between) teaching and learning, learning and teaching)
6 Strong grounding in one field to explore away from, I would like to hear more about this.
You had a question at dinner looking for a word to describe what you wanted your work to achieve, you said that “accessible” wasn't the right word..... I wrote on my hand the word “gracious”, and also the word “courtesan.” I think of a courtesan as being a sometimes uncomfortable, but respected exception to the mainstream rules and expectations, a conduit for intelligent and sensual consideration, a person who embodies and grants permission for other ways of being. I think that a courtesan is also welcoming while maintaining all of her/his own strength. A courtesan is the consummate host/hostess to an alternate way of being. They blaze, and balance on, a hair fine line between definitions, just as you described your own intent. Is "courtenesial" a word yet?
OCT 31st:
Today I met with Horia, I talked to him about PU, and told him about Fritz's critique of the mission statement. He pretty much agreed with Fritz. I really feel attached to the official tone of that document, but perhaps what we need is a cover letter, or intro that is more conversational. Horia also asked a lot of good questions, in particular he brought up the topic of ceremony. Ralph and I had talked about this, but kind of left it on the back burner. I realized that thinking about that more now can help give shape to the project.
OCT.30th
I met with Fritz this morning and we touched on most of the topics mentioned above. I started the meeting by showing him the "mission statement" for Parallel University before we looked at my talking points. After the reading of the mission statement, he asked me about the wording and intended audience. TONE He found it a little dense (in the not easy to digest sense) and talked about the fact that it might be our introduction, either printed or (especially) as a web presence. He asked me about the project and said that my conversational explanation was very different than what he read. He stressed the importance of tone to the introduction of a work, especially one in which one wants contributions, collaboration with others.
I was thrilled, as he had touched on both the topics of "naming" and "technology". We went then to the topic specifically of "naming". We didn't manage to find an answer, or any particularly new insight, but we did agree that the name, even a working title can shape the design of a project. He did put forth that in his experience the best names were short, maybe two seemingly contradictory words, and that the best thing is to have a name that both describes, and leaves expectation open to interpretation. He elaborated on what he said in his lecture about the name of "edible estates" really fueling that project.
Next was the more complicated topic of how to keep ones poetry alive in a collaborative process (the object element of this question didn't really come into it) This was a really interesting conversation, I don't really know how to write it, except to say that after I was finally able to explain my question, Fritz seemed whole hearted in his validation of the importance of this. To summarize...and this was something that was revisited through out our conversation, he said that the poetry came in the creating of a space for something to happen in, and then also, in another way, from experiencing fresh and new what people create in that space made available. This last part is what I took from the conversation, not what he said, but I think he agreed with me.
I don't want to go on and on in a point by point fashion so I will just finish up by saying what I got from the exchange (after all this is all about me right?)
I felt that Fritz came to our meeting more like a friend (hard to do with a stranger!) and was letting me sort of guide the topics, but was also (like a friend would be) really generous in sharing his own experience, and the conversation wondered where it would, with occasional change of topic by me. In particular the topics of technology (which I probably should or will elaborate on at some point) and "naming" were very distinct, and those of physical space, teaching and personal poetry were so interwoven in my mind that it is hard to parse them here. Ultimately he left me with a few very specific questions to apply to my own projects, and a vague sense of encouragement, or respect for my pursuit of them.
One last thing, the topic of the courtesan, we didn't really get into this the way I'd fantasized it going, (I was thinking of this intentional contemplation of a question he'd brought up as my thank you for his time.) But we did have an interesting few moments trying to figure out how to pronounce "courtenesial". At the end of the day the word and concept is a gift to me, I had perceived Parallel University as granting no degree, instead that the students grant themselves permission. The thinking I did about the role of the courtesan really "fleshed" out the means to that end for me. The University as Courtesan!
Thursday, October 25, 2007
An open question
Is technology the new “institution”? Is a facility with technology now assumed as a basic prerequisite for “legitimacy?“ Do we now consider the aesthetics and functionality of an artist's (or any body's) website to be an indication of their validity/viability? Do these elements factor into our assessment/reception of a persons work? Is any attempt to proceed with out , or stumble around, technology perceived as (assumed to be) either an intentional statement, or indication of a more fundamental and general ineptitude? Do we exist now in a "culture" that assumes technology to be an "unspoken", or implicit partner in our dialogs? Is this a new ethos?
nothing more to read right now, check back later
Tuesday, October 23, 2007
Rug Project
This project is just getting started, like the Sweat Shop project (which has undergone serious revisions and shall be called "the more than fair trade" project going forward) This is a long term endevour requiring a lot of research.
In part the inspiration for this project was a very small part of an exhibition of rugs (and other things) I saw in Glasgow in 1989. The Afghan rugs were really beautiful, and on first glance appeared to be made in traditional patterns with no obvious reference to anything I would understand. Looking closer I realized that the motifs were abstractions of tanks and bombs. The explanations on the walls explained (at least as I remember) that "traditional motifs" were in fact always changing, the way I understood it was that the grammar or the syntax of things would stay constant, but the nouns, or the subject matter would vary according to what was happening in the immediate environment. The other part of my impulse for this project is my concern about child labor, and slavery, also the basic topic of attitudes/perceptions of labor and its value, both external and internal.
The basic outline as it exists right now is to work with children from primary to high school age in the production of at least one rug. Encompassed in the process is all of us learning together about the history of tribal rug making, and the development of motifs (as mentioned above), the skills involved, and about child labor practices.
My rough idea right now is that we learn together what we can about these topics, design a pattern based on our own experience, and tie or weave a rug together. It is my intention that we will also in the process figure out where we would like to give this rug.
My "gold standard" goal for this project is that it could serve as a template to be modified and employed by others going forward.
If you are interested in learning about where I am in this process so far, please click the "read more" button. Also if anyone has any thoughts,(including criticism or challenges to this idea) links to information, or wants to be involved..please do chime in with a comment!
I see already that the research I need to do for this project is vast. Even as I want us all to learn together I feel I need to bring a lot of knowledge to the table before we embark. So this is where I'm at so far: I have found the name of the man that organized the exhibition I saw in Glasgow and have sent out a web of emails to locate him. He apparently has a deep and passionate interest in rugs, and the rugs I was so taken by in particular. I am learning about the rug making traditions in the middle east, and Asia. I am also gathering resources to talk to here in the states about this particular form of rug making.
I am meeting with Michael Simmons at Buckman elementary this week to see if he is interested in participating with some of his students, and have an invitation to talk to da Vinci middle school when I am ready. I am particularly interested in a possible collaboration on this project with high schoolers connected to the Native American Youth and Family Center.
Friday, October 19, 2007
Another bus story
I couldn't quite understand this fellows name, but he took my book on the bus last week (he literally took it away from me as I was reading.) He did to give it back to me after he ascertained that the only picture was on the cover. I think he may have wanted to point to the irony of me reading a book on "relational aesthetics" when I was on a bus full of people I could have been relating to. I was social practiced by a two year old! Thank you little man.
Sunday, October 14, 2007
what I leaned today!
I picked Allan McCollum up at the airport this afternoon. He is delightful. In the short time we had together, bringing him to town, making a rather round about way to the safeway, through my neighborhood, and via powells to his hotel, I learned two things. One, never use your nick name on a resume, I should always say "Sandra" rather than Sandy, I suppose Sanone is completley out of bounds. And the second was an implicit and more profound lesson. We were at the safeway looking for tiny toothpaste and shaving creams. Necessitated of course by the new airline laws. I said that a good project would be to set up an exchange at the air port where people could leave their liquids before going through security and people coming off flights could pick them up. He didn't say, oh good idea, or how would that work, he said: "Apply for a Grant". And I oddly said, ok I will! I think this is perhaps one of the differences between artist who "make it" and those who don't. An assumption that they deserve funding for their pursuits. So I will be applying for a grant for this air port exchange project. Thank you Allan!
Sunday, October 7, 2007
Free Tulip Bulbs
Look for this sign in the lobby of the art building and get your self some tulip bulbs to plant (They'll be right there by the sign)!
Dear Troops
DAY OF THE HEROIC GUERRILLA
Che Ernesto Guevara - a man who wrote about sowing the seeds of revolution but was not a particularly enthusiastic gardener - but he is someone from whom we borrow a bit of spirit. He was executed forty years ago and in Cuba October 8th, the day before his death, is called Day of the Heroic Guerrilla. Love him or loathe him, I encourage you to mark this occasion and make it your reason to get out there gardening, perhaps even with something appropriately red and revolutionary, all be it green as well. In London on Monday we will be digging in more scarlet tulip bulbs that did so well last year.
Bulbs are a great way to guerrilla garden. Take a tulip for example. Dig a hole about 15cm deep and drop a couple or so bulbs in with the pointy bit up. Then cover it firmly with soil. That's really all you need to do before it flowers in spring. Take a photo of the patch and then you will remember where you have dug in your colourful land mine. Please do share what you have done on the Community pages of the website.
Go here to learn more!
In Portland we are troop #990, please include our troop number when you post!
You may also send documentation to parallelu@gmail.com
and we will post it for you!
Thanks, and Love, Parallel University
Tuesday, October 2, 2007
Seattle Snaps
I haven't quite got the slide show thing worked out yet (but I will with Shelby's help) in the mean time here are some snaps. and a wee video. I loved the sound and atmosphere in the Vivarium!
Tuesday, September 25, 2007
Bus meeting
Today when I got onto the bus my favorite seat was available, the one just up to the top of the steps right behind the back door. Sitting there is like being on a ride, I don't like rides, but I like sitting there and feeling "like I'm on a ride". Michael and Uma clocked me coming up the isle (I don't mean hit me, I man saw me in a meaningful way) I "clocked them clocking me" and I wondered what was up.... soon after I sat down Michael leaned over and said "excuse me, what do you do?" I told him that up until yesterday I worked in the stacks at the library. He leaned over to Uma, and said, I was pretty close. I asked him what he had guessed I did. And he said school teacher. I told him that he was really good because I had just started school to be able to teach. I asked him what he did, and he said he was a seasonal construction worker, but mostly in summer. He told me he had a deconstruction job last week, which was really fun. And next week he has a landscaping gig, he hopes that the weather is like today, but he doesn't really care, he loves working outside. He then explained that what he is really good at is relaxing, being lazy. He told me the trick to that is to balance inactivity with moving around pretending like you are actually going to get something done. Uma was pretty shy and mostly hid behind Michael. They got off soon, we shook hands and expressed our mutual pleasure about the meeting. I was particularly taken by this experience, as Michael performed, with me as a recipient, exactly the kind of social practice work that I might do. (I am a little obsessed with the relationships that happen on buses) I loved this experience, and I feel like this is a great demonstration of the synchronicity/coincidence/connection that I am interested in, and I got to be on the receiving, responsive (rather than generative) end of it!
Points of departure
I am not quite sure how to use this space yet, I mean in terms of what is worth posting.
Here is a list of some of the things I am thinking about.
coincidence
connections
physical trails of experience
elevators
memory/rethinking-redefining memory
collaboration
work/play
Sunday, September 23, 2007
Public Sweat Shop, and an introduction
Hi all, I first want to "introduce" you to Ralph Pugay. He and I will be collaborating a lot together this year. The idea for this project initiated with Ralph. He is from the Philippines and .... worked a couple of days in an outdoor, casual labor, sweat shop, producing dolls for carnival prizes in the US.
The idea is to have an out door sweatshop, producing sewn dolls for one day in a public space (I'm thinking pioneer courthouse square) There will be stations for pattern cutting, sewing, stuffing and finishing work. We project this to go for a minumum of 7 hours (at this early planning stage- although to go for 24 hours with shifts could be much better.)
We were thinking of presenting a 7 course meal, prepared by Ralph and I, as payment to the workers.
At the end of production, all the dolls will be shipped to the Philippines.
This is a brand new idea, we are just germinating, so if anyone has any ideas, wants to work with us, any thoughts at all please do stick your oar in.
first project
Ok, well the first project i am going to be working on came because of the day I took this picture. I had been called back in for a second mammogram.... really scary and lonely feeling. For any of you who have never had a mammogram, you have to go into these tiny 4x4 rooms with a curtain on one side and change into a hospital gown, and then just sit there in this little room with the curtain closed, and people moving around out side of it until they come to get you. They put some stuff on the wall and some magazines in there, but it is really surreal, your are already stressed, and you feel like a lab rat-like your own reality is suspended in this place. On this day when I went into the sadly familiar little room, I found this (in the photo). It was made on the glass of some inane framed print there. It was all made out of weird medical stuff (obviously all the components had some adhesive quality). I felt so great, so connected. I didn't feel so alone. I understood that it was other real people who just like me had been in this room, feeling much the way I did. This little work was like a message through time from some "her" to me.
I got the idea from this is; to go to places where one might be nervous to make, and leave little works, made from materials available there. My idea is that maybe just once someone else will be heartened and feel less alone like I did when I found this.
So far I am thinking about the grey hound station, especially in the bathroom. The court house, and the police station. I will also just do it where ever I happen to be if I feel nervous.
Does anyone have any suggestions, or stories about places that make them nervous-stressed?
Also, if anyone else would like to do this too, that would be great! and if you would or could send me documentation-photo or written, I would love it!