OPORTUNITIES:
British Council | The UK’s international culture and education organisation
Homi Bhabha’s understanding of ‘the third space’.
It offers a new perspective on human encounters, moving beyond traditional binary cultural categories. The “third space” opens up a new site between interlocutors, enhancing our understanding of cross-cultural and intercultural communication dynamics
Bhabha sees the third space as a site of cultural production and resistance, where marginalized voices and perspectives can emerge and be articulated. It is not simply a fusion of two cultures but rather a dynamic process of cultural translation and transformation, where new meanings and identities are constantly being negotiated.
By destabilizing fixed categories and identities, the third space opens up possibilities for alternative forms of belonging and expression, offering a space for subversion and resistance against dominant discourses.
Overall, Bhabha’s understanding of the third space provides a framework for thinking about cultural identity and representation in a more nuanced and complex way, emphasizing the fluid and contingent nature of identity formation in colonial and postcolonial contexts.
Homi Bhabha’s idea of the “third space” is like a middle ground where different cultures mix and create something new. It’s not just about blending two cultures together, but rather about how they interact and create something unique in between. This space challenges the idea that identities are fixed and instead shows that they’re always changing and complex. It’s a place where marginalized voices can be heard and where new ways of thinking can emerge. The third space is important because it disrupts power imbalances and allows for different perspectives to be valued. Overall, it’s a way of understanding how cultures interact and evolve in a world that’s always changing.
Salter, C. (Spring 2018) ‘Disturbance, Translation, Enculturation: Necessary Research in New Media, Technology, and the Senses‘, Visual Anthropology Review, Vol. 34, Issue 1, pp. 87–97
Sensory studies is about how we experience the world through our senses like sight, hearing, taste, smell, and touch. It looks at how these senses work together and how our experiences are influenced by things like culture and history. Researchers use different methods to study this, and they apply what they learn to various areas like design, marketing, and understanding different cultures. Essentially, it’s about understanding how our senses shape how we see and interact with the world.
the author explores three important concepts in the context of new media, technology, and sensory experiences.
- Disturbance: This refers to the disruption or interruption of established patterns or norms. In the context of new media and technology, disturbance can manifest as unexpected or unconventional ways of interacting with sensory stimuli. Salter suggests that exploring disturbance can lead to new insights and innovations in how we perceive and engage with technology-mediated sensory experiences.
- Translation: Translation involves the process of converting or transforming sensory information across different mediums or modalities. In the realm of new media and technology, translation can occur between digital and analog formats, or between different sensory modalities such as visual, auditory, or tactile. Understanding how translation operates can help researchers and designers create more immersive and engaging sensory experiences.
- Enculturation: Enculturation refers to the social and cultural influences that shape our perceptions and experiences. In the context of new media and technology, it involves considering how cultural factors influence the design, reception, and interpretation of sensory experiences mediated by technology. Salter argues that taking into account enculturation is crucial for creating technologies that resonate with diverse cultural backgrounds and societal contexts.
So, Salter’s ideas about disturbance, translation, and enculturation show us how important it is to think about these things when we’re researching or designing new technology that involves our senses.
Boldt, G. (2020) On Learning to Stay in the Room: Notes from the Classroom and Clinic. In Dernikos, B. et al., Mapping the Affective Turn in Education: Theory, Research, and Pedagogy. Routledge, pp 229-243.
Boldt may discuss various aspects related to staying present and engaged, such as fostering deep listening, empathy, and openness to the experiences and perspectives of others. This could involve strategies for creating a supportive and inclusive learning environment where students feel valued and empowered to participate actively in their own learning journey.
The chapter may also explore how staying present and engaged is crucial not only for effective teaching and learning but also for building meaningful relationships and promoting personal and professional growth. Boldt might share personal reflections, anecdotes, or case studies to illustrate these concepts and provide practical insights for educators and practitioners in both educational and clinical settings.
Overall, “On Learning to Stay in the Room” likely offers a nuanced exploration of the affective dimensions of teaching, learning, and human interaction, aiming to deepen our understanding of how presence, empathy, and authenticity contribute to meaningful educational experiences and transformative learning outcomes.
Black Bodies, White Cubes: The Problem With Contemporary Art’s Appropriation of Race
The author discusses how many artists respond to social issues like police brutality and racism through their work, with examples such as memorial performances and installations dedicated to victims. However, there is a concern that some artists may exploit these issues for personal gain, using them as a marketing tool rather than genuinely engaging with the cause.
The text highlights instances where white artists appropriated the deaths of black victims, such as Kenneth Goldsmith’s reading of Michael Brown’s autopsy report and Ti-Rock Moore’s sculpture depicting Brown’s body. These works sparked controversy but were ultimately accepted by the art world, raising questions about the ethics of profiting from black trauma.
Furthermore, the text critiques the superficial engagement with racial issues in contemporary art, arguing that some artists prioritize shock value over meaningful social change. It contrasts artists like Biggers, whose work is criticized for its lack of depth, with those like Simone Leigh, who actively engage with black subjectivity and prioritize social healing and empowerment.
Ultimately, the text emphasizes the importance of genuine activism in art, citing examples of artists like Dread Scott who are deeply committed to social justice causes. It suggests that artists must choose whether to contribute meaningfully to social movements or simply exploit them for personal gain.
Pope. L: Crawl | ARTIST STORIES
Pope.L began a series of street performances—which he called crawls—in the late 1970s. His aim was to address division and inequality in New York City; he wanted to “do a work that didn’t require language, it just required an action.”
In 1991, wearing a business suit and holding a potted flower, he crawled military-style along the perimeter of Tompkins Square Park in the East Village. The park had been a site of riots that involved the homeless population that took shelter there, squatters, activists, and the police.
By “giving up his verticality” during his crawls, Pope.L prompted spectators to direct their gaze downward, drawing attention to the displaced and historically disenfranchised people who exist in vulnerable positions on the street and in society. His suit underscored the deep rift between aspirations of upward mobility and the absence of opportunity that confronts many Americans.
We traveled around New York City with Pope.L to revisit the sites of his performances, including Tompkins Square Park.
Listen to – Resma Menakem, Notice the rage; Notice the silence This interview, recorded as part of the On Being series with Krista Tippett, explores racial embodied trauma.
Resma Menakem- Racialised trauma aturhor activist etc.
Talking about the black women in his life being protectors and nurturers ( mother grandmother and wife).
COMPARISON OF ARTWORK
Canterbury Tale” by Mark McGowan VS “Crawl” by William Pope.L
- Themes and Conceptual Framework:
- “Canterbury Tale” by Mark McGowan: This performance piece involves McGowan crawling from London to Canterbury on his hands and knees as a protest against the Iraq War. It’s a direct commentary on the physical toll and suffering of war, as well as a symbolic act of penance or pilgrimage.
- “Crawl” by William Pope.L: In “Crawl,” Pope.L crawls along the streets of New York City wearing a Superman outfit. This performance addresses themes of race, identity, and societal perceptions. It challenges notions of heroism and power, particularly in relation to African American identity.
- Execution and Presentation:
- “Canterbury Tale”: McGowan’s performance is a solitary act of endurance, traversing a long distance over several days. It’s a physically grueling task that invites reflection on the individual’s relationship to societal issues.
- “Crawl”: Pope.L’s performance is a public spectacle that confronts and engages bystanders. The sight of a man crawling dressed as Superman through the city streets is visually striking and immediately thought-provoking.
- Audience Engagement and Response:
- “Canterbury Tale”: McGowan’s performance invites contemplation and empathy from observers who may encounter him along his journey. It prompts viewers to consider the human cost of war and the power of individual protest.
- “Crawl”: Pope.L’s performance often elicits a range of reactions from amusement to discomfort or confusion. It challenges viewers to confront their own assumptions and biases, particularly regarding race and social status.
- Symbolism and Cultural Context:
- “Canterbury Tale”: McGowan’s pilgrimage references historical and literary motifs, invoking themes of redemption and social justice. It’s deeply rooted in the context of the Iraq War and the broader anti-war movement of the early 2000s.
- “Crawl”: Pope.L’s use of the Superman costume as a symbol of power and heroism adds layers of meaning to his performance. The act of crawling subverts traditional notions of strength and agency, highlighting issues of marginalization and societal barriers.
In summary, while both “Canterbury Tale” and “Crawl” are performance artworks that involve physical endurance and social commentary, they differ in their thematic focus, execution, audience engagement, and symbolic resonance. McGowan’s piece is a solitary pilgrimage of protest, whereas Pope.L’s work is a public spectacle that challenges societal norms and perceptions.
My practice:
-What do I value and why?
I value aesthetics, expressionist art, oil paint with abstract strokes and atmospheric non rough lines, expression of an artist’s true self and their emotions without a specific aim or pretentious ideology.
-What’s the context / contexts?
My context is my upbringing my culture and my personality.
-What’s the deal and is it win-win?
What deal?
My work for MAIP
An exploration of my own personality and context through the lens of interculturality and practice engaged by discussions on social and philosophical knowledge and exploration without the work being in-authentic or performative.