1. Interculturality as Embodied Knowledge: The Role of the Diasporic Artist
Core question: How do diasporic artists negotiate cultural identity through embodied, visual, and intuitive practices?
Why this might work: im from Cyprus, living in the UK, and my work often channels memory, community, femininity, and cultural codes. i could frame mybpainting and drawing practice as a kind of embodied “auto-theory” or cultural narration.
Theory sources: Gloria Anzaldúa, Paul Gilroy, Homi Bhabha, Sara Ahmed, bell hooks, Nikos Papastergiadis.
2. Drawing as a Cross-Cultural Gesture: Navigating the Space Between
Core question: Can drawing be a method of intercultural dialogue or a space of cultural negotiation in itself?
Why this might work: my work values gesture, form, expression—what if drawing was not just a medium but a language between cultures?
Theory sources: Tim Ingold (on lines/drawing), Claire Bishop (on participatory/relational art), cultural semiotics, maybe even Deleuze & Guattari on territorialization.
3. Intercultural Intimacy and the Female Gaze
Core question: What does interculturality look like through an intimate, feminine, community-based gaze?
Why this might work: i often explore female relationships, care, and community—what if i examined how those experiences shift across cultural contexts, through theory?
Theory sources: Bracha Ettinger (matrixial gaze), Audre Lorde, Luce Irigaray, Trinh T. Minh-ha, Griselda Pollock, Saidiya Hartman.
4. Memory, Myth, and the Artist as Cultural Translator
Core question: How does the artist act as a translator between cultural memory, personal memory, and collective myth?
Why this might work: i’ve referenced Cypriot culture, storytelling, and ancestral/familial themes. i could explore the artist as someone who translates between “worlds” through visual language.
Theory sources: Walter Benjamin (storytelling), Roland Barthes (mythologies), Edward Said (cultural translation), Aby Warburg (Mnemosyne Atlas), Svetlana Boym (nostalgia).
i LIKE OPTIONS 2 AND 3: PERHAPS I CAN COMBINE THEM TOGETHER?
blending a strong conceptual frame (like the role of the artist as a cultural translator) with something more intimate and gendered (like the intercultural female gaze) could make for a beautifully layered, original thesis.
IDEAS:
Core Criteria from the Brief:
Reflects MY full experience on the MA: connects my past work (especially Units 3–6) with your future intercultural practice.
Explores interculturality through critical and sensuous methods: it’s about theory, and about how i make, think, feel, and reflect.
Demonstrates strategy, interconnectedness, and sustainability: think long-term relevance—how this project is part of my future practice.
Polished, clearly communicated, and audience-aware:
Rich media encouraged: combined written and visual/sensory elements like a short film, drawings, narration, or illustration.
Audience includes collaborators, employers, partners: it’s also a “calling card” for life after MA.
Best Direction Based on This Brief:
I think combining Option 3: “Intercultural Intimacy and the Female Gaze” and Option 4: “Memory, Myth, and the Artist as Cultural Translator”
Show how my practice is rooted in specific, embodied cultural experiences (like female spaces, community, familial memory)
Position myself as a diasporic artist who navigates cultural translation through visual and emotional languages
Offer a critical theoretical framework grounded in feminist, postcolonial, and intercultural thought
Reflect on my own practice and where it’s heading
Create a layered, beautifully authored video/paper that holds emotional, intellectual, and artistic weight
Thesis Title Ideas (Working Titles)
“The Soft Translator: Intercultural Intimacy Through the Feminine Gaze”
“Drawing the In-Between: Interculturality, Memory, and the Feminine Gesture”
“From Mother Tongue to Visual Voice: Diasporic Intimacy in the Artist’s Gaze”
“Myth, Memory and Matrilineage: Interculturality as Intimate Practice”
Wed 5th Mar (didnt attend the lecture due to travelling to cyprus).
5TH UNTIL THE 10TH- CONDUCTED SOME INTERVIEWS..
HERE ARE THE TRANSCRIPTS FOR WHAY I HAVE SO FAR. ( 6 FROM THE UK AND 4 FROM CYPRUS) I WANT TO DO ONE LAST ONE TODAY IN CYPRUS BEFORE I GO BACK TO THE UK and upload it, then im done!!!
GOALS> 1) to form a sustainable practice where you can continue developing narratives for the character based on community contribitions; 2) in the long term build an international audience through which a wider understanding of rural SK culture can be understood
INTRO CONTEXT AUDIENCE METHODOLOGY (how am i engaging and in what type of activity, how do i plan to iterate that process) CORE VALUES (your values / your audiences perceived values) -> WAYS OF ASSESSING STEP-BY-STEP EVALUATION CONCLUSION -? what is my future practice
AUDIENCE. went from a public public to a more focused uni public to test/iteratre this type of practice
CONTEXT/AUDIENCE – comparison of two art schools in two contexts which may inform different appreciations of the process / activity
Where is the intercultural conversation in your practice
— interculturality is produced through the Questions and through the comparison of two Locations/Publics — and subsequently reached through an online (third) public
CORE VALUES & ASSESSMENT. 1) whether I was about to provide a safe environment, demonstrated by the depth&openness of interviews 2) delivery of 5 interviews in UAL & 5 interviews in Cyprus (reaching a baseline of measurable sample) 3) assessing the social media communication
4) whether a comparison is able to be formed between the two contexts and whether understanding is able to be deduced
“What’s something about your culture that you wish more people understood?”
“What does ‘home’ mean to you?”
“What’s a tradition or cultural practice that’s important to you?”
“Have you ever felt like an outsider? If so, when?”
“What’s a piece of wisdom from your culture that you carry with you?”
“Have you ever been somewhere that made you feel like you stood out? What was different about it?”
How do you fairly weight the internationalism of the UK and how this informs answers VS the nationalism of Cyprus and how that may shape reactions to culture based questions.
How do you assess whether this is something that should be part of your practice moving forward?
enjoyment of experience did i learn from the interview / broaden my perspective was there a positive impact on people
Week 59: Wednesday 19th February [13:00-15:00] = Audience Development Presentations w. Marsha
Independent Study
Tasks:
If you have not already – begin engaging with the community or audience that your project connects with; consider the mode of communication: what are you asking? how are you asking it? and what types of information does it generate?; prepare a short account of this primary research (e.g. 2-4 slide .PPT / .PDF doc) to share in class.
Upload the presentation file to this folder [here].
Read + Watch + Listen + Prepare:
Tbc, see below.
Live Sessions
In today’s session we will begin by checking in on your progress, specifically regarding the audiences your project connects with and any outreach you have conducted to inform your planning. Please prepare a 2-4 slide presentation on the primary research you have conducted to date. This should accurately explain who your public / audience / collaborators are and give us an insight into how their needs and knowledge are influencing your project.
Everyone will have the opportunity to present their presentation and to receive peer-to-peer feedback. We will take this opportunity to ensure you have fully considered how your project meets a public and how the respond of that public will fold back into your ongoing creative practice.
Finally, we will set aside some time to discuss any immediate challenges you are struggling with. At this stage some of your will have begun project delivery, whilst others may be beginning that process imminently.
AT CSM :
INTERVIEW PPL ON
THE STREET
PHILIP:HEAD OF SECURITY
ESTATESHELPDESK2ARTSAC.UK
——
1. Project Description & Framing
When describing the project (whether in proposals, social media, or conversations), you can highlight:
How London’s cultural diversity contrasts with Cyprus’s more close-knit cultural environment.
The different ways people express identity and belonging in both places.
How people’s experiences of connection and self-expression change based on their environment.
The role of migration, heritage, and cultural hybridity in shaping perspectives.
For example, instead of just saying: “I interview strangers and draw them as they share their thoughts.” You could say: “Through live street drawings and spontaneous conversations, I explore how cultural backgrounds shape the way people express themselves. By comparing the experiences of individuals in London and Cyprus, the project reveals patterns of intercultural connection, personal identity, and belonging.”
Since you’re balancing openness with structure, you can use open-ended but culturally focused questions, such as:
Where do you feel most at home, and why?
Do you think your cultural background influences how you express yourself? How?
How does London (or Cyprus) shape your sense of belonging?
What’s something about your culture that you wish more people understood?
Do you feel more like an insider or outsider in this city? Why?
How do people connect with each other differently here compared to where you grew up?
This way, the conversations naturally bring out cultural contrasts and similarities without feeling forced.
3. Social Media & Presentation Angle
Pair the Drawings with Key Quotes – When posting, highlight statements that reveal cultural differences or shared emotions.
Use a Split-Screen Format for Comparison – If you eventually interview people in Cyprus too, you can show responses side by side to visually compare perspectives.
Ask Your Audience – Engage viewers by asking them how they relate to the topic of cultural identity and belonging.
—– AUDIENCE—–
Live Audience
-University Students
Since the interviews take place on campus, most participants will be students. (University settings foster open discussions, making students more likely to engage in the process).
-Passersby
People on campus who are open to spontaneous interaction. They might be curious, in need of self-expression, or just enjoy the idea of being sketched.
-People Seeking Connection
Those who appreciate being listened to and having their thoughts or emotions acknowledged.
-Fine art students/ staff
Individuals who are drawn to the visual aspect of live drawing and the creative process.
Online Audience
-People interested in human stories
Viewers who engage with raw, personal narratives and psychological insights.
-Artists and illustrators
Those who appreciate the fusion of art and social interaction.
-People interested in public Engagement and social experiments
Individuals fascinated by projects that explore human behavior, emotions and public participation.
-Cultural & Social commentary enthusiasts
Those who enjoy discussions about identity, positionality, culture and lived experience.
-Art Students & Recent Graduates
Since the project features students, it will likely resonate with other students or recent graduates who relate to way of thinking/ social/ age group.
(no title) – JUGAADOPOLIS
A post from jugaadopolis on JUGAADOPOLIS provided by: https://jugaadopolis.com
I would add that by doing portraiture in a live location you have an accidental audience who encounter the work and opt to engage or not
You become a spectacle
You mentioned you don’t use TikTok a lot, so there’s a question here about your existing reach and whether you can look at any existing analytics to assess this already?
Meli
Technically, our university is not a public space. However, we assume it is. – See privately owned public open space (POPOS)
Look at people who draw/paint their sitters over and over; this is a fascinating approach to practice.
How does doing these portraits in higher education inflect the project?
Congregation | Es Devlin | UK for UNHCR
This October, Es Devlin will unveil Congregation, in partnership with UK for UNHCR, The Courtauld and King’s College, London.
Meli – have you done the induction for the loan store?
And the intercultural properties of YOUR practice? How are you advancing the field?
ual- international space
(no title) – JUGAADOPOLIS
A post from jugaadopolis on JUGAADOPOLIS provided by: https://jugaadopolis.com
I would add that by doing portraiture in a live location you have an accidental audience who encounter the work and opt to engage or not
You become a spectacle
You mentioned you don’t use TikTok a lot, so there’s a question here about your existing reach and whether you can look at any existing analytics to assess this already?
Meli
Technically, our university is not a public space. However, we assume it is. – See privately owned public open space (POPOS)
Week 58: Wednesday 12th February [13:00-15:00] = Development Consultation
Independent Study
Tasks:
Everyone is invited to contribute talking points to our Development Consultation agenda document [here]. These should be specific issues you are facing and need advice on. Please make sure that you have submitted your points by end-of-day on Tuesday 11th February.
One self-elected student to organise the agenda points once they have been submitted (e.g. on the morning of Wednesday 12th February) / or to structure the agenda document with sub-section areas.
Re-read our Critical Friend agreement document from Week 55 [here].
Read + Watch + Listen + Prepare:
TBC. These resources will be light and positive. No heavy reading.
Live Sessions
Collectively working through your co-authored agenda document, we will look at the various delivery associated challenges your projects are facing and begin posing solutions or alternative ways of approach. Please make sure you have added your points to the agenda, and we encourage one student to coordinate / arrange the order so that points are grouped where there is an overlap.
Please remember that we encourage a communal feedback structure where everyone is welcome to provide ideas and support. We also prompt using case-studies to illustrate your ideas. E.g. “maybe you should look at this project, they did [action] which might be applicable to your problem”.
Continuing with my project!!!!!
“What’s something that’s been on your mind lately?” – This is open-ended, non-threatening, and gives people the freedom to share anything, big or small.
“If you could tell the world one thing right now, what would it be?” – Makes people feel like their voice matters and invites a mix of deep or lighthearted responses.
“When was the last time you felt truly seen or understood?” – This taps into the theme of identity and connection, tying in beautifully with you drawing them.
“What’s a piece of advice you’ve received that stuck with you?” – Encourages storytelling and reflection while feeling positive and inviting.
“What do you wish more people knew about you?” – Gets to the heart of personal identity and could spark meaningful conversations.
“What’s something about your culture that you wish more people understood?” – This invites people to reflect on their background and opens up space for intercultural exchange.
“What does ‘home’ mean to you?” – This taps into personal and cultural identity, evoking different interpretations based on experiences, migration, family, and belonging.
“What’s a tradition or cultural practice that’s important to you?” – Encourages people to share something meaningful about their heritage.
“Have you ever felt like an outsider? If so, when?” – This question directly engages with themes of positionality, belonging, and identity.
“What’s a piece of wisdom from your culture that you carry with you?” – Allows for storytelling and could generate poetic, heartfelt, or humorous responses.
“If you had to describe your culture in one word, what would it be?” – Simple yet effective, and it sparks curiosity.
“Have you ever been in a place where you felt like you didn’t quite belong? What was it about that place that made you feel that way?”
“Have you ever been somewhere that made you feel like you stood out? What was different about it?”
This invites people to reflect on cultural differences without making it obvious that’s what you’re asking. It allows for a wide range of answers—some may mention language, customs, or even the way people interact in public spaces. “What’s something that felt completely normal to you growing up, but then you realized it’s not the same everywhere?”
Encourages reflection on cultural norms and differences without making it feel like an interview. Could spark stories about food, greetings, social behaviors, etc. “What’s something about the way people interact here that feels different from other places you’ve been?”
Perfect for capturing the contrast between London’s fast-paced, individualistic vibe and Nicosia’s close-knit, community-driven atmosphere. “Have you ever been in a place where you weren’t sure how to act? What happened?”
This could lead to funny or deep responses about social expectations, cultural faux pas, or even just the feeling of being new somewhere. “Do you feel like people in this city are connected to each other? Why or why not?”
Could bring up the difference between London’s anonymity and Nicosia’s strong sense of community. Allows people to express whether they feel a sense of belonging or isolation. “What’s something small that makes you feel at home in a new place?”
Encourages people to think about what gives a city its personality—could lead to discussions about culture, community, or even personal rituals. “Have you ever walked through a city and felt like an outsider? What was it that made you feel that way?”
Similar to your favorite idea but slightly reworded to feel even more natural. “What’s something about this city that would surprise someone who’s never been here before?”
This can reveal cultural insights about both London and wherever they’re from, since people naturally compare to their own background.
“What’s something normal in your hometown that feels unusual here?”
Encourages them to reflect on cultural habits they didn’t realize were unique until they left home. Could lead to fun or deep comparisons (e.g., social behaviors, food, nightlife, academics). “Do you think it’s easier or harder to make friends in London compared to where you’re from?”
Subtly highlights the difference between London’s fast-paced, individualistic culture vs. a more close-knit community like Nicosia. Gets students to open up about belonging and social norms. “What’s one thing about your culture that you wish more people here understood?”
Makes them feel like their culture matters and gives them space to express something personal. “If you had to teach someone one unwritten rule about where you’re from, what would it be?”
Could lead to fun insights about politeness, greetings, or customs people don’t even realize are cultural. “What’s a stereotype about where you’re from that’s actually kind of true?”
Lighthearted and invites humor but can also lead to deeper discussions. City & Social Life Comparisons “Where do you feel more at home—here or where you grew up? Why?”
Gets them thinking about belonging and what makes a place feel like home. “Do you think people in London keep to themselves more than where you’re from?”
Naturally sparks discussion about how people interact in different cultures. “What’s something that made you experience culture shock when you moved here?”
Great for international students or even locals who moved from smaller towns. “What’s something you can do here that you couldn’t do back home?”
Encourages a positive perspective while still contrasting cultural differences. “If you could bring one thing from your hometown to London, what would it be?”
Could be a dish, a way of socializing, a tradition—helps them talk about what they value from their culture.
I love the “TALK TO ME ABOUT YOUR CULTURE AND GET A FREE PORTRAIT” sign! It’s clear, inviting, and gives people an immediate reason to stop—especially in a fast-paced city like London. I think it will work really well there.
For Cyprus, though, the cultural context is different. Since Nicosia is more homogenous and people might not immediately think of “culture” in the same way as Londoners do (where diversity is a daily experience), you might need a different hook.
Cyprus Hook Ideas: “What’s something uniquely Cypriot that you love (or struggle with)?”
This invites both pride and critique, which can get people talking more naturally. “What makes someone truly Cypriot?”
This subtly explores identity and cultural expectations without making people overthink. “If someone visited Cyprus for the first time, what’s the first thing they should experience?”
People will likely mention food, traditions, or social behaviors—great for starting a cultural discussion. “What’s one thing about Cyprus that outsiders don’t understand?”
Encourages them to reflect on what makes Cypriot culture unique. If you still want to keep the “TALK TO ME ABOUT YOUR CULTURE” approach but adapt it for Cyprus, you could tweak it to something like:
“TALK TO ME ABOUT WHAT IT MEANS TO BE CYPRIOT – GET A FREE PORTRAIT” “SHARE A PIECE OF CYPRUS WITH ME – GET A FREE PORTRAIT”
NOTES FROM ELLIOT
CSM (EMAIL estateshelpdesk@arts.ac.uk FOR PERMISSION TO SET UP A BOOTH IN CSM
Prepare a timeline document outlining the stages of your project and plotting its delivery point[s]. Upload to folder [here]. Refer to the Suggested Project Timeline page on Moodle for a suggestion of how your project should be unfolding.
UPDATED PROJECT PROPOSAL AFTER PEER FEEDBACK: INCLUDES TIMELINE
Look into the socially engaged art practice example assigned to you below and prepare some notes / reactions to share with your peers in today’s class.
And if you were not able to complete your pre-reporting evaluation during our class in Week 56, then please make sure you have time to! You can find and download the template [here].
Melissini Motiti = ‘Complaints Choir’ (2005-) by Oliver Kochta-Kalleinen and Tellervo Kalleinen [useful links here, here and here]
The Complaints Choir is a collaborative art project initiated by artists Oliver Kochta-Kalleinen and Tellervo Kalleinen in 2005. It involves creating choirs where people come together to sing about their complaints and grievances, turning everyday complaints into song lyrics. The project aims to provide a creative outlet for expressing frustrations, highlighting common issues in society, and fostering community bonding through shared experiences. Each choir’s performance typically includes singing these grievances in public spaces, turning personal frustrations into a collective expression. It’s a unique blend of art, music, and social commentary aimed at exploring the cathartic and communal aspects of complaining.
Georgia Kotretsos: By inviting people to lodge their complaints, to protest, to express their objections, to speak (sing) out, to make a statement of disapproval, to stage that very act and perform it in public, you offer the par ticipants a platform to communicate their petty every-day gripes as well as issues that affect and concern every citizen. You invite them “to take responsibility for their complaints,” to stand up straight and face collectively their own reflec tion. The participants sing together and to one another, they do not exclude themselves from what they are singing about. It’s not an act of pointing their finger to a third party but of dis tributing responsibility first among themselves and then among their listeners. What are your thoughts on the socio-political “Valituskuoro” dimensions in practice
Live Sessions
The details of this session will be updated after the Week 55: Project Proposal Review class and be tailored in relationship to your proposals and the types of public engagement your projects will likely involve.
The session will be divided between small lectures / peer-to-peer discussion / staged debate*. Expect to be asked to a) conduct small scale experimental engagement activities to connect with publics in playful ways; b) to study materials related to one of five socially engaged art projects, either assigned to your directly or distributed internally amongst yourselves.
From this class you should think of ways to augment, expand and refine your Unit 6 projects.
* In a staged debate you will be asked to adopt one or two positions on a given subject and argue against your peers. The purpose of this is not to win the argument, rather it helps to dislodge readily assumed positions and to critically examine a case study.
FEEDBACK
15 INTERVIEWS.
FOCUS ON WHAT U WANNA TELL THROUGH THE QUESTION!!!!!!!!!!!!!!!!!!
QUESTION FOCUS (SOCIAL? POLITICAL?) SOMETHING THAT CAN SHOW THE DIFFERENCE BETWEEN LONDON/ CYPRUS!!! IN LIVING COMMUNALLY? SOCIALLY? RACISM? RELATIONSHIP TO FAMILY? TELL ME ABOUT YOUR FAMILY AND RELATIONSHIP TO PARENTS/ GRANDPARENTS
ETC ETC
SOMETHING THAT WILL DO NUMBERS ON TIKTOK AS WELL.
questions that arent too leading.
example: what is the last thing that really annoyed u
am i able to create scenarios that create vulnerability
cricise my self/ the intereactions/ maybe it isnt the best moment/ maybe i didnt create a safe space.
think of the history of sitting with someone and the power dybamics
am i creating a situation were vulnerability can be achieved i a meaningful way
does this conversation achieve something intercultural.
Week 56: Wednesday 29th January [13:00-15:00] = Art Reporting
Independent Study
Tasks:
Conduct an online search for arts funding initiatives in your national context / or investigate an example of socially engaged art practice with an eye towards how it was funded. Take notes to share.
Read + Watch + Listen + Prepare:
Take a look at the questions detailed below and begin to think about how they relate to your practice + project and how you would answer them.
Live Sessions
To understand how we can report on public art practices, this session will open with a discussion on funding in the arts and how this shapes a culture of quantification and report writing.
Followed by a critical examination of Lahua: The Lola at Sea – an online performance produced by Angeline Meitzler and curated by Off Site Project for the SummerWorks Festival 2022 – using the six-question framework below. We will consider how the piece connects with different audiences and what challenges it faces in communicating its values.
Describe your creative practice [30-70 words]
List the locations where it connects with a public [inc. whether online/offline]
Pick one of the above locations, and describe the type of communication and interaction that takes place [30-50 words]
Describe the type of values that are important to your project and key to creating a meaningful relationship with its audience [50-100 words]
How do you expect to register the success of the project? [30-70 words]
What concerns or challenges do you expect to encounter? [50-100 words]
Everyone will then have the chance to preemptively answer the six-question framework to understand how their project will reach its audience and whether it aligns with the values your central values. Please use the prepared worksheet document [here].
Finally, we will look at a suggested structure for reporting on your projects and you will be asked to write down a list of elements you could include in your submission.
Today’s session employs peer-to-peer formative feedback to draw together a large pool of responses to each other’s Project Proposals; celebrating exciting areas of development whilst identifying unconsidered gaps.
Before beginning the exchange, we will discuss the role of a ‘Critical Friend’ and setting terms for how our feedback session will be conducted. This will be recorded [here]. And outline a set of core questions or values we might want to examine the projects in relationship to.
To assist one another, we will record reflections in a shared document [here] and rotate who assumes the note taking role. This ensures that the person receiving feedback does not need to simultaneously listen, write and respond.
Unit 6 Weekly Plan: Positionality Portraits Project
Week 55 (w/c 22nd January): Proposal Finalization and Feedback
Refine project proposal and integrate feedback.
Week 56 (w/c 29th January): Prepare Documentation and Outreach
Create consent forms, test setup, and plan locations.
Week 57 (w/c 5th February): Start Public Engagement
Conduct initial drawing sessions and post content online.
Week 58 (w/c 12th February): Expand Engagement and Reflect
Explore new locations and refine based on feedback.
Week 59 (w/c 19th February): Receive and Apply Feedback
the artistic or cultural value of your intended project
the community who will be engaged and how (in-person and/or online)
and possible opportunities to reflectively conduct a self-assessment.
It should be no more than three pages, and contain a maximum of 500 words, plus images/figures and a bibliography.
If you are having any issue with this submission, please contact Elliott Burns via email (e.burns@csm.arts.ac.uk) or via Teams chat.
Ahead of the coming Wednesday session please take time to look through each other’s project proposals to prepare for giving peer-to-peer feedback.
UNIT6 understanding:
Who is your intercultural prac ce for?
What is your intercultural prac ce about? What is your specific and burgeoning area of exper se?
Who will be interested in your intercultural prac ce and why?
What sites does your prac ce span and how does a sense of site complement your ongoing work on context?
How is your prac ce engaging with intercultural and other trends and developments? What makes relevant – now?
publicly facing project
In this twenty-credits, you will iden fy your audience and plan, realise and reflect on your project.
IRL and URL sites
How it’s produced, organised, experienced, archived;
In Unit 6 you will share the work you have in any forms that you deem appropriate to the content.
cri cally reflect on your prac ce and share this through the genres of proposal and report writing
CREATE A PROPOSAL AND A REPORT!!!
communicate, exchange, and debate ideas within a global framework
accessible to its audience(s) and reach beyond the culture producer’s immediate geographic and socioeconomic range.
UNI DOESNT HAVE direct access to MY project, SO THEY WILL ASSES THROUGH MY REPORT.
place or site your creative and cultural work into the world.
how this project propels your future work.
Unit 6 should anticipate Unit 7
As publics engage with your work, new insights and questions will emerge about the place, situation, context, scope, response and so on. Use these to propel your research by envisioning a daisy chain of curiosity linking Units 6 and 7.
SUBMITTION:
Assessment requires you to produce an evalua ve illustrated report in the form of an image/ word document. (See notes above under The Rhythm and Expecta ons of Unit 6.)
Submission date and me: 12:00 pm (noon) on 17 March 2025 (Moodle Upload)
As the course handbook does not specify a length for your submission, the following are some guidelines in keeping with the expecta ons of a twenty-credit unit: — Focus on quality instead of quan ty by limi ng your report to 3500 – 4000 words, exclusive of cap ons, bibliography, text in charts, appendixes and links to online documents that serve a supplementary role. Moving image, audio or other me-based work, this should not exceed 5 mins total. Include cap oned images: photographs, drawings, graphics, etc. and reference these in your text.
PROPOSAL:
Evolving Intercultural Practice: IVE built a foundation in Units 1–5, and now it’s time to refine and share your work.
Animating Questions: These guide your project’s purpose, audience, relevance, and engagement.
Public-Facing Project: Create work that resonates in real and/or digital public spaces.
Post-Internet Practice: Consider the evolving nature of culture and its online/physical intersections.
UNESCO Intercultural Competences: Develop a project that fosters intercultural understanding and reaches beyond your immediate community.
Long-Term Vision: Use this project to pave the way for your post-graduation goals.
IDEAS:
Interactive Art Installation:
Concept: Create an installation that showcases female community in Cypriot culture, combining physical artifacts with digital projections or soundscapes. Public Engagement: Invite audiences to share their own stories of community, bridging cultural connections.
Digital Exhibition and Workshop Series:
Concept: Develop an online gallery featuring your work on themes of light, shadow, and female relationships, paired with a workshop on intercultural storytelling or illustration. Public Engagement: Use interactive elements like live Q&A, forums, or user-submitted artwork.
Community Collaboration Project:
Concept: Collaborate with women in your community (or globally online) to co-create a series of artworks, reflecting shared or contrasting cultural values. Public Engagement: Document the process through video, social media, or a blog. Host a public unveiling or online launch.
Mapping Project:
Concept: Create a visual map that blends Cypriot cultural symbols with universal ideas of home, belonging, and female kinship. Use AR (augmented reality) to add interactive elements. Public Engagement: Share the project digitally and allow audiences to contribute their own “markers” of community.
Project proposal’ submission on Monday 20th January 2025? The proposal should cover the scope of your project + how it can be assessed (e.g. reported on). These documents will be important to build a collective understanding of the types of projects taking place and the audiences involved; helping me to structure some of our sessions
This is my interpretation and an expression of OUR experience with MAIP so far. A chronology represented as a Quilt, A tapestry of emotions and lessons. A bond created through our online meetings and our shared impression of what weve done so far. The story of MA intercultural practices
Before we go into my illustrations that symbolize our chronology, I believe it is important to show whose story is represented in this Illustrated Quilt. I have dedicated the surrounding patches to my cohourt, their environment, practise and symbolism for who I have learned them to be as practitioners and people.
I have also assigned each of my cohourt including my self colours. The purpose of this is to provide some clarity later on in the pathes of our chronology. I assigned each a colour that I believe matches my image of them as people instinctively.
Starting off on the left, Is Marsha. Who Is obviously not a fellow student but our guide through this experience that I am attempting to put in order. I have dedicated this illustrated patch to her as she has represented the course values and has led us through the chronology of our experience.
The remaining patches are for my cohourt as forementioned.
A patch dedicated to Yeh nah, assigned the colour orange which I associate with creativity and confidence . her environment and symbols of her practise, the Korean knot – maedup, which has played a large part in our interactions and her trajectory, symbolising my interpretation of her as a symbol. Additionally I have included her pet cat, who has many times been present during our teams meetings, and was a large part of her practice’s process during our collaborative project and item exchange.
Right bellow is the patch I have dedicated to Alia, assigned the colour light blue due to the connection she has expressed to me that she and her lineage have with the sea.
The Symbols of her practise that she herself has communicated to me she feels close to, are traditional emirati culture and architecture. These are things that I associate with her and her practise as an interior designer. Next to the figure that symbolises her, is her pet dog who has been the product of many of our casual discussions and a significant symbol of her environment at home.
Next to Alia is a patch dedicated to fatma. ASSIGNED THE COLOUR PURPPLE. For me it was clear that fatma would get a bright vivid feminine colour like her designs, and purple felt like it encapsulated her maturity as well. With symbols of her practise as a fashion designer and business owner. Her beautiful work and colourfull prints are largely influential in our shared experience in the course, and aren’t only a symbol of her as an artist but as a person also.
Next up I have dedicated a patch to Iris,assigned the colour green. I have looked at what each primary colour symbolises in Chinese culture, and green felt the most close to what iris emits for me. Growth and harmony. I decided to represent her through the symol of a pearl necklace. Iris’s practise is very multifaceted, however I chose the necklace as I believe it doesn’t only represent her jewellery design business. It also represents our connection to eachother, as she had gifted me a similar necklace from her line of work during the intensive. Next to iris I illustrated her cat, Another unnamed cohourt, that we have all seen many times through the windows of our screens during our meetings.
Finally a patch for my self. I assigned myself the colour pink. I took a good look at my surroundings in the room where I usually am during our meetings, and as the space is surrounded by pink, I decided to show that through my patch, to represent my environment. Lastly I used the sea and a boat to symbolise my environment and culture in cyprus which is a huge part of my practise, along with a paintbrush, the tool I use most for my art.
Now that weve established who the chronology is about, we can go ahead and start to stich each window of our experience together, while I explain its importance and symbols.
I have decided to stich each window-patch in chronological order in order to slowly unveil this story in a more coherent way, as well as to show how through an online course we were able to share these valuable experiences together. Each patch for me represents each window that we had to open and look through online using our computers, to see into eachothers lives, have a peek through small parts of our experience and share the rest through communicating and connecting.
The virtual illustrated thread that I will use to show the connection between each patch, represents not only the connectivity of our separate environments, intercuturality and art practices. But it IS also weaved like a thread, to represent the online web.
The web that has made it possible for people living so far away from eachother to be tied together. Brought together to share this intricate experience and chronology.
PATCES TIME
The first window I decided should represent the start of our chronology symbolising our initial meeting, . I have chosen to include it as a sort of introduction to the characters symbolising US. I have decided to give us all abstract shapes in order to make us seem more uniform In the tapestry, while still keeping our essence. the colours that I have assigned to us, point to each of our identities in the outside of the quilt.
I came up with most if these windows not only by thinking back on our interactions but also by observing my blog, and notes as class representative. The second window is just that, a representation of our initial panick when we were told of our first assignment, the interviews and the video explaining our practise. I remember we were all very new to the process of MAIP and struggled with the idea of looking at our own interculturality for that first project.
After that came the preparation for our interviews. I am genuinely very grateful that we were able to talk 1-1 about a topic so easy, ourselves. It gave us the opportunity to get to know eachother better and created a sence of familiarity. I have used the colours that represent alia and my self specifically for this patch, due to the fact that during our interview we bonded and talked so much that it lasted for longer than an hour, and was the start of our community forming deeper roots, based on closeness and us sharing common things we saw in our culture and positionality, even tho we came from such different backgrounds.
The next window in our chrology represents the week that we individually worked on our own projects, while still maintaining contact in our community, both by utilising open studio and our group chat. I gave the figures a bit of a more detailed form as I wanted to show that during that time we were all looking inward. Trying to piece together what made us ourselves, our culture, our practice. And express that through our very first assignment.
With the end of unit 1 came the week of feedback. Sharing our project and expressing joy for each of our effort and unique approach to the brief was something that pushed our bond to develop further and we all felt very proud to see how each of us chose to show themselves and their practise to the world.
Before the start of unit 2, I was still in cyprus were I decided to send the item for our item exchange to yeh nah. I chose the colour blue as a background for this window specifically to represent the same colour that u can see in my patch outside of the chronology, representing cyprus and my culture. Choosing to send yeh nah my grandmothers hand crafted frivolite was super easy. It is something that is very commonly gifted between family in cyprus and something that I was and still am very proud to be able to share with my cohourt.
I chose to utilise the next window in our chronology to show a very realistic representation of what open studio was like for us during that time, transitioning from unit 1 to unit 2, I specifically noted in my blog back then the words ‘confusion’ AND ‘chaos’ very normal reactions as it was the very start of the unit, everyone was panicking about the items they had sent out and we were anticipating instructions of what was to come.
Finally I received my item sent by fatma, Apair of beautiful earrings, a necklace, and a dress , all from her personal fashion brand along with some bakhoor.
I used this window to show how we all received and gave out items, we exchanged part of our selves and culture and practise through this exchange and I tried to symbolise the items themselves.
The next step in our trajectory was MAPPING. We all started to brainstorm and try to pinpoint our own positionality, a way to show the most important checkpoints of our personhood. I used this window to represent that time, and how it felt to search for our selves in a map of our making.
During our weeks of preparing our positionality map and work with our received items there was a common consensus that using miro would’ve been beneficial to all of us, and having the most experience using it, we decided it would help for me to hold space for a sort of tutorial. I had organised the space a bit before hand to make everything more appealing and easy to comprehend, and we all became more accustomed to going on miro to check for updates/ share our interviews through this. I used this window to represent that bonding moment, along with my final positionality map project for unit 2, which I created entirely on miro.
I am using the next window to represent the time I spent sketching out, creating and polishing my final project for this unit, inspired by fatma’s item and practise, therefore I decided to use her colour to symbolise that time in our chronology. I also used flowers as it was the aesthetic that captured me the most from her designs and what I had chosen to go forth with my own project.
For this window I used a particular date in our chronology that might not be particularly associated with any briefs or deadlines that occured, but to me is a very obvious showcase of us exploring our interculturality, and going back on my notes I realised that it was a very memorable open studio for me. the space of open studio was shared, as you can guess by the colours, by fatma alia and myself. I used the evil eye symbol in the very center as it is a symbol we share in our cultures, and it is something that represents what we have in common. I remember our conversation was something that made me see deeper into our cultures and realise how much we share and even how we differ. It was an extremely frtuitful relaxed bonding conversation, entirely of our own accord, encouraged by the spirit of MA IP.
Aafter the submission of our unit 2 projects came the intensive. Although we didn’t all share the same space during this time, we still kept in close contact and I was able to share in real time my experience of our may day exhibition with the rest of the cohourt who couldn’t be there. Iris and I had the priviledge of intereacting with eachother physically, which was incredible and aiding in the creation of the may day exhibition. I decided to subtle symbolise all of this in this window. I illustrated in a different colour, light pink, to represent MAIP and MAPS who collaborated during this time, and used a picture I took of a performance MAPS students held in front of our displays in order to frame what the exhibition looked like. I used the colours that symbolize us, bright pink, purple, orange, blue and green on the flowers surrounding the two figures, to show our contribution and intereaction through the intensive.
With the start of unit 3 we found ourselves looking at facilitating a discussion and holding space for visiting lecturers to talk about their practise, and for students to give feedback. I used this window to show the preparation that we all undertook in order to truly be able to facilitate our individually assigned guest lecturers, the research we did on them and on facilitating it self.
I used this window to visualise my facilitation of lina juverovich in front of our cohourt and visiting students. Visualising us all in the same space even though we were miles apart, only looking at eachother through a screen is a great way to show that by that point, we all felt more comfortable with eachother, and were able to share the space of MAIP with others as well.
, after year 1 came to an end after our submission for unit 3, I used this window to show that I finished year one in a different environment, with more distance from my cohourt- schedule wise. I chose to visualise my self as an onlooker, longing to join back but unable to, being blocked by the parthenon (symbolising Athens) . This is due the fact that right before our transition to summerbreak, I attended the shared campus summer school programe in Athens, and had an extremely intense schedule that caused me to miss our last few meetings together. To me this window still represents our shared chronology, because our open studio sessions and our meetings were something we shared, and the distance created by our summer break (and my summerschool) were felt by everyone involved.
Thankyou so much for weaving our MAIP chronology with me. I HOPE THAT I WAS ABLE TO GIVE YOU A TASTE OF WHAT IT WAS LIKE FOR US ALL, TO EXPERIENCE OUR FIRT YEAR WITH MAIP AS A COMMUNITY.
QUESTIONS SENT TO COHORT IN ORDER TO CREATE THEIR TAPESTRY WINDOW!
ALIA
FATMA
What specific lessons have I learned from my experiments?
How do they relate to lessons learned from my classmates?
While you do not need to evidence the influence of peers in your portfolio of experimentation, you may find it useful to engage in this deeper layer of analysis as you connect the dots across the two parts of the submission. Relish the synergies!
Bring the latest version of your Unit 5 submission to review in class.
2. READ + WATCH + LISTEN
It will be updated shortly.
LIVE SESSION
30 November 2024
Let’s reflect on some of the questions we’ve posed ourselves early in Unit 5 and how these are reflected with and through our practices.
What has marked my personal experience of MAIP and how does this compare and contrast with my cohorts’ experiences? What do I want to remember and why? What would I like to forget and why?
What i want to remember= Embracing our culture individually and sharing it with each other
What would i want to forget= I dont want to forget even the experiences that werent pleasant to me. Everything is a lesson, if u forget it then its time wasted;
What specific lessons have I learned from particular classmates? How can I reference/value these in my chronology? In what ways are they interconnected and how can I evidence this?
I have learned about their culture and I have learned from observing how differently we counter and react to the same challenges.
How do I want to evolve my practice? What tasks, challenges, experiments, etc. will I set myself to promote and organise this process? What role does action research play in this? (We’ll discuss action research in Week 37.
I want to continue to improve on creating paintings and understand my self better and deeper. In order to do so I will invest more time in painting and self reflection (given that i will have more free time at some point after graduation).
What is action research?
What does failure mean to me? What conditions are required for me to ‘fail fast’ and ‘fail forward’? How can I guide uncertainty and use it tactically to advance or disrupt processes?
Failure to me is only when i dont try to improve/ progress my self and my art.
What methods, techniques, approaches, etc. have I chosen to consolidate my work for and experience of MAIP, and why are these most appropriate? In what ways are they interactive? Why are certain forms more effective for communicating certain stories? What precedents or exemplars will I draw on and why?
Communication and patience? i am not sure i understand the question.
How do the ways I reflect on and evaluate my practice evidence the value system that organises my life?
I am not sure.
Decision-making and tough love activity: Each of you will take 10 mins to comment on how your chronologies are addressing the questions below. Share your screen and share a snapshot of your chronologies to communicate this.
1: What binds together my community of interest (i.e., the community beyond MAIP I am exploring)? What are its distinguishing qualities, values, ways of life – in a word, ‘culture’?
What binds us together is not only the course, but also our love for our own complex culture and our interest for interculturality in artist spaces.
2: What does belonging to this community entail? What is the price of this association? How does my submission embody or reflect the community’s collective memory?
Belonging to this community entails communication, understanding and open mindedness as to where someone is coming from and their specific context.
My submission reflects the community’s collective memory because i am showing the individual context of each MAIPer and our common memories and intereactions.
3: As you engage in primary and secondary research, ask yourself: How did this community form? What are the qualities of its social organisation and governance? What cultural expressions and artefacts does it favour? What of its past, present and future? Its history, dreams, ethos, environment, conundrums, traumas and so on?
This community formed from us collaborating on projects and phasing the same challenges, answering the same questions in our own particular way through our interculturality.
The cultural expressions favoured were usually expressed through conversation and sharing our ideas experiences and methodology! and i think they were all individual to the person and their context.
4: What methods, techniques, approaches, etc. have I chosen to chronicle my community of interest and why are these appropriate? In what ways are they interactive? Why are certain forms more effective for communicating certain stories? What precedents or exemplars will I draw upon and why?
I have chosen to utilise my skills with drawing as its my most expressive and genuine form of communicating my emotions and context with complexity and emotion. I believe the idea of an illustrated tapestry is apropriate as it is a reflection of how we are bound through the net, as a tapestry is bound through thread!!
The project will feel intereactive as all tapestries are, its up to the viewer to focus on a story and unpack all elements. , zooming in and out and clicking on information as they please. i BELIEVE A TAPESTRY IS EFFECTIVE WITH COMMUNICATING NOT ONLY INFORMATION BUT THE FEELING OF THE EXPERIENCE. just like we said in unit 1-
there is a balance between information and emotion. experience and observation.
The precedent and example I am drawing from is a group project we created at the athens summer school were we created an actual physical tapestry and attached peoples thoughts on it, in this way we represented all people involved in the exhibition and slowly built the project with them, collaborative and interactive.
5: How will I critically contextualise my chronicles? What is their relevance – to me and my intercultural practice, to those involved, to the world more generally?
!!!!NOTES!!!!
Meli – my previous comments still stand.
It all sounds amazing.
But we don’t have a draft.
Fatma’s question was really hard. I thought that, too.
But v good to ask!
Collaborating and sharing the experience.
Maybe something to say, Meli, is to keep the intercultural front and centre.
These are general observations – good.
But where are the details?
The examples?
But you need to make it explicit. Please be specific.
It goes back to what Fatma was saying about presenting it to people who aren’t in the group.
Truth? It should run all the way through – interculturality.
When is this course not intercultural?
It’s instead about making it explicit.
So making tacit knowledge – what you take for granted – explicit.
WHAT MAKES OUR EXCHANGES AND OUR INTEREACTIONS INTERCULTURAL!
On wednesday moring (in london time) I received news of the US election and since i was well aware of the repercussions of the outcome on the planet, women and my country. I was devastated.
mportance of Tension: Tension is crucial in storytelling as it keeps the audience emotionally invested and engaged.
Examples of Tension: The video uses examples from “Mission: Impossible III” and “Romeo and Juliet” to illustrate how tension makes stories compelling.
Aristotle’s Framework: Aristotle’s idea of creating gaps between what is and what a character wants, and then closing and opening new gaps, is a method to build tension.
Balance of Tension: Too much tension can be overwhelming, while too little can make the story uninteresting. Finding the right balance is key.
In your field, incorporating tension can make your animations more engaging and compelling for your audience.
TASKS
Please draft a 250+ word statement about the story you’re telling your audience (no specific format required).
What story am i telling? Im confused
STORY ISNT ABOUT REPRESENTING WHAT HAPPENED TO MAIP FOR THE BENEFIT OF THE COURSE.
WE HAVE THE SCHEDULE OF THE MODULES ON THE SITE LIKE WE KNOW
STORY IS ABOUT= WHAT IT HAS MEANT TO US!
WHAT IS YOUR INSIGHT!!!!!!!!!!!!!!!!!!!!!!!!! WHAT DID U TAKE FROM IT
WHAT DID U LEARN
WHAT DID U EXPERIENCE
HOW DID IT PUSH U TO GROW
HOW DID IT DEEPEND YOUR INTERCULTURAL UNDERSTANDING~
let’s discuss!
how would you call your ‘user’?
what do you think their goal is (when encountering your work)?
what’s the narrative arc of your chronicles?
let’s make!
draft a ‘user’ journey map through your chronicles
motivations:
fatma. evoke a feeling; people to feeling inspired. narrative: life is about struggle and challenges. focus on process. Emotion should be there so that people can relate to your work.
alia. form of union with the audience. unification with the work. relating with each other in familiar ways.
yeh na. people to feel relax; a moment of respite? opening up moments of calm to a broader demographic, who doesn’t always find it accessible to encounter art.
meli.
meli: translate my sence of self to whomever may see it, comprehend it and feel it
As you continue to develop your chronologies and portfolio of failure, we’ll explore content supporting U5’s submission. This Wednesday, 23 Oct., we’ll explore how to communicate our practice. You need to complete a brief task for this session: writing a 250-word statement about your practice. You can check the prompts in Moodle here: https://moodle.arts.ac.uk/mod/book/view.php?id=1331784&chapterid=102676. We’ll use this as a base for some exercises.
What are your art practice’s key ideas, issues, struggles, and goals?
What is the thematic focus of your work (e.g. goal, purpose, intention, exploration)?
What is the content of your work (e.g. themes, ideas, subject matter)?
What influences your work (e.g. cultural, historical, theoretical, art historical, personal, biographical, etc.)?
What form does your practice take (e.g. materials, processes, tradition of work such as abstract, figurative, etc.)?
Describe your process and what the work looks/sounds/feels like.
I’m an animator, illustrator, and oil painter from Cyprus, and my work is all about reflecting my own experiences and sense of self. I draw a lot from my upbringing and my culture, letting that influence how I approach the canvas or any other medium. There’s no big agenda behind what I do—just a focus on improving my craft and allowing myself to create more freely, kind of like when you’re a kid and you make art just because it feels good.
A recurring theme in my work is the sense of community between women. This comes from my love for how Cypriot culture emphasizes strong female relationships, something that’s always been a part of my life.
I mostly work with oil paint, though I sometimes use illustration or animation to communicate my ideas. My work tends to focus on shadow, light, and form—letting these elements tell the story without needing to spell it all out. At the end of the day, my goal is to let whatever I represent as a person come through in my work naturally.
This is a reminder that we’ll meet at 12:00 for Open Studio to share highlights from our Fall Festival of Failure. I’ll kick off with my own lessons from failure and my little pushes. I look forward to seeing you on Wednesday, and I wish you a great start to your week!
talk by head of CSM, Rathna Ramanathan. https://www.youtube.com/live/n31T7jUzHUs – ask yourself how your Unit 5 submission embodies your situated and specific cultural context while also considering how it might resonate in other places/contexts?
Be prepared to present your work in progress for Unit 5: Body of Chronicles + Portfolio of Failure. The presentation format and requirements are detailed belo
The First Annual Fall Festival of Failure (14 Oct–10 Nov) For the next month, we’ll engage in the practice of ‘little pushes’.
Sir Dave Brailsford – CORE Principle and Marginal Gains
Sir Dave Brailsford, former performance director of British Cycling and team principal of Team Sky (now Ineos Grenadiers), is widely known for pioneering the concept of marginal gains in sports. This philosophy, which he applied with great success to cycling, focuses on making tiny improvements across various areas of performance. Each of these small, seemingly insignificant improvements adds up over time to create significant overall gains in performance.
Marginal Gains Concept:
Brailsford believed that if you improve every aspect of an athlete’s performance by 1%, the cumulative effect can lead to a dramatic improvement in results. This approach involved analyzing every tiny detail, from athlete training, nutrition, and equipment to sleep patterns and recovery, and finding ways to make small but meaningful improvements.
Examples of marginal gains included:
Optimizing the cyclists’ sleep by designing the best pillows and mattresses.
Improving riders’ nutrition by tailoring it specifically for each individual.
Enhancing the cleanliness of team equipment to reduce the risk of illness.
Even applying aerodynamic improvements to clothing and bicycles.
This philosophy led to an unprecedented period of success for British cycling, including multiple Tour de France victories and Olympic gold medals.
CORE Principle:
In addition to marginal gains, Brailsford also emphasized the importance of a “CORE” principle in performance development. Although there isn’t a single widely published breakdown of the CORE acronym, it generally reflects:
Commitment: Being fully dedicated to the goals and process of improvement.
Ownership: Taking personal responsibility for every aspect of one’s performance.
Responsibility: Ensuring accountability within the team and personal levels.
Excellence: Always striving for the highest possible standards in all aspects of preparation and performance.
This blend of the marginal gains strategy and the CORE principle helped establish a culture of continuous improvement and excellence in British cycling.
END OF NOTES
Principles:
Complete one ‘little push’ on 25 out of 28 days; there’s value in little and often.
Document your results.
Fail in the service of your practice. This can be established or shaped through the contest.
The contest is the context; you are competing against yourself.
We’re pushing together. Anticipate sharing your wins and losses in open studio + online.
Is this largely part of what we will be evaluated on in UNIT 5??? Why is this not in the brief? Will we be graded on the evidence?????
What is this form for?? if it is 25 pushes in 28 days then why is it only 7 boxes?
painting for client with cy environment- focusing too much on detail and it came out frozen and charmless but then i got drunk and fixed it? (?) inappropriate lmao
LIVE SESSION:
LIVE SESSION
16 October 2024
We will spend the session on Formative Feedback.
Each of you will have a slot of 15 minutes. Within this time slot, you’ll present an overview of Unit 5: Body of Chronicles + Portfolio of Failure + engage in feedback. You’re responsible for managing your time, so allocate it wisely. For instance, you could do an 8-minute presentation with 7 minutes of feedback. Alternatively, a 10-minute presentation with 5 minutes of feedback—it’s up to you!
We’d like you to identify another cohort member to moderate your feedback time. For instance, person A presents, and person B moderates the feedback.
What will you present? This presentation of Unit 5 goes beyond a plan. We’d like you to show us your work in progress and how things are coming together, and we’d like you to address how you’re using your practice to address Unit 5.
Please schedule a Unit 4 1:1 tutorial with Paul (link to follow very soon).- scheduled!!
TASKS
Take stock of your first year.
Be prepared to present your plan for Unit 5: Body of Chronicles + Portfolio of Failure. Show an example from either part of your work in process (2.5 mins).
Identify a resource related to archiving that you think is interesting or important to your work (2.5 mins).
MAIN POINT IS IS IT INTEGRAL TO HOW I EVOLVED MY INTERCULTURAL PRACTISE IN BOTH UNITS
rebel specifically:
Show how your practise -> thoughts, instincts etc guise you during the process of all units!
think of what competences do we rely on the most?
PROFESSORS WILL JUDGE HOW U produce a piece of reflection judging how u think about reflective practise and how u use evidence and articulation of your story.
ALLOW ANAYLISIS AND CURIOSITY ABOUT ACTIVITY.
DEVELOP ACCURACY, HOW THE PROCESS EVOLVES
PROCESS YOUR SELF AWARENESS AND OBSERVATIONS THAT WILL DIRECT YOU
Please be sure you have access to TEAMS + our MIRO BOARD. Spend some time looking around Moodle. DONE
Review the attendance policy. DONE
TASKS
Prepare short report-backs on what I did on my summer vacation
progress on Unit 5 + progress on Unit 4. !!
Tasks refresh your knowledge of action research and forage for a useful resource you can share with your cohorts. Everyone should come with at least one and be able to say why you think it’s relevant.
Exploring the challenges and experiences of adapting to a new culture while maintaining one’s own cultural identity.
PLAN
Introduction (2-3 minutes) Opening Statement:
Briefly introduce the theme of “Cultural Adaptation and Integration.” Explain why this theme is relevant and important for intercultural practitioners. Outline the structure of the video and the key points to be covered. Introducing the Interlocutors:
Present the participants (2-4 individuals) who have lived abroad for work or better opportunities. Provide a brief background on each participant, highlighting their cultural backgrounds and experiences. Main Conversation (20-25 minutes) Segment 1: Initial Experiences of Cultural Adaptation (10 minutes)
Prompt: Ask each participant to share their initial experiences when they first moved to the new country. Encourage them to describe the cultural differences they noticed and how they felt during this period. Example Question: Can you share your first impressions of the new culture when you moved abroad for work? Example Question: What were some of the biggest cultural differences you noticed, and how did they affect you? Conversation Dynamics: Turn-taking: Ensure each participant has an opportunity to share their story. Call and Response: Other participants can ask questions or share similar experiences, fostering a dialogue. Segment 2: Challenges in Maintaining Cultural Identity (10 minutes)
Prompt: Discuss the challenges faced in maintaining one’s cultural identity while adapting to a new culture. Ask participants how they navigated these challenges and found a balance. Example Question: What challenges did you face in maintaining your cultural identity while adapting to a new culture? Example Question: How did you find ways to stay connected to your cultural roots? Conversation Dynamics: Turn-taking: Facilitate a balanced discussion where each participant can share their perspective. Call and Response: Encourage participants to respond to each other’s points, offering alternative viewpoints or additional insights. Segment 3: Strategies for Successful Integration (5 minutes)
Prompt: Explore strategies that helped participants successfully integrate into the new culture while preserving their own cultural identity. Example Question: What strategies or practices helped you integrate into the new culture while maintaining your own cultural identity? Example Question: Can you share any advice for others who are facing similar challenges? Conversation Dynamics: Turn-taking: Ensure each participant has a chance to share their strategies and advice. Call and Response: Participants can build on each other’s ideas, fostering a collaborative discussion. Conclusion (2-3 minutes) Summary:
Summarize the key insights and takeaways from the conversation. Highlight the importance of understanding and facilitating cultural adaptation and integration in intercultural practice. Closing Thoughts:
Ask each participant to provide a final thought or piece of advice for intercultural practitioners regarding cultural adaptation and integration. Reflect on how ethical and considerate communication can help in navigating cultural differences and integration challenges. Conversation Dynamics Utterances: Encourage clear, concise contributions from each participant. Turn-taking: Organize the conversation to allow equal speaking opportunities. Call and Response: Foster an interactive dialogue where participants build on or challenge each other’s points respectfully. Ethical Considerations Ensure a respectful and inclusive tone. Avoid interrupting or talking over participants. Address any disagreements constructively and thoughtfully. Process and Critical Evaluation Preparation:
Draft questions and prompts to guide the conversation. Conduct a rehearsal to familiarize participants with the format.
Recording:
Record the conversation, paying attention to conversational dynamics and ethical considerations.
Editing:
Edit the video to highlight key moments and ensure a smooth flow. Add captions or subtitles for accessibility. (try)
Reflection:
Include a reflective piece on what was learned from the process and its implications for intercultural practice. By focusing on “Cultural Adaptation and Integration,” I can create a meaningful and engaging conversation that highlights the complexities and strategies of adapting to a new culture while maintaining one’s own cultural identity.
As the facilitator of today’s session I would like to firstly welcome DR lina juverovich and the students of MA curating and collections!! Thanks everyone for joining today!
This session reflects on the professional practice in the day-to-day work of curating in an international context. Thorugh the case study of curating an international
μπαη ε νιαλ, we will consider archiving, documentation and audiences, linking this to the ethics of accessibility and inclusion. The longevity and sustainability of projects will also be discussed based on specific examples.
A brief INTRODUCTION TO OUR SPEAKER Dr. Lina Džuverović. Who will be presenting during the first hour of this session, followed by another hour of your questions and what im sure what will be a very fruitful conversation and back and forth between us all!
Dr. Lina juverovich is a curator and the Course Leader of MA Curating and Collections at Chelsea College of ArtS.
In her research, she focuses on questions of collectivity and gendered labour and her curatorial practice approaches contemporary art as a sphere of solidarity and community-building.
Lina was the recipient at Bard College Center for the Arts and Human Rights Faculty Fellowship IN TWO THOUDAND TWENTY TWO for the research project entitled And Others: The Gendered Politics and Practices of Art Collectives.
Previously, Lina was the Artistic Director of the Calvert TWENTY TWO Foundation in London; founder and Director of the contemporary art agency Electra, London; Curator of Media Arts at the ICA, London, co-curator of the Momentum Biennial 2009 in Norway, and has taught contemporary art at universities in Great Britain and Austria
we are interpreting the cultural work the other did coming from our own prespective of interculturality. The final work is a combination of the items culture and the practitioners! How was it intercultural- how was the research + process ** intercultural!!
MAP
talk about interculturality with fatma-alia as middle eastern culture
submit links hare + pdf pic+ and brief 30 sec video directing like a route)
giagia covid- MONK? RELIGIOUS CULTUREW
GENERATIONAL BONDS AND DIFFERENCES
INFORMATION ABOUT BIBLIOGRAPHY=
Display in a board next to our ap- unless its a direct citation.
Progress your cultural production – your practice – with special focus on the materials you received from your cohort. How will/are you working with this and why?
I am still in the process of animating!! Almost done – Also working on editing and polishing the interview i conducted using Yeh Nah’s questions for my grandmother in order to progress her understanding of the item i sent her in her research.
I am also progressing my Map using the feedback i got in week 18- which was in line with what i was intending to do next!! —
I posted the link to my miro board last week if u want to check out where i am at rn!
Question for Marsha= is it okay if my map is a video that is 3 minutes long??
Further to hearing Donna Haraway talking about her work, consider how you talk about yours. (Spend 15 – 20 mins reflecting on this – what’s working well, what might be working better.) Also, and importantly, consider where the world should ‘speak for itself’ and why.
Blogging.\
So basically this week i have communicated with yeh nah and progressed her research. I am going to conduct an interview with my grandmother about the item using questions that yeh nah has written for me!
Proposal.
Progress your map/poster/diagram on intersectionality (See the Unit 2 Assessment Brief for more information.)
Be thinking about your presentation. NB: This should focus on your cohort’s work. (See the Unit 2 Assessment Brief for more information.)
Anticipate the kind of impact you want your work for MA Intercultural Practices to have -How can you make it relevant to your communities or those explored in your practice?
MAIP is the perfect course for me because I wanted to philosophize my practice and dive deeper into my aesthetics and identity. I don’t see a specific aim for my practice other than the fact that Its an exploration and expression of my identity.
The way that my art is relevant to a community I’m part of could be the representation of symbols and aesthetics from the culture I was raised in, or an expression of my lens as a woman.
Ideas for map:
Write about
culture in Cyprus, traditional cuisine, raised with grandparents, cooking, family, traditional fashion, fashion, art, divorces parents, drawing as an expression, cartoons, film- moving image, friends, cohourt.
RESEARCH + GO INTO DETAIL.
Read + Watch + Listen + Prepare:
Prepare a one to three-minute update on the materials you received from your cohort and how you’re working with them.
Videos from last week’s post work well with this!
Donna Haraway, Telling Stories for Earthly Survival byFabrizio Terranova (find it through the library, on Docuseek.
Cyborgs and Identity:
Explores the concept of cyborgs as a fusion of human and machine.
Discusses how cyborg theory challenges traditional notions of identity and embodiment.
Highlights the potential of cyborgs to disrupt binary categories such as gender and race which i find super interesting!
Companion Species:
Emphasizes the importance of relationships between humans and animals.
Discusses the concept of “companion species” and the ways in which humans and animals co-evolve together.
Advocates for more respectful and reciprocal interactions between humans and other species! And I agree with her so much! She is amazing
Situated Knowledges:
Argues against the idea of objective, universal knowledge, which as we explore in MAIP is truly not a thing.
Discusses how knowledge is always situated within specific social, cultural, and historical contexts- again MAIP coded-.
Emphasizes the importance of acknowledging diverse perspectives and experiences in knowledge production.
Environmentalism:
Addresses environmental issues such as climate change, species extinction, and environmental degradation.
Advocates for more ethical and sustainable ways of relating to the environment.-i love her-
Explores the interconnectedness of humans, animals, and ecosystems.
Critique of Essentialism:
Critiques essentialist notions of identity, including fixed categories of gender, race, and sexuality!!!!!
Advocates for fluid and intersectional understandings of identity.
Discusses the importance of embracing complexity and diversity in discussions of identity.
Political Activism:
Discusses her own experiences as an activist and scholar.
Advocates for political engagement and social change.
Emphasizes the role of storytelling and narrative in shaping political consciousness and activism.
Legacy and Future Directions:
Reflects on her own intellectual journey and contributions.
Discusses the ongoing relevance of her work in contemporary discussions about science, technology, feminism, and the environment.
Explores future directions for feminist theory, environmentalism, and posthumanism.
Feminist theorist and philosopher Donna Haraway has substantially impacted thought on science, cyberculture, the environment, animals, and social relations.
Please ensure that you take some time to blog about your experience of schematizing your positionality + Encountering Difference; Understanding Yourself as Other
Ken G Brealey, ‘Mapping them ‘out’: Euro-Canadian cartography and the appropriation of the Nuxalk and Ts’ilhqot’in First Nations’ territories, 1793-1916′ (TBC – on order)
This text talks about how maps are not just simple drawings, but they represent the beliefs, truths, and power of the cultures that make them. It says that maps are created by people and used to establish and maintain territories, often serving the interests of certain groups over others. In colonial contexts, maps can marginalize some cultural groups while empowering others. The author explores how maps were used to dispossess the original inhabitants of British Columbia, from the time of George Vancouver and Alexander MacKenzie to the Indian Reserve maps of 1916. This analysis sheds light on how maps played a role in the colonization of the region and has implications for understanding land claims today.
Gerardus Mercator was a Protestant scholar from Flanders; he published his map in 1569, to help European merchants plot routes to distant shores.
The text discusses the ideas of two different maps and their implications on how we understand the world. The Mercator map, commonly used, is criticized for its distortions, while the Dymaxion map by Buckminster Fuller offers a different perspective. Fuller’s map aimed to show a more accurate representation of the Earth’s surface, emphasizing cooperation and equality. The text also talks about artist Oyvind Fahlström’s World Map, which highlights political tensions and power struggles. It then discusses the work of the Bureau d’Etudes, a conceptual group that creates maps showing the connections between global power players, revealing the complex economic and political landscape.
The text reflects on the role of artists in representing alternative viewpoints and resisting oppressive systems.
It concludes by questioning the effectiveness of artistic practices in challenging the dominant economic and political structures. (V interesting)
How could you successfully represent an alternative, radically democratic experience?
On the fringes of the art world, a group of urbanists has created one of the most impressive systems of visual representation to appear in recent years: USE, or the “Uncertain States of Europe,” a project by Stefano Boeri and Multiplicity.
The basic premise is that borders are ungraspable, that architectural programs and urban limits are unstable
“To resist is not to be against, any more, but to singularize, all and any acts of resistance are acts of creation and not acts of negation.”
Writes Suely Rolnik, reflecting on the changing meanings of artistic practice since the Great Refusal of the 1960s.
Can we imagine artistic representations of self-organizing processes, in open confrontation with the economic game? “Rules oppose and derail subjectivity, loosen the imprinted circuits of the individual,” wrote Oyvind Fahlström. Only then does a deeper territory emerge, a more complex interplay. Power lines / radical democracy.
My understanding of this:
This sentence is questioning whether we can envision artworks that depict self-organizing systems challenging the economic status quo. It suggests that rules imposed by society hinder personal freedom and creativity, but breaking these rules can lead to a deeper understanding and more intricate interactions. The mention of “power lines / radical democracy” emphasizes the potential for art to engage with political themes and advocate for a more democratic society, where power is distributed more equally among individuals.
Today, Indigenous peoples are remapping and renaming their homelands to assert their presence on the land, revitalize their languages, and share their stories, histories, and knowledge about their homelands. Maps are also used to educate future generations, share Indigenous knowledge, and assert title over their territories through land claims processes and in the courts.
Through these and other initiatives, Indigenous peoples are putting their perspectives, stories, and histories on the map for future generations.
Jorge Luis Borges
My understanding is that the art of cartography as a documentation of how people lived in an empire became ensticts because it was impractical and gave power to the people “beggars and animals”
WHEN FORAGING FOR MAPPING AND COUNTER MAPPING I FOUND THIS.
I missed this lecture but thankfully it was recorded so here are my notes on the recording:
For mapping here are the learning outcome.
OUR UNDERSTANDING OF OUR PSOTIONALITY IN RELATION TO PEERS AND OTHERS.
Submit as PDF/ VIDEO?
Working across intercultural and transcultural.
OUR RELATIONSHIP WITH OURSELVES AND WITH OTHERS.
Include co-hort ( TONIZITO)
IN RELATION TO THE CREATIVE PRACTISE OF OTHERS.
Look at others maps and promote curiosity.
Communicate the coordinates and experience that shaped you as you are as a practitioner.
YOU ARE NOT THE AUDIENCE! (research vs Me-search)
EVIDENCE AN UNDERSTANDING OF THE VALUE OF AND FROM INTERCULTURAL AND TRANSNATIONAL CO-OPERATION.
unesco systems thinking competency
Assessment criteria:
ENGAGEMENT IN PRACTICE INFORMED BY COMPREHENSIVE ANALYSIS AND EVALUATION OF DIVERSE COMPLEX PRACTICES CONSEPTS AND THEORIES.
USE ART PHILOSOPHY AND QUESTIONS.
COMBINE LEARNING OUTCOME+ ASSESMENT CRITERIA and create a map that uses both.
Remember the social identity map?
how is it a comprehensive analysis? – it isnt its very surface.
diverce and complex context- WE GOT IT WE CAN SEE IT WHEN USING THE S.I.P
THE S.I.P IS NOT COMPREHENSIVE ANALYSIS. we need to evaluate topics MUCH MORE AND IN MUCH more depth!!!! Also we dont want little islands of info. we want to see how they interrelate.!!!!!!!
WE ARE NOT JUST TRYING TO SHOW FRED WHO WE ARE. WE ARE TRYING TO EXPLORE WHAT MAKES US ! US! AND WHAT LEAD TO OUR IDENTITY AND BY EXTENTION PRACTISE TO EVOLVE IN THIS WAY. AND IN RELATION TO MY PEERS (how would i relate it to my peers?)
i mean i think my relation to my peers is MAIP. AND INTERCULTURAL PRACTICES.
Marsha: What is comprehensive here is my practice of comprehensive analysis. ( what D: )
(excuse the typos i am writing as i watch the recording)
THESE ARE ONLY STEP ONE : EMPATHY MAP, SIP. ETC. -> much to impersonal and simple, and GENERAL.
Where is the evidence??????????????????? (what evidence :”( )
SHARE THE RESEARCH! its not me-search. GIVE MORE INSIGHT TO MARSHA AND FRED. SHARE MY RESEARCH.
We are looking for a hybrid poster /map /diagram
THE RESEARCH POSTER: a genre of cultural expression within research culture, something that often exists in relationship to research presentation. the space where they exhibit their research through posters.
POSTER IS MIXTURE OF TEXT- TABLES-GRAPHS AND IMAGES.
Answer these questions:
what is the most important and astounding finding from my research
how can i visually share my research with conference attendees? should i use charts graphs photos/ images?
what kind of information can i convey during my talk that will complement my poster.
YOUR POSTER SHOULD BE DOING THE TALKING FOR YOU!!!! So preferably no recording then.
Miro/ red string police thing is what we are going for– i am sticking to this since the start and ill see how it goes.
Poster:
TEXT
IMAGE
GRAPHIC DEVICES
SOUND
TEXTURE
MAKES COMPLEX INFORMATION CLEAR AND ACCESIBLE
YOU ARE NOT IN THE VICEO/ PDF
DECONTEXTUALISED
pijina p exun oi economy mfs giana kamoun present kt
Diagram:
should show what this is for/ what its for
what is the aim
you dont know where to begin where to end
SHOW THE VIEWER THE ROUTE TO TAKE WITH THEIR EYES
EVERYTHING SHOULD BE INTERCONNECTED, NOT LIKE A STEP1-2-3-4 BUT LIKE INFINITE COMBO
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.
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 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.
1. Evaluative / Reflective report Up to 1,500 words or image/text document or short film<
2. Portfolio of evidence
The Portfolio might include film, photographs, gestures, sketches, performance, sound, writing, memories, objects, artefacts, recipes, and other elements that share your experiences. The report can be up to 1500 words or image /text document or short film. Or a negotiated viva.
The purpose of the Unit is to enable you to frame experience, work, participation, enquiry, or other activity as a learning.
The focus is on you. What you are curious about, what you might wish to learn, what you do in your work or spare time.
Towards the end of the Unit, you will have decided how to frame your learning experiences through one of three options.
A. Co-operative Practices
B. Analysis and Insights -| THIS ROUTE |-
C. Making and Production -| OR THIS |-
OPTION B: ANALYSIS AND INSIGHTS:
The ‘Co-operative Practices’ theme prioritises competencies and capabilities relating to communication, inter-personal and co-operative skills and behaviors. Your aim is to evidence your learning from group and co-produced endeavors.
CO-OPERATIVE PRACTICES covers processes or production activities through which you contribute to a team/ group endeavor or a shared purpose. Your contributions may be creative, organisational, technological, practical, or intellectual
learning outcomes:
evidence competencies in relation to participatory practices or shared endeavour through actions, negotiation understanding that respect the needs and perspectives of others. (AC: Process)
evidence competencies that relate to process of reflection in understanding one’s own role within a collective or community context. (AC: Realisation)
OPTION B: ANALYSIS AND INSIGHTS:
B The ‘Analysis and Insights’ theme prioritises competencies and capabilities thatcharacterise analysis as a process and the ongoing development of critical or practical insight. How do we exchange and embed principles of discourse, positionality, and practices in the realm of philosophical reflection and analysis? Analysis and Insights refers to active enquiry, or the interrogation of knowledge, or data. It may relate to study through; materials, investigation, or survey processes, including experiment or trial that will offer insight beyond the obvious. The theme is concerned with practices of enquiry. How to initiate, exchange and embed principles of discourse, or problem-solving. How to embrace and connect with complexity, intersectionality, multi-dimensionality, and practices in the realm of philosophical or practical reflection.
ANALYSIS AND INSIGHTS refers to active enquiry, or the interrogation of knowledge, or data. It may relate to study through; materials, investigation, or survey processes, including experiment or trial that will offer insight beyond the obvious. The theme is concerned with practices of enquiry. How to initiate, exchange and embed principles of discourse, or problem-solving. How to embrace and connect with complexity, intersectionality, mulit-dimensionality, and practices in the realm of philosophical or practical reflection?
BASICALLY LIKE A RESEARCH QUESTION/ ESSAY.
learning outcomes:
Evidence critical reflection and testing that facilitates effective consideration of norms, practices, and opinions. (AC: Enquiry)
Appreciate and evaluate multiple futures or creative solutions in terms of possibility, probability, or desirability. (AC: Realisation)
OPTION C: MAKING AND PRODUCTION
C The ‘Making and Production’ theme is primarily focused on qualities and capacities that characterise successful engagement with and manipulation of materials, resources, and procedures for making and production.
Reflecting on MAKING and PRODUCTION should embrace iterative and discursive approaches to navigating all dimensions of your practice Assessment is designed to celebrate the student’s pro-active engagement with challenge, opportunity, or collective endeavour, relating to making and production processes.
Reflecting on MAKING and PRODUCTION should embrace iterative and discursive approaches to navigating all dimensions of your practice Assessment is designed to celebrate the student’s pro-active engagement with challenge, opportunity, or collective endeavour, relating to making and production processes. The core teaching for this unit is concerned with:
curating your experiences in such a way as to evidence your learning
developing effective processes of reflection and learning evaluation
articulating and communicating for others and for enhancing future plans. Teaching sessions facilitate and develop practices of reflection, consolidation, and the evidencing of process and impact. You are supported to development a personal learning architecture, the aim of which is to identify, maintain and grow the student’s self-awareness in relation to transversal competencies and capabilities. The REBEL competency framework, used as reference for this unit, has been designed in response to existing and recognised frameworks; the European Skills, Competencies, Occupations and Qualifications framework, the UN Education for Sustainable Development Cross-Cutting Competencies, and, at UAL, the Creative Attributes Framework. You are responsible for selecting and engaging with experiences that will contribute to your learning. The REBEL units centre on engagement with multiple sources of experience that might include short courses and projects and the possibility of participation in learning activities offered across UAL or with UAL academic and knowledge exchange partners.
In developing your reflective practice through your experiences over the duration of the unit, you are asked to consider multiple possible cultural perspectives or technical probabilities through a process of positioning, manipulating and mirroring back your own and others’ practices.
learning outcomes:
Demonstrate positive resolution in negotiating sustainability values, principles, and goals through the process of making. (AC: Process)
Evidence ability in producing cultural/artistic responses to context that engage with complexity and inclusivity. (AC: Realisation)
Further information on experience opportunities will be released during the year as they arise.
THINGS YOU CAN CHOOSE TO DO THAT MIGHT HELP:
Doing a short course
Your own passion projects
Something you have already done
Deep dive into some research, knowledge, or learning new skills
Your lived experience
Intercultural learning exchanges
Joining / volunteering
IDEA: a personal exhibition of my work maybe? WRITE ABOUT WHAT ITS LIKE TO EXHIBIT YOUR WORK.
MAZEPSE LEFTA TO BOOK A SPACE?
ORGANISE AND TAKE PART IN A PLACE WHERE U CAN EXHIBIT YOUR WORK AND CURATE? – EVENT ME PHAIDRA.
WEEK 13: POSITION AND POSITIONALITY
MY PROGRESS:
started the animation for MAYDAY EXHIBITION and fatma’s item.
Attempted to have a video call with yeh nah about my project on her work.
-map (?) no progress.
Brainstormed ideas for UNIT 4: REBEL
LOOK THROUGH THE UNESCO FILES ONCE A WEEK EVERY WEEK!
WHAT IS COGNITIVE MAPPING??
Cognitive Mapping Definition: Cognitive mapping is how our brain creates mental maps to understand and remember the layout of spaces.
Internal Representation: It’s the mental picture we form in our minds about the arrangement of places, like cities, buildings, or landmarks.
Subjective Nature: Each person’s cognitive map is unique and influenced by their experiences, perceptions, and familiarity with a place.
Navigation Aid: Cognitive mapping helps individuals navigate and make sense of the world around them.
Study Focus: Researchers study cognitive mapping to explore how people perceive, remember, and navigate spaces, shedding light on the psychological aspects of spatial awareness.
WHAT IS COUNTER MAPPING??
Definition: Counter-mapping involves creating maps that challenge or offer an alternative view to traditional maps made by authorities.
Purpose: It is a form of resistance, empowering marginalized groups or communities to represent their own spatial realities, experiences, and cultural aspects.
Unique Elements: Counter-maps often include personal stories, cultural landmarks, and historical information that may be absent in official maps.
Advocacy: Used for advocating land rights, documenting cultural heritage, highlighting environmental concerns, or addressing social injustices.
Perspective Shift: A way for communities or individuals to say, “Our story and experiences matter, and they’re more than what official maps show.”
Inclusivity: Aims to provide a more nuanced and inclusive representation of spaces, emphasizing the importance of diverse knowledge and cultural narratives.
Application: Examples include maps drawn by migrants showcasing their journeys or indigenous communities using maps to assert land rights and cultural significance.
Ethical Considerations: Acknowledges the importance of ethical considerations alongside technical solutions, particularly in addressing complex issues like migration or environmental changes.
Positionality refers to an individual’s or a group’s social and cultural context, which shapes their perspectives, beliefs, and understanding of the world. It recognizes that people’s viewpoints are influenced by factors such as their social identity, cultural background, gender, race, socioeconomic status, and personal experiences.
The term positionality both describes an individual’s world view and the position they adopt about a research task and its social and political context.
Understanding positionality is crucial, especially in fields such as sociology, anthropology, and critical theory. It emphasizes the idea that individuals bring their unique backgrounds and experiences to their understanding of the world, and this subjectivity should be acknowledged when interpreting information or engaging in discussions. Being aware of one’s positionality is essential for fostering empathy, promoting inclusivity, and navigating diverse perspectives in various social and academic contexts.
Key points about positionality include:
Social Context: Positionality emphasizes that one’s social context significantly influences how they perceive and interpret information.
Subjectivity: It recognizes that knowledge and perspectives are subjective and can be shaped by personal experiences and cultural background.
Impact on Research: In academic research or discussions, understanding positionality is crucial as it helps acknowledge the potential biases and subjectivity that individuals bring to their work.
Self-Reflection: Individuals are encouraged to reflect on their own positionality to better understand how their background might influence their perspectives and interpretations.
Cultural Sensitivity: Recognizing positionality promotes cultural sensitivity and helps individuals appreciate diverse viewpoints, fostering more inclusive and equitable discussions.
In essence, positionality highlights the importance of recognizing and acknowledging one’s own social and cultural context to foster a more nuanced and respectful understanding of different perspectives.
the map can aid researchers in explicitly recognizing where they stand in society, promoting accountability in qualitative work. By visually exploring how researchers approach and interpret their work through the map, they may uncover other social forces that shape their research topics. The map is presented as a means to go beyond immediate identities, helping researchers identify and question larger societal forces such as racism, classism, and ageism that impact their work. Overall, the Social Identity Map is described as an effective tool for enhancing the conceptual and visual discussion of positionality in qualitative research.
MY OWN POSITIONALITY MAP
basically MAPPING OUR SELVES AND PLACING OURSELVES WILL HELP US UNDERSTAND OUR PROCSS PURPOSE AND ROOTS. THE WHY AND THE WHO AND THE WHERE AND THE WHAT.
The urgency of intersectionality: KIMBERLE CRENSHAW | BOTH TED TALKS.
Discussion on racial and gender inequality.
black women fall thru the cracks of both feminism and anti-racism as a movement.
Intersectionality is taking into consideration all ways that someone can be discriminated against, how they could be excluded from certain movements or included in more than one therefore creating intersectionality.
Anticipate the upcoming intensive in London (15 – 26 April + additional days leading towards the Lethaby exhibition). Spend some time thinking about what you want out of this experience as well as how you want to spend your free time in the big smoke! Certain visits need to be anticipated in advance.
Progress your cultural production – your practice – by identifying three to five processes that organise how you work. Blog about this – discuss what these are, why they’re important to you and what you’ve been able to accomplish thanks to prioritising them. Work with examples. Draft and redraft your blog post. This kind of work requires several passes.
I always write down draft ideas and thoughts and then sketch out things.
It considers the importance and role of the artist’s statement, particularly through the relationship between the written statement and the practice this represents. It suggests practical approaches to overcoming the pitfalls of writing and how this impacts on other activities an artist must undertake. It also includes tips about how you might use text on your website.
Artquest Exchange is our free, professional, peer to peer online community for visual artists. Use it to find artists around the corner or around the world.
Please also look at the mapping practice of kollektiv orangotango.What can you learn from how this group operates that is relevant for your professional development.
The research addresses the undervaluation of fieldwork and advocates for a sensitive approach to mapmaking that considers the dynamic nature of experiences in constantly evolving spaces. It introduces the concept of “mapping” as a process rather than focusing solely on individual maps. The emphasis is placed on creating textile cartography, involving collaborative efforts, discussions, and local materials. The project explores the sensitive relationships between participants, researchers, and translators, encouraging the development of field-adapted cartographic languages.
Epistemological discussions challenge representational geography, exploring “post-representational” and “more-than-representational” thinking. The work serves as a relational medium, departing from the traditional map-as-object framework. It engages with the anthropological perspective, investigating the role of sensitivity in geographical knowledge creation.
The project also raises ethical considerations, proposing a shift from viewing maps as representations to understanding them as productions of space. The emphasis on co-creation and the use of non-textual maps aims to bridge the gap between academia and non-academic audiences, considering the illiteracy of participants. The research reflects on the accessibility of knowledge and the transformative potential of textile maps.
By reintroducing sensitivity and the haptic sense, this form of mapping provides a nuanced understanding of geography for both map creators and readers, fostering a tactile connection with lived experiences.
TASK: P2P INTERVEW: IVE ALREADY RE-EDITED IT BASED ON FEEDBACK SINCE WEEKS AGO <3
Read + Watch + Listen + Prepare:
Ensure you’ve done the reading + foraging for Week 11
Forage for information about realia (here’s a link to Ketevan Djachy, ‘Realia as Carriers of National and Historical Overtones’ (NB: this text is very specific to how realia feature in the translation of verbal texts. Consider skimming this and spending your time and attention researching other understanding.)
Forage for critical engagement with UNESCO’s Sustainable Development Goals.
Forage for understanding of strategic competency + systems thinking competency, the UNESCO cross-cutting competencies that feature in Unit 2.
I have so far received feedback on my interview on Alia <3 So for now I will look through the feedback and make alterations!
PENDING TASKS:
Re-read (watch/listen, etc) all the materials so you implant this in your knowledge base and can resource it going forward. You’re encouraged to write a blogpost reflecting on the unit. It could address…
The high points
The low points
What you want o remember in ten years time
What you want to forget immediately and forever
Three key lessons that emerged from this unit and how they’re influencing your practice. (This could be speculative if you haven’t had a chance to habituate them.)
I believe its best to answer all of these questions when I receive feedback to my 10 minute presentation submission, when I have a complete view of the Unit and its “Demands”
So during week 9, I mostly worked on editing and filming after writing my script down and deciding what to focus on:
As mentioned on Padlet,
MY PRIORITIES:
-NARRATION+EXPLANATION OF WHY THAT CONTENT- RELATION TO MYSELF (MY ORIGIN).
-CULTURE- TRADITION- INTERCULTURALITY- SYSTEM ANALYSIS OF THE CULTURE I GREW UP WITH.
-FAMILY-CONNECTIVITY- MY own CONTEXT.
During week 9 I struggled with maintaining a good quality of all videos- as they are all taken from the archives from my phone ( no new content).
I have mentioned this in earlier weeks, but I think, although it is more difficult to create something from pre existing- unrelated- content, I think it 100% helps out for more genuine and honest representation of the culture and myself!
After gathering up all clips, and writing the script down carefully, I filmed my self narrating and started to edit all clips!
-I spent the most time carefully gathering information for the script, in order to make sure I focus on the right things and have a smooth representation during the short 10 minutes.-
SCRIPT:
As an artist, A lot of my influences and inspiration subconsciously come from my upbringing, and by extention, my culture. This video will present an analysis of Cyprus the tiny island in the Mediterranean where a huge part of my identity was born. as a complex system with interconnected parts. As a woman who has been raised within that culture, I believe I can offer an insight into it, while using my knowledge of systems thinking, to dissect and understand it in depth. Firstly, What is a cultural system really? I believe we all experience life in different ways, depending on our generation, our gender, our individuality and many other factors. Cultures are not static; they evolve through interactions with other cultures. This exchange can lead to adaptation, integration, resistance… all key themes of the way Cyprus formed its own little culture. Of course Cyprus as a country, largely shares its culture with Greece and is very similar to most mediterranean countries. Everyone knows that mediterranean people are warm, open, hospitable, happy, they sing they dance etc But behind all that, Cyprus as a country also has a very complex, rough past. Before dissecting the culture of the country and its people, we need to first explore how it came to be through cause and effect. Its history and its relations to the so similar neighboring countries and how throughout the years, these Intercultural interactions have shaped the culture that exists today. So lets dive even deeper, for a second. Starting from the stone age Cyprus established one of the first ever civilizations in the world, Chirokitia, the first ever functioning wells, first ever pet cat, In the bronze age, Cyprus is populated by the Mycenean Greeks. (MIKINAIKA GLIPTA), Now lets fast forward to 10th century BC, the start of Cyprus’s very long era of being occupied and fought over for its ideal location as a crossover between the three contents ) Cyprus is colonized by the PHOINICIANS, then the Assyrians. (DIKSE LEDRAS ,tamasos, kition, amathus, kourion paphos, etc kingdoms ) the Egyptians, the Persians, then Greek Macedonians, the romans, the Arabs, it becomes part of the byzantine Empire then England, then Italy, the French ottoman Empire, . – ALSO becoming the centre of European trade and culture. .. Now throughout most of these occupying forces, most Cypriots retained their religion as Greek orthodox, their spoken and written word being Greek whilst also living under rule and adopting their occupier’s cultural characteristics like clothing, food, the laws, and regulations. , In 1974, the right-wing military dictatorship that ruled Greece CALLED hunta performs a military coup In Cyprus, and Turkey invades the northern portion of the island.The Turkish forces remain on the on the island even after a ceasefire, resulting in the partition of the island. And the displacement of hundreds of thousands of Cypriots on both sides. A very large population of Greek Cypriots identify as immigrants, including both of my parents and their families, leaving their homes with nothing but a change of clothes residing in tents for a long period of time, and then sharing tiny apartments with their large extended family, these where all things that shaped their minds and strengthened the bonds of family, and their faith in their religion became even stronger after hardship. As those where the only things that gave them hope.
Now that weve established the history, let’s move on to analysing the subsequent culture that developed from the remnants of all the ruling cultures mentioned. When Dissecting the systems of Cypriot culture it becomes clear that the foundational beliefs and values form an integral part of tis structure. These deeply ingrained aspects are shared and transmitted across generations. shaping the Cypriot identity and serving as the guiding force behind their behavior and their intereactions” Cypriots largely value hospitality and generosity, and They prioritize three very specific values, by name their religion their nation, and their family. Now this isn’t just any words in any order. It is a literal GUIDE to the priorities that many Cypriots follow.
The family is the centre of the social structure in Cyprus. And that includes all extended family, cousins, aunts, great aunts. Aunt’s friends. everyone. Your extended family is supposed to help and care for you, and be involved in your life. (Sometimes a little too much if u ask me)
Tasks Prepare and share material in your tutorial and critique of work in progress. Push forward your blog, proposal and interview and begin video presentation (15 hours)
DONE X (EXCEPT PROPOSAL)
2. Forage Meaningful examples of performance lectures and other moving image accounts of practice. (duration: depends on you)
Read + Watch + Listen Should be related to your Unit 1 submission for assessment but you choose your focus for this week.
I have foraged in my archives and usb for any and all footage that I believe would be usefull for my presentation and i have started to write down a draft of what the script will be !
Also here is Alia’s interview (P2P ENTRANCE INTERVIEW)
Search for story-related podcasts and ask yourself: How have stories featured in my life? How might I mobilise them differently?
-ΑΧ ΒΑΧ
true crime podcasts
gossip podcasts
MY FAVOURITE MURDER- podcast
My Favorite Murder is a bi-weekly true crime comedy podcast hosted by American comedians Karen Kilgariff and Georgia Hardstark.
WATCH/ REFLECT:
Joseph Campbell Foundation (2020) The Hero with a Thousand Faces
theres a typical sequence of actions- that a hero takes
why are there so many stories of heroes in mythology? Because its someone who has found or achieving something beyond the normal range. Someone who has propably given his life for something bigger or other than themselves.
What is the deed a hero performs? – a physical hero act or a sacrifice
or a spiritual hero/ someone who has learned or found a mold of experiencing spirituality and then came back and communicating it.
The image of a hero- a death and resurrection-
finding the source of life to bring you forth richer or more mature
If we happen not to be heroes in the grant sense of redeeming society we have to take that journey ourselves ( of growth and self-preservation) spiritually- psychologically.
PODCAST ON STORYTELLING TO LISTEN TO AS I ANIMATE FOR MY DAY JOB.
PENDING-
Research proposal- HAVE TO COME UP WITH AN IDEA FOR UNIT 2
REFLECT ON ALL QUESTIONS- IN PRESENTATION
How do I demonstrate an understanding of systems thinking?
If i can See the bigger picture,By zooming out and viewing the wider process, you can see the interrelationships and interactions between your system elements, Understand and fix the “problems that never seem to go away”
The issue is important.
The problem is chronic and ongoing and not just a one-time event.
The problem is familiar and has a known history.
Previous attempts to solve the problem have failed.
Systems thinking is profoundly different. It requires us to understand that all the parts of a system work together, creating effects that are greater than the sum of the parts of that system. Systems thinkers consider how a change in one component may have major effects on the system in its entirety. Using climate change as an example, the release of carbon from fossil fuels into the atmosphere has warmed the Earth’s climate with profound effects on almost every aspect of life on the planet. Learning how to think in systems is an essential skill for finding our way back to sustainability. Online courses that teach the basics of feedback are also becoming more common and are even being promoted as basic education for elementary school-aged children. Systems thinking, as it applies to our understanding of the process of life, only emerged in the 1970’s. With new mathematical theories and models that enable us to understand the patterns and processes of change in the evolution of life, however, we can now reflect the way that our actions may have consequences not only on us, but also on other people — or even the world.
Systems theory provides the basis of a way of thinking about organization. The first lesson of systems analysis is that « the whole is more than the sum of its parts ». This means that properties emerge from the organization of a whole and may have a retroactive effect on the parts. For instance, water is an emergent property of the hydrogen and oxygen of which it is composed. The whole is also less than the sum of its parts, since the parts may have properties that are inhibited by the organization of the whole.
Presentation video
Interview (NOT MARKED)-
OPEN STUDIO
ASK MARSHA— this presentation is supposed to exhibit systems thinking etc BUT isnt it sort of supposed to be a presentation about ourselves and our culture to get to know eachother? Do we have to identify an issue/problem to be solved????
Clean up! Purge old files, delete draft emails, free up space on your device and in your head.
Done. This task actually helped me to see content in my phone/storage/laptop/drive that moved me to tears (As I mostly photograph my family) and helped me to decide on my project!
Task 2:
BOOK INTERVIEW DATE WITH ALIA
Interview Questions:
Interview notes from previous lectures/ recent research/ foraging
Task3:
FIND EXAMPLES OF SOUND ART (music??)
Sound is materially invisible but very visceral and emotive. It can define a space at the same time as it triggers a memory
Nancy does an excellent job of illustrating the problems of a supposed boundary between self and other in musical perception (“listening”), as well as resisting music as a purely intellectual experience.
“I See a Voice” by Jonathan Ree explores the world of the deaf, focusing on their language and experiences. It corrects misconceptions about the deaf and demonstrates how philosophy can improve our understanding of language and the human condition. Ree’s writing is praised for its erudition, clarity, and its ability to find significance in the everyday. The book also incorporates elements of psychoanalysis, poetry, and personal memories. Overall, the book is a philosophical investigation into language, deafness, and the senses, with a strong emphasis on cultural traits of the late twentieth century, such as subjectivity, uncertainty, individuality, and self-scrutiny.
"I see a voice,
A philosophical History of Language, Deafness and the senses" by Jonathan Rée.
a thought-provoking exploration of language, deafness, and the senses, with a compelling and erudite writing style.
I had a talk with Marsha about my idea. Here are my notes.
Demonstrate an advanced understanding of, or sensitivity for, the relationship between
context,
complexity,
connectivity
Systems Thinking Competency
What does that distance make you realize about your culture.
Focus on systems thinking- THE SYSTEM OF YOUR CULTURE, RELIGION, MENTALITY OF COUNTRY,
VISUALISE A PROCESSS THATS INFORMED BY SYSTEMS THINKING, AND EMBODY IT.
UNDERSTAND IT AS A PART OF A BIGGER SYSTEM.
TRADITION. ANALYSE ALL OF THESE SYSTEMS.
Look at how some things relate to other to create the entirety of culture. (weather food, religion, clothing, colours, architecture, respecting elderly, traditional embroydery, candy making, drinking, coffee, evil eye (religion/ institution, superstision, history) IN RELATION TO TIME SPACE. CAUSE AND EFFECT.
BE MORE SPECIFIC AND FOCUED. WHAT ARE YOU EXPLROING (THE DUALITY OF LEAVING HOME WANTING TO GO BACK, BUT MOVE FORWARD) AND HOW (BY DOCUMENTING THE THINGS I LOVE ABOUT MY CULTURE THAT SHAPED ME INTO WHAT I AM, AND PUSHED ME TO WALK FORWARD).
FAMILY DYNAMICS ARE A SYSTEM TOO.
Your video should demonstrate and share a strong sense of your context and what makes it complex and connected.
ALIA’S INTERVIEW:
This Interview will be an Entrance Interview for our course.
Where do you live? Do you cohabitate with someone?
What do you do for a living?
Can you describe your practice? What is your main focus and art form of preference.
Who is Alia Al maktum as an artist? Which artists/Activists do you look up to and what kind of artist do you aspire to be!
What has been your story up until now when it comes to deciding on pursuing your own practise and finding your way to MA intercultural Practices?
what does MA intercultural practices offer as a course that made you consider studying here?
What do you feel you have to offer this course( in terms of your UNIQUE practice and active discussion)?
Your practice as an interior designer is fascinating! I specifically found it super interesting when I read your point on how creating space a certain way as an interior designer, influences ones mental health stepping into it. Could you explain how you do that through your work?
Do you believe one’s mind can travel and experience a culture when stepping into a culturally decorated space?
How is your work related to your culture? Is it conscious or unconscious?
how do you feel your culture has shaped your art?
What do you aim for, when representing your culture in your interior designs and paintings?
You created an architectural incubator – within a Shaabi home. What was the aim and thought process behind that project?
As an interior designer you focus heavily on the importance of space when working collaboratively. How do you aim to tackle working collaboratively in a remote basis?
What are your plans after getting your MA in intercultural practices?
Get written consent that we are both happy w/ the Interview.
NOTED FROM TEAMS MEETING:
systems thinking
Make sure your video activates more than the visual/ auditory sense!
DEMONSTRATE SYSTEMS THINKING!
Ecopedagogy
The ecopedagogy movement is an outgrowth of the theory and practice of critical pedagogy, a body of educational praxis influenced by the philosopher and educator Paulo Freire. Ecopedagogy’s mission is to develop a robust appreciation for the collective potentials of humanity and to foster social justice throughout the world
GO SEE DOWNLOADED PRESENTATION- UNI SUSTAINABLE DEVELOPMENT GOALS!!!!!
action is the antidote to overthinking+ anxiety+ environmental doom
Systems can be repetitive
In terms of UNIT1
please ANALYSE THE RELATIONSHIP BETWEEN
CONTEXT COMPLEXITY AND RELATIVITY IN A SYSTEMS THINKING WAY!!!!!
body systems thinking visually and help viewer understand. give stronger sence of the 3 (c.c.r) of the courisosity of place you are filming.
IN YOUR PRESENTATION – RELATIONAL PROXIMITY TO SYSTEMS!—> what is cause and effect of things that make the system? EXPLORE ALL SENSES KNOWLEDGE.
smell sound touch food tastE
UNDERSTAND THE SYSTEM ON ITS OWN TERMS!!!!!!
READ, DESCRIBE, HOW IS IT >?????? HOW IS IT a SYSTEM
Assessment Description Learning Outcome 1 is assessed through a seven to ten-minute recorded presentation that features talking and visuals (still or moving image) and/or sound and is delivered by you individually. Your video should demonstrate and share a strong sense of your context and what makes it complex and connected. There will be significant overlap between this presentation and the work you produce for the practice briefs as well as your independent activity. However, only the recorded presentation receives summative assessment for Unit 1
IDEAS
(On the presentation)
When writing your proposal, ask yourself the following questions and use the various boxes to organise your thinking:
What ideas/interests are most relevant to me and how do these reflect my values?
How does this project build on and/or depart from my previous work (creative or other)?
Is my project feasible in the scope of my part-time MA? Consider, e.g. what the project aims to achieve. No artist can fully engage with huge issues such as ‘truth’, ‘society’ or ‘culture’. Be selective, close some doors. Declare your commitments as an aim that is supported by several objectives.
What is my field? What do I already know in this context and how will I deepen this knowledge and understanding through my research and/as cultural production? (e.g. primary research – visits to archives, libraries, galleries, museum collections, experimenting with new techniques, etc.)
What does this project need to come to fruition? What is required of me as a person/practitioner to support this becoming?
IN THIS 1000-1200 WORD ESSAY NCLUDE:
Your name and the working title of your project
Summarise your research question and rationale (50-100 words): What do you want to discover and why?
What steps do you need to take to achieve your aim and objectives?
What practice-based/led and other methods will you use and why?
Influences/context(s): Which artists/designers/curators/performers/musicians/theorists/ philosophers/economists/geographers and so on who are key to your enquiry? (Your list should feature at least ten cultural producers. You may only reference two or three in proposal while featuring others in your bibliography.)
Identify what your project might need in terms of resources, materials and support. (Use bullet points to respond to this question).
Provide a bibliography of sources that are relevant to your research. (Begin with an indicative ten sources – a combination of artworks, articles, books, papers, projects, websites, etc. [use Harvard referencing – see Cite Them Right (linked below)]. This list is something you will add to, continually.)
IDEA VOMIT
who am i
what do i do.
place
land
add people who are in cy in the video ( FILM STUFF IN CYPRYS)
use phone
talk in greek and use subtitles?
HOW MY CONTEXT IS COMPLEX AND SHOW MY NETWORK OF RELATIONSHIPS AND ENVIRONMENT.
philosophise my own perception of life
explore life like an outsider
WHAT IS MY PROCESS AS A CYPRIOT WOMAN
ARTIST
EMOTIONAL
GENUINE
SENSITIVE
FAMILY ORIENTED PERSON
MAYBE show the difference in lifestyle at home and here
THE DUALITY OF LEAVING HOME AND WANTING TO GO BACK BUT NOT WANTING TO LIVE THERE FOREVER
THE WARMTH OF FAMILY AND COMMUNITY AND EVEN FOOD AND WEATHER
tHE LACK OF RECOGNITION AS AN ARTIST
SEXISM
I BELIEVE IT SHOULD BE A NARRATED VIDEO! (EMMA CHAMBERLAIN STYLE)
sacrifice one lifestyle for the other.
I work and study online- USA QATAR CYPRUS LONDON
A SPLIT EXISTENCE
AN INTERCULTURAL LIFE. EVEN WITHOUT TRAVEL!!!
DIY search:
Liz Lerman’s Critical Response ProcessSM
NOTES:
Liz Lerman evolved a new approach to group critique on artistic works in progress. Critical Response Process is a 4 method that emphasises the values dialogue and the opportunity for artists to exercise a degree of control in the criticism directed al their work.
INTERVIEW BY NANCY STARK SMITH- ON- LIZ LERMAN(Choreographer).
this CRITICAL RESPONSE PROCESS- has 3 roles & 4 steps
THE 3 ROLES:
artist – OFFERS WORK IN PROGRESS FOR REVIEW
responders- COMITTED TO SUPPORTING THE ARTIST AND ENGAGE IN DIALOGUE
facilitator- INITIATES EACH STEP- KEEPS THE PROCESS ON TRACK- WORKS TO HELP THE ARTIST AND RESPONDERS TO USE THEIR TIME WITH FRUITFUL Q AND As.
NOW THE 4 STEPS:
STEP1: statements of meaning
Facilitator creates a space that will help artists see that what they have created touch/ influences another human being.
ASK
-what was stimulating? how did u feeL? what meaning do u make of what u saw?
how do you interpret what u saw? what was compelling for u?
STEP ONE ISNT ABOUT JUST ASKING FOR AFFIRMATIONS BUTTTTTT IT SHOULD BE FRAMED POSITIVELY 100%
STEP2: artist as Questioner
The creator asks quesions.
The more they clarify their focus the deeper the dialogue.
Facilitator may help probe the artist to dig deeper.
STEP3: Neutral Questions from Responders
Responders ask Artist informational/ factual questions.
it can help, wben first introducing ihe Process, for the facilitator to lead the group in practicing how to form neutral questions in response to a hypothetical work of art (not the piece under review)
Neutral questions example: What kind of texture were u going for??
STEP4: permissioned opinions
Facilitator invites opinions.
responders first name topic of the opinion and the artist gives permission on wether or not they should state it.
” I HAVE AN OPINION ABOUT___________ WOULD U LIKE TO HEAR IT”
What I experience is that people get up from Critical Response and they cannot wait to go back into the studio. That is my definition of good feedback. —Liz Lerman
Nonviolent Communication (NVC) is a communication and conflict resolution process developed by Marshall B. Rosenberg in the 1960s. It is often referred to as “compassionate communication” and is designed to help people communicate more effectively, express their needs and feelings, and resolve conflicts in a nonviolent and empathetic manner. NVC is based on the idea that the way we communicate can either foster understanding and connection or contribute to misunderstanding and conflict.
The key components of Nonviolent Communication are:
Observation: NVC encourages individuals to make clear, objective, and nonjudgmental observations about a situation. Observations are distinct from evaluations, as they focus on what is actually happening rather than offering subjective interpretations.
Feelings: NVC emphasizes identifying and expressing one’s feelings associated with a particular situation. This helps individuals connect with their emotions and communicate them to others.
Needs: NVC highlights the importance of recognizing and articulating one’s needs and the needs of others. Understanding and expressing these needs can help in creating a common ground for addressing conflicts.
Requests: NVC promotes making clear and concrete requests rather than demands. A request is a specific, actionable expression of how one would like a need to be met. It leaves room for negotiation and collaboration.
The ultimate goal of NVC is to facilitate empathetic communication and to build connections between people, even in challenging or conflict-ridden situations. It can be used in various contexts, including personal relationships, professional settings, and conflict resolution efforts. NVC is often applied in mediation, therapy, and communication training.
The process of NVC encourages active listening, empathy, and a focus on common human needs as a way to bridge the gap between individuals with differing viewpoints. By applying the principles of NVC, people can better understand one another, find common ground, and work together to meet their shared needs while respecting individual differences.
Nonviolent Communication has been influential in the fields of conflict resolution, psychology, and communication and has been used in diverse settings to promote better understanding and collaboration.
DIY Search:
There were a lot of sources and articles to read but here is my summaey of what you may read online on the topic of ” the practise of giving feedback”
The practice of giving feedback to improve teaching is an essential aspect of education. Effective feedback can help educators enhance their teaching skills and, in turn, improve the learning experience for students. Here are some key points related to giving effective feedback to improve teaching:
Constructive and Specific Feedback: Effective feedback is constructive and specific. Rather than vague or overly critical comments, feedback should offer clear suggestions for improvement. For example, instead of saying, “Your lecture was boring,” you might say, “Incorporating more interactive elements into your lecture could make it more engaging.”
Timeliness: Feedback is most effective when it is delivered in a timely manner. It’s important to provide feedback shortly after the observed teaching session so that the details are fresh in the teacher’s mind.
Goal-Oriented: Effective feedback should be aligned with specific goals and objectives. Teachers and evaluators should have a shared understanding of what is expected in terms of teaching quality.
Focusing on Strengths and Weaknesses: Feedback should acknowledge both the strengths and weaknesses in a teacher’s performance. Recognizing what a teacher is doing well can be just as important as addressing areas that need improvement.
Engagement and Interaction: Encouraging engagement and interaction in the classroom is often a key component of effective teaching. Feedback may address how a teacher manages class discussions, encourages student participation, and creates an interactive learning environment.
Incorporating Student Feedback: Student feedback can be a valuable source of information. While students may not have expertise in teaching, their perspectives on the learning experience can provide insights into the effectiveness of a teacher’s methods.
Professional Development: Effective feedback should be seen as a part of ongoing professional development. It should be a tool for growth and improvement, rather than a judgment or critique.
Tailored Feedback: Feedback should be tailored to the individual teacher’s needs and the context of the classroom. What works for one teacher or class may not work for another, so feedback should be personalized.
Reflective Practice: Encouraging teachers to reflect on their own teaching is a valuable part of the feedback process. Self-reflection can lead to meaningful improvements.
Encouraging a Growth Mindset: Effective feedback should promote a growth mindset, where teachers see challenges as opportunities for development rather than fixed limitations.
In summary, the practice of giving feedback to improve teaching should be a thoughtful and supportive process that helps teachers enhance their skills and create more effective and engaging learning environments for their students. It’s a collaborative effort between educators and evaluators aimed at continuous improvement.
VIDEO:
Our next task is to watch a video= A documentary on giving constructive feedback!
Ask yourself: What might a lite version of this entail if you only had 15 minutes to provide a cohort with feedback on the work-in-progress they’re developing for your MA?
Artistic research, as discussed by Barbara Bolt, likely explores the idea that artistic practice itself can be a form of research. This approach challenges traditional notions of research, which are often text-based and theoretical, by considering artistic practice as a valid way of generating knowledge and understanding.
In a performative paradigm of artistic research, the emphasis is on the act of creating, performing, or exhibiting art as a form of research inquiry.
This means that the art-making process is not just a means to an end (the artwork) but is, in itself, a way of exploring and generating new insights.
This approach blurs the boundaries between artistic creation and research, suggesting that art is a way of asking questions, experimenting, and investigating ideas. It values the performative aspect of art, where the process of creating and presenting the work is seen as a form of communication and a source of knowledge.
Barbara Bolt’s work likely delves deeper into these ideas and their implications for the field of art and academic research. If you are interested in the specific details and arguments presented in her article, I would recommend accessing the article directly through academic sources or libraries.
IN DETAIL
the idea of “performativity” in the arts, particularly in contemporary discussions around visual and performing arts. This concept suggests that all art is inherently performative, meaning it does something or creates an effect. This shift in thinking has been called the “performative turn.”
The author differentiates between “performance” and “performativity.” While performance refers to deliberate acts in art, performativity focuses on the repetitive nature of art creation. Art practice is seen as a repetitive process that enacts or produces “art” as its effect. This repetitiveness conceals the conventions of art.
t artistic research can be seen through the lens of performativity, where repetition and iteration are central to understanding how “the new” emerges in art. It’s a different way of thinking about artistic practice and research compared to traditional qualitative and quantitative research.
The text EMPHASIZES the differences in how art and science establish “truth claims.” In scientific research, truth is based on objective measurements and calculations, leading to replicable results. Artistic research, on the other hand, is often seen as subjective and not easily replicable, making it challenging to conform to scientific standards.
The text also explores the concept of performativity, which focuses on the idea that artistic research doesn’t merely describe something but actively does something in the world. It argues that the effects of artistic research are multi-dimensional, including changes in material practice, methodology, and audience experiences. The performative aspect of art has the power to transform how we perceive the world, and the text suggests that it should be valued and assessed differently from traditional scientific research.
The author contends that artistic research should not be measured solely by scientific standards of replicability and objectivity but should be evaluated based on its unique transformative impact on the art world and beyond.
Make a (private) audio recording of you introducing yourself (2 – 8 mins). Address the W5 (who, where, when, what, why). Listen to your interview several times over several days. Ask yourself: Why have I chosen to focus on these things and not others? What does this say about me and my performance of self (see Goffman’s ‘presentation of self’)? How might I present myself differently? Why might I wish to do this? Reflect on this experience and the insights you’ve gained in your blog. If appropriate, you may choose to upload your audio recording and/or quote parts in your post. (about 1 hour)
READ THE FOLLOWING TEXT:
PRESENTATION OF SELF IN EVERYDAY LIFE Erving Goffman
in this text the author stresses how individuals, when in the presence of others. seek to convey information about themselves and gather information about others.
This information defines the social situation they are in, their roles and relations and informs how people will interreact with each other. People use various cues, such as appearance, behavior, and communication, to form impressions of each other. The text highlights the importance of both intentional and unintentional expressions in shaping these impressions. It also explores the asymmetry in communication, with individuals being aware of only part of their own communication, while others use both controllable and uncontrollable aspects to evaluate these impressions. The text provides examples of how people manipulate their expressions to create specific impressions.
Individuals can control and manipulate the impressions they project when they interact with others. It mentions that individuals aim to create a particular image and maintain a working consensus in their social interactions. The passage also talks about the importance of first impressions, preventative and corrective practices to avoid disruptions of projected impressions, and the use of humor and anecdotes to cope with embarrassing situations.
In summary, the passage primarily focuses on the strategies and techniques individuals use to manage the impressions they make on others during face-to-face interactions, and how these interactions involve various roles, routines, and social relationships. It also touches on the moral dimension of these projected impressions.
Goffman explores the concept of dramaturgy, where people are seen as actors on a stage, performing different roles to create specific impressions. The text emphasizes the importance of controlling one’s projected image and maintaining a working consensus in social situations. It also touches on the role of first impressions and the use of defensive and protective practices to avoid disruptions in projected impressions.
PERFORMATIVE BEHAVIOUR IN ORDER TO SOCIALLY CREATE GOOD IMPRESSIONS- MASKING!
William James, delves into the idea that the self is composed of various interconnected subsystems. These subsystems include the spiritual, material, social, and individual levels. James describes how these levels interact and influence one another, contributing to the complexity of the self. He highlights the dynamic nature of the self and its constant adaptation to changing social and environmental factors.
During my FORAGING for “system’s thinking” information, I found this very interesting text:
"Principles of Systems" by Jay W. Forrester
Here are my notes.- that I believe could help in an Entrance/ Exit interview as well.
Systems Thinking: Forrester introduces the concept of systems thinking, which involves understanding the interconnections and feedback loops within a system. Systems thinking helps in seeing the bigger picture and identifying the dynamic relationships between different parts of a system.
Feedback Loops: He emphasizes the significance of feedback loops in understanding system behavior. Feedback loops can be either reinforcing (positive) or balancing (negative). Positive feedback loops amplify changes, while negative feedback loops stabilize and regulate a system.
Time Delays: Forrester discusses the role of time delays in systems. Delays in feedback can lead to oscillations or even instability. Understanding time delays is crucial in managing and improving systems effectively.
Stocks and Flows: He introduces the concept of stocks and flows. Stocks represent accumulations, while flows represent the rates of change. This dynamic relationship between stocks and flows is vital for grasping system behavior.
Non-linearity: Forrester points out that many real-world systems exhibit non-linear behavior. Small changes can lead to significant, often unexpected outcomes. Understanding non-linearity is crucial for accurate modeling and management of complex systems.
Causality: He discusses how traditional linear causality might not apply in complex systems. In many cases, causality is circular, and actions taken to address a problem can have unintended consequences elsewhere in the system.
Policy Resistance: Forrester introduces the concept of policy resistance, where well-intended policies to address issues in a system can often result in unexpected and counterproductive outcomes. Understanding this resistance is important for effective policy-making.
Mental Models: He highlights the importance of mental models or the way individuals perceive and understand the world. Recognizing and challenging mental models is essential for adapting to complex systems.
The text underscores the need to think in terms of systems and to understand the intricate relationships, feedback loops, and non-linear behavior within them. This perspective is valuable for managing complex systems, making informed decisions, and addressing problems with a long-term, holistic approach.
Becker, B. (2004) ‘Hans Ulrich Obrist interview with Howard Becker’
Howard Becker explains that he uses interviews when he can’t directly observe a situation and is interested in understanding how people organize themselves to accomplish tasks, particularly in the context of art creation.
Emphasizing the importance of listening in effective interviewing.
Value of asking open-ended questions and avoid long, leading questions.
They discuss the concept of “participant observation,” where researchers immerse themselves in the lives of the people they are studying.
The conversation transitions to the idea of “art happening,” and HB shares insights into his upcoming book “Art from Start to Finish,” which explores how art is completed and how people influence that process. They discuss the idea that art is often “abandoned” rather than finished.
Use of Interviews: HB uses interviews as a research method to understand how people organize themselves to achieve tasks or create art. He highlights the value of direct observation but acknowledges that interviews are necessary when observation is not feasible.
Interviewing Style: HB prefers an open-ended and conversational style in his interviews. He emphasizes the importance of listening and avoiding long, leading questions. His approach is pragmatic, focusing on obtaining concrete, realistic accounts from interviewees.
Participant Observation: The concept of participant observation involves immersing oneself in the lives of the people being studied. This approach allows researchers to gain a deep understanding of their subjects by being present and witnessing events as they unfold.
Art and Completion: The discussion of “Art from Start to Finish” highlights the idea that art is never truly finished but often “abandoned.” The book explores how the completion of art is influenced by various factors, including those outside the direct creative process.
Monde de l’Art: HB’s interpretation of “monde de l’art” encompasses everyone who contributes to art, not just artists but also those involved in the production process, such as suppliers, producers, and more. This broader perspective differs from Bourdieu’s approach, which focuses on the cultural field.
Photographers can convey sociological insights even if they don’t explicitly state them.
NOTES FROM CLASS 25/10/2023
Firstly: I’ve volunteered myself to be Student Representative.
At the meeting on 20th of November, I should represent our course and year: Talk about enrollment issues ( Things that come up differently and more difficult because we are online).
INTERVIEWS
Firstly, why are we doing Interviews?
ENHANCING OUR CAPACTIY TO UNDERSTAND AND SYMPATHISE.
ENHANCING OUR ABILITY TO CAPTURE AND REPRESENT THE OTHER & OUR SELVES.
Look up
What is Interviewing?
How do you represent an Artist through an interview?
– I am interviewing Alia –
– And I am interviewed by Iris-
This Interview will be an Entrance Interview for our course.
Why are you here?
Why have you joined this course?
What are your expectations?
What do you want to accomplish?
Get written consent that we are both happy w/ the Interview?
Systems thinking is an approach to understanding and solving complex problems by examining them as integrated systems rather than isolated individual components. It’s a way of thinking and modeling that considers the relationships and interactions between various elements within a system. Here are some key points about systems thinking:
Holistic Perspective: Systems thinking looks at the whole system, including its parts and their interconnections, rather than analyzing isolated components separately. It emphasizes the interconnectedness of elements within a system.
Feedback Loops: Systems often involve feedback loops, which can be either reinforcing (positive feedback) or balancing (negative feedback). These loops play a crucial role in how systems behave over time.
Emergent Properties: Systems thinking acknowledges that the interactions among components can lead to emergent properties – outcomes or behaviors that are not immediately obvious from looking at individual elements.
Cause and Effect Relationships: Systems thinking explores the dynamic cause-and-effect relationships within a system. It’s not just about identifying linear causality but understanding how various factors interact and influence each other.
Boundaries: Systems thinking often defines boundaries for the system under consideration. These boundaries help delineate what’s inside the system and what’s outside. What is considered relevant to the system is within the boundaries.
Systems Diagrams: Diagrams, such as stock-and-flow diagrams or causal loop diagrams, are commonly used in systems thinking to visualize and model the structure and behavior of a system.
Interdisciplinary: Systems thinking is an interdisciplinary approach that draws from various fields, including engineering, biology, ecology, management, and social sciences. It can be applied to a wide range of domains to address complex challenges.
Problem Solving: It’s often used as a problem-solving method to address issues like environmental sustainability, organizational change, healthcare delivery, and more.
Learning Tool: Systems thinking is also employed as a tool for learning and education. It helps individuals and organizations better understand complex issues and make more informed decisions.
Pioneers: Early pioneers in systems thinking include Jay Forrester, who developed system dynamics, and Donella Meadows, known for her work in sustainability and the book “The Limits to Growth.”
Overall, systems thinking is a valuable approach for understanding and managing complex, interconnected systems in various fields, enabling a more comprehensive and effective way to address challenges and make decisions.
TASK 1:
Watch the short video: Swansan, J. Systems Thinking.
The point of this exercise is to introduce you to systems thinking and the relevance it may have for you and your work on the course.
What is systems thinking
Instead of approaching the issue with a cause-effect solution, You combat it by “zooming out” and looking at more external factors that cause the issue.
Systems thinking, means tackling an issue in a broader sense and from all possible directions/causes.
For example, why is obesity an issue in the US? Is it merely because people dont exercise? OR could it be explored more culturarly like=
the qualitty of their food
the price of junk food vs healthy whole-food
accessibility to naturally sourced materials
Non walkable cities
No motive for exercise in their community (cycling/sports)
DNA
So if you just tell these people to eat less and excercise, It could work for some, but not at a level where you would see change in your community.
Systems thinking means advocating for more walk-friendly neighborhoods in this case, creating events in the community that help people get together to excercise in a fun way, creating parks, bicycle lanes. –
In parks and rec Lesley tries to ban super unhealthy sports drinks and make people eat healthier, tries to create a park. – She approaches the issue with systems thinking! -melissini’s note lmao
How would i go about aproaching my practise in a “systems thinking” way
Maybe by psychoanalyzing my practice? Although I do not think that is very productive for me.
Why do I paint the way I paint? It just comes to me. I will try to open my mind to this question and come back to it though.
Okay so I have tried to answer this question without putting my self in boxes. I don’t know if its easy.
Why do I create using Oil as my material? Because its easy to blend, change, work over, It doesn’t look cold and still (like acrylic can sometimes look that way to me). It allows for you to work on it again and again, sculpting something without needing to erase a “mistake”. Everything looks moving and blurry and fuzzy, like your interpretation of something in your head (like in your dreams) instead of a picture.
Why do I Paint people, faces? Why do I have a personal style in the aesthetics I create? I don’t know. I observe and my creations are my interpretation of what i see. This is how I see things and maybe you can tell what I focus on.
I will try to think of this question more. I do like to paint and see my culture in what I paint. I have never painted a blue eyed blonde person for example. But that’s only because it hasn’t yet happened, I haven’t felt that aesthetic deeply in order to represent it YET. And maybe those particular aesthetics don’t interest my subconscious as much.
When I paint I don’t look at something for inspiration, I don’t have a reference picture ( I feel that reference pictures are like borders in my head, blocking my creativity and only allowing me to copy what i see). The two factors that tell me what to paint are how I feel and what I see.
I put on music I like, Most times music from my childhood and I paint, I follow the shapes I like into what they will lead me to create, I put colours and create relationships and work accordingl to what I see after each new stroke. If I like what I have put on the canvas then I work around it, If not then I add what I like and look at the piece from afar a a whole, until I like what I see.
For now that is how I analyze my process and motive with my practice.
I don’t think much when I create.
I feel as though the time I am not creating is the time to think, and cultivate emotions and philosophies that then come to you subconsciously when painting.
I believe if I am thinking of what I am creating and why, and what “message” I want to give out, consciously and on purpose, then the work looks too literal and “childish”.
To me the time spent not working on a piece. The time spent with your friends, going about your day, arguing, laughing, experiencing the ups and downs of your day to day and the work that goes into reacting and understanding your emotions and relationships with others IS still work you do for your practice.
It just isn’t too literal and obvious. Because your art is a projection of your emotions. Not your thoughts. And what you cultivate in that day to day is your entire personhood and how you handle those emotions.
DAAAAAAAMN. i DID THAT!
I realize now after reading ALL OF THAT. That I was able to sort of understand my practice better, through Systems Thinking. I didn’t see that coming. Well played Marsha.
TASK 2:
look up context and pictures of leaning(??? )
Here’s a picture of leaning —->
Leaning has a lot of possible meanings? Do we mean an inclination to do something? Do we mean to depend on someone?
I foraged (slay) in Google scholar by looking up the word “Leaning” and what do you know. The library angels are at WORK.
The first thing i found is this book titled
Leaning:
A Poetics of Personal Relations
ByRonald J Pelias
And here is what the book is about:
Ronald J Pelias explores leaning as a metaphor for analyzing interpersonal interaction. Bodies leaning toward one another are engaged, developing the potential for long-lasting, meaningful relationships. But this ideal is not often realized. Pelias makes use of a wide variety of tools such as personal narrative, autoethnography, poetic inquiry and performative writing in his exploration of the physical space of relationships. This deeply personal work is essential for scholars and students of qualitative research and autoethnography.
Turns out the text i found is literally the next task for reading. OOP
Lets start with this text then.
PROLOGUE NOTES:
Leaning: How bodies place themselves in relation to others.
Leaning towards others carries the greatest potential for meaningful relationships.
When I lean, I am an attentive, engaging listening presence.
“I find myself always asking how my body stands in relation to others” “I seek a comfortable fit, Although that’s not always possible” “When I lean in, I want to hold a positive sense of myself. If I don’t I want to pull away”
(THIS IS ALL BODY LANGUAGE, SENSUAL INFORMATION- in relation to week 1’s findings)
Cultural markers= RACE GENDER RELIGION ETC encourage/ discourage particular leanings.
I find myself leaning towards those who share my ways of seeing. Our bodies come together and forge alliances.
We bond SETTLE together, armed with the strength of our commonality.
IN PARTNNERSHIP, WE RESIST THOSE WHO MIGHT PUSH US IN DIRECTIONS WE’D RATHER NOT GO.
So leaning WITH others then becomes a personal comfort and a political force!!
Affinity (comfortable compatibility) breeds conviction and institutionalizes power
( Not sure what this means?)
Affinity comes with the risks of personal blindness, political indoctrination, empty associations.
It comes as little surprise, then, that I find myself leaning on others. To stand, I may need help. To speak, I may need guidance. To be, I need love. I depend upon others for their support, their companionship.
I need others, and I want others to need me, to lean on and with me, to find my body a place of trust and comfort, a place where love might flourish.
LANGUAGING RELATIONSHIPS.
TASK 3:
READ:
Day 10: Touch from Olsen, Andrea (2020) Body and Earth: An Experiential Guide.
The importance of touch and the body
ΑΦΗ !!
To know through touch … is to understand better.
Touch provides immediate physical objective information, basic to our survival, discerning weight, size, texture, and temperature.
Communication is observed in hands, whether in touch or in gesture, sometimes in direct contrast to words.
Intention is expressed through the body.
touch deprivation affects physical and emotional development and can result in retardation or death.
The text had a few excercises to do that would remind you of the importnace of the sence of touch.
One of them is to caress an object you hold dear, with your eyes closed and then with your eyes open. What associations do you make?
When my eyes are closed I only think of the way I perceive the objects, not its actual look, I am reminded of emotions and memories more than I am reminded of the exact geometry and look of the object. Not looking at the object made me caress it carefully and realise a few textural details I had never payed attention to.
WHEN WE TOUCH SOMETHING WE ARE ALWAYS TOUCHED BACK!
READ:
Paterson, M. (2009) ‘Haptic geographies: ethnography, haptic knowledges and sensuous dispositions’, Progress in Human Geography, 33(6): pp. 766-788.
This paper is the first overview of the treatment of haptic knowledges in geography, responding to bodily sensations and responses that arise through the embodied researcher.
Haptic= relating to touch.
The author discusses the limitations of language in expressing these experiences and emphasizes the difficulties arising from the dominance of visual metaphors in Western culture.
The article introduces the concept of “haptic geographies,” delving into the haptic, or tactile, aspects of embodied experiences and their implications for research methods. It traces the development of “haptic knowledges” in the context of fieldwork and explores the somatic sensations involved in bodily activities. The author clarifies the term “haptic” beyond cutaneous touch, encompassing internally felt bodily sensations.
The text also examines the historical development and interconnectedness of the haptic system’s components, including kinaesthesia (sense of movement), proprioception (sense of bodily position), and the vestibular system (sense of balance). The overarching goal is to provide a more defined framework for understanding and incorporating haptic knowledges in empirical research.
utilize the body as a “research instrument” (Crang, 2003) or a “tool for gaining insights into research subjects and their geographies” (Longhurst et al., 2008)
In western societies we put a focus more on what we see than what we feel with our bodies. OCULARCENTRISM.
The sensorium, defined as “the subject’s way of coordinating all the body’s perceptual and proprioceptive signals,” is culturally variable and continuously shifting (Jones, 2007: 8). It is influenced by societal rules, technological mediation, and the physical environment. This variability not only impacts the reflexivity of the embodied ethnographer in fieldwork but also influences the interpretation of linguistic constructions, cultural variations, and power relations.
Stoller (2004: 820) suggests that sensuous descriptions enhance the clarity and force of ethnographic representations and the analysis of power relations. Acknowledging sensuous ethnographies as potentially groundbreaking opens up innovative possibilities for thinking, writing, and reflecting on previously overlooked aspects of human experience.
Sensuous ethnography, in bearing witness to social trauma, abuse, and repression, has the potential to shock readers into newfound awareness.
In summary, the renewed attention to sensuous scholarship offers a rich avenue for understanding and representing human experience beyond the visual bias, acknowledging the diverse ways in which individuals engage with and make sense of their surroundings.
Performing ethnographies capture the bodily experiences of walking, with examples illustrating the fluidity and ease of movement discussing how sensory experiences are intertwined during this everyday activity.
The author talks about how we understand feelings and experiences in a way that doesn’t rely on traditional ways of explaining things. They focus on how our sensations and feelings change over time and how new technologies play a role.
It introduces the idea that our feelings are not just about immediate sensations but also about how our bodies have learned to feel over time.
The text also says that touch is not just about feeling things but is a way of knowing and performing. It talks about how touch is connected to our memories and helps us make a connection with places.
To wrap up, the writer suggests three things to think about for future studies on haptic geographies. First, researchers can share their bodily feelings using introspective methods, sort of like looking inside themselves. Second, it’s important to understand that experiences can be complex and different, so we shouldn’t stick to standard terms. We should explore the actual experience of doing things during fieldwork.
TEAMS MEETING WITH ANNA MACDONALD/ MA PERFORMANCE SOCIETY:
Introducing Somatic research methods.
We watched 2 videos that showed multiple peoples literal soma-σώμα ( Greek for body) leaning on one another.
Also objects leaning on eachother. A man being entrapped by a contraption that is made of objects leaning and pulled onto one another. ( an old fashioned animal trap).
I do not particularly feel very moved by these examples as they get their point across quite literally but i really enjoy the conversation and multiple ways we can interpret the word leaning in each context.
We then performed multiple meditation exercises. While being instructed and guided through them by Anna. I meditate daily so I really enjoyed this exercise.
And lastly we all performed as leaning sculptures along 3 different objects. Performing is not at all how I express my self so this didn’t really my thing but I really enjoyed seeing the multple creative ways others interpreted leaning with their bodies.
Here is a poem i feel reflects how i interpret the meaning of this lecture.
“Δόξα στ’ ανθρώπου το κορμί! Στη σάρκα,
που σαν καλοκυβέρνητο καράβι
σιδερένιο στα παλάτια του πελάγου
βαστάει του ανέμου τους δαρμούς, του δρόμους
και τα λιοπύρια.Δόξα στα χέρια, ω χέρια προκομμένα,
σα σπαθιά δυνατά και σαν αλέτρια,
στα πόδια, που ματώνεστε περνώντας
τα φτερά, δόξα στο χορταριασμένο
βράχο του στήθους.
Το φέγγος του ματιού και του προσώπου
την αντρίκια ψυχή και του στομάτου
τ΄ οργισμένο τ’ ανάκρασμα δοξάζω,
των Ηρακλειδών τα ραβδιά, τα νιάτα
των Αντινόων.
Δοξάζω το κορμί, που αποτολμάει
στη μέρα αγνάντια ολόγυμνο, απ’ τ’ αρπάγι
άγγιχτο της ακάθαρτης Αρρώστιας,
θεϊκά να μετρηθεί με τη γαλήνη
των αγαλμάτων.
Στο κορμί δόξα, ρόδο της Υγείας,
και απέραντο χαμόγελο της Ύλης,
και σύγνεφο, που κλει τ’ αστροπελέκι,
στο Πνεύμα, πόγινε από πλάστης πλάσμα,
στο κορμί δόξα!
Στο κορμί δόξα, που και κείνο πλάθει
με την ορμή της πύρινης αγάπης
τα ωραία παιδιά, τα λιονταροθρεμένα παλικάρια,
τους πολέμους, τις νίκες, και τις πατρίδες!”
Unit 1: Curiosity and Place – Assessment Brief (about 15 mins)
MA Intercultural Practices: Guidance for Writing a Practice-based Research Proposal (about 15 mins)
MA Intercultural Practices: Blogging Guidance (about 15 mins)
MA Intercultural Practices: Peer-to-peer Entrance Interview Guidance (about 15 mins)
Assessment Brief:
In UNIT 1 we will explore our place and context through active searching and sharing.
What can you can discover is the cultural contexts within your geographical and personal heritage?
REFLECT AND TRACE.
In this blog I will document
-workshops
-fieldwork
-interviews
-discussions
-critiques
-curation
-reading
-practical art work
-self reflection through art
-research
Learning Outcome 1:
Demonstrate an advanced understanding of, or sensitivity for, the relationship between context, complexity, and connectivity. (AC: Enquiry) (UNESCO ESD: Systems Thinking Competency).
Assessed through 7-10 minute presentation of your Practice Based Proposal. (ONLY FORM OF ASSESMENT).
DEADLINE: MONDAY 4 DECEMBER.
Writing a Research Based Proposal:
When writing your proposal, ask yourself the following questions and use the various boxes to organise your thinking:
What ideas/interests are most relevant to me and how do these reflect my values?
How does this project build on and/or depart from my previous work (creative or other)?
Is my project feasible in the scope of my part-time MA? Consider, e.g. what the project aims to achieve. No artist can fully engage with huge issues such as ‘truth’, ‘society’ or ‘culture’. Be selective, close some doors. Declare your commitments as an aim that is supported by several objectives.
What is my field? What do I already know in this context and how will I deepen this knowledge and understanding through my research and/as cultural production? (e.g. primary research – visits to archives, libraries, galleries, museum collections, experimenting with new techniques, etc.)
What does this project need to come to fruition? What is required of me as a person/practitioner to support this becoming?
IN THIS 1000-1200 WORD ESSAY NCLUDE:
Your name and the working title of your project
Summarise your research question and rationale (50-100 words): What do you want to discover and why?
What steps do you need to take to achieve your aim and objectives?
What practice-based/led and other methods will you use and why?
Influences/context(s): Which artists/designers/curators/performers/musicians/theorists/ philosophers/economists/geographers and so on who are key to your enquiry? (Your list should feature at least ten cultural producers. You may only reference two or three in proposal while featuring others in your bibliography.)
Identify what your project might need in terms of resources, materials and support. (Use bullet points to respond to this question).
Provide a bibliography of sources that are relevant to your research. (Begin with an indicative ten sources – a combination of artworks, articles, books, papers, projects, websites, etc. [use Harvard referencing – see Cite Them Right (linked below)]. This list is something you will add to, continually.)
Library Angel = The phenomenon of accidentally finding the content/ information/ text /material that you needed to read/ see.
Aesthetics has its root in the word = Αισθήσεις. (our senses).
Your experience with the world around you and your perception, through your body and your senses.
ART IS JUST PAYING ATTENTION AND FEELING?
The writer refused to take a flight to a conference he was hired to speak in because of the carbon emissions that the plane would emit.
Wouldn’t the flight still complete that journey with or without him on the plane? His absence changed nothing – Melissini
The writer’s close friend took his own life. Writer remarks that ” Despair never creates a revolution”.
Writer is sad that due to light pollution we wont be able to see the night full of stars at all soon ( in 2020). He remarks and questions the effect of corporate greed on our environment and the earth, and how the city will look when climate change hits hard.
“how can we really feel this all encompassing violence, this assault on our lives, our environment, our rights, our hearts, our minds? How can we comprehend with our gut this insane attack on all that is living by a system that prioritises things, abstractions, money?”
Many of us pretend that it is not happening, we distract ourselves to get through the day, we do everything we can to forget. Thou shalt pretend that nothing is wrong28, is the creed of the market that is god.
In 1994 I began to immerse myself in the direct action29 movements, taking my imagination away from what critic Suzi Gablik calls “the jails of the art world”30 and placing my body in the way of road building machinery and occasionally in the jails of her majesty’s police force. In those days those that spoke about the collapse of civilization and of capitalisms collective suicide were mostly the radical ecologist, the virulent anti-capitalists, the Earth First! protesters and a few obsessive reclusive scientists. Many would call them extremists disconnected from society, simplistic neo luddites, and their Cassandra like cries were ignored and ridiculed. Mainstream media rarely broadcast such millenarian fears and politicians and corporate leaders stubbornly refuted them. But something has changed over the last few years.
“The odds are no better than 50/50 that our present civilisation will survive”; when the Pentagon publishes reports describing European cities sinking beneath rising seas caused by abrupt climate change and a future where “warfare would define human life” as “desperate, all-out wars over food, water and energy supplies”31 erupt everywhere;
– Royal Society Professor at Cambridge University and Astronomer Royal, Martin Rees
A psychological study of holocaust survivors revealed that many of them refused to face the seriousness of the holocaust even while it was happening around them. One survivor recounted how his orchestra didn’t miss a single beat in the Mozart piece they were playing as they pretended not to notice the smoke from the synagogue being burnt down next door.
Meanwhile in the depths of the academy recent research in “neuro-economics” – which works out ways that neuroscience can understand economic performance – has shown that “people with certain brain lesions, which limited their capacity for emotion, felt less fear, took more risks, and made bigger profits than rivals in a laboratory-based gambling game”34. According to the logic of the market and terror35, success comes to those who have damaged their capacity to feel.
This is such an important point! – Melissini’s note
As artists and activists we are somewhat awake to atrocity, somewhat attuned to feeling, it’s often the fuel of our actions, the catalysts to our creativity and yet we also know that to feel too much is as paralyzing as feeling nothing at all.
What is the appropriate response to the suicidal insanity of our culture? What is our Response – ability? Answering it is the hardest thing – sometimes if I listen to my gut, my response is to wish I had the nerve to sneak out at night and burn down London’s financial district,
sometimes I dream of planting a beautiful community garden39 that provides food for my neighbourhood, sometimes I think the most important thing is to help build social movements and plan actions that make revolution irresistible, sometimes I think I should do as little as possible, just live in the moment mindfully40, try to be a good dad, live lightly and refuse to produce more stuff on this planet crowded with to many things and distracted by so much busyness.
I genuinely feel that artists DO feel stronger throughout all stages of our life. we care deeply. I didn’t specifically start to care and wake up to social issues at a time in my life. I always cared. even when i was too young and probably would have benefited from not caring. I am not saying i wasn’t a carefree child but I wasn’t immersed much in teenage life. i didn’t care much about what i should’ve cared about. i think as artists we are placed on this earth for this exact reason. to care deeply for things that don’t revolve around our own experience only. sometimes in my head i get frustrated with people who aren’t constantly craving to discuss and think about the environment, animals, people, classism WHATEVER. all of that. but i think its about UNDERSTANDING that we aren’t all born with the same priorities. and that’s why we don’t all have the urge to create. Creating IS about feeling. and creating IS about caring, and exploring the world around you thru your own lens. – Melissini’s note
I don’t want to make more images that tell the world about the atrocities of war; I don’t want to do a durational performance that points out the destruction of the biosphere; I don’t want to make art about issues, but in them, with them. I want an art that is immediate41, that is embedded in the issues themselves. An art that directly intervenes and attempts to transform the problem not illustrate it. I don’t want to represent things but to change them.
“Art loves to be incognito,” wrote the painter Dubuffet “its best moments are when it forgets what it is called.”
But it wasn’t enough just for the art to be incognito, the label artists should go as well, and so I eventually dissolved50 into social movements and applied creativity directly to acts of resistance – collective events, unsigned and unattributed to artists. An action would be planned like any performance piece, crowd movements choreographed like dance, protest strategies would be scrutinised with the detail of design, propaganda would be as beautiful and enlightening as possible. Elegance, detail and crafting were essential.
The writer began to realise that making the problematic stereotypes of “political activism” INCGNITO too would help him out. Like instead of a protest, a free party.
Instead of a boring march, bringing out radical publications that look like daily newspapers. Taking part in a riot that looked more like a carnival.
In the end the author is blessed by the Library angels and manages to find a book titled:
For the first week at MAIP our task was to read and reflect on our choice between a series of 5 texts.
The text I chose was:
Rethinking Ethnography: Towards a critical cultural politics, Dwight Conquergood.
——————————————————————————————
Here are My notes.
——————————————————————————————
Critical Theory: Commitment to unveiling the political stakes that control and anchor cultural practices and research.
Critical theorists are committed to the excavation of the political underpaintings of all representation, including the scientific.
Ethnography: A branch of Anthropology that deals with the description of specific human cultures by observing, interviewing and documenting.
The subject of characteristics of the human family.
Ethology: A branch of Anthropology that analyses human cultures and social structure.
(The science of the races of man, history, customs, institution, religion).
Ethnographers started to doubt “OBJECTIVE SCIENCE” since the collapse of colonialism.
Now its about unmasking the imperialist underpinnings of anthropology.
The fall of scientism and imperialism is a “Felix culpa” for Ethnographers.
Ethnography now PRIVILEDGES THE BODY.
The patriarchy created a mind > body hierarchy.
Body and flesh are linked with irrationality and are inferior to reason and logic.
female ≠
body
emotion
subjective
feminine
sensuality
open air hands on research methods
male
mind
reason
objective
masculine
rationality
cerebral research methods
VICTORIA AND ALBERT MUSEUM
Ethnographers do field work, which requires getting your body IMMERSED and PARTICIPATING in a culture in order to document and understand it.
ETHNOGRAPHY IS AN EMBODIED PRACTISE.
Practitioners experience at a bodily and intellectual level. You are subjecting yourself, your own PERSONHOOD to another way of life.
Bodily participation is recommended by Ethnographers in order to achieve a cultural understanding. You are encouraged to put aside the camera and join the people you are observing.
When we prioritize theory and analysis over experience and field work, we turn people into FLAT summaries, “SUBJECTS”, impersonal and dehumanized. Mere informants.
Radical Empiricism means prioritizing monologue DIALOGUE over MONOLOGUE
COMMUNICATION over INFORMATION
In order for Ethnographers to not be complicit with imperialism they need to think of themselves as communicators, not merely scientists.
Communication is about creating SHARED TIME. Instead of comparing DEVELOPMENT ≠ UNDERDEVELOPMENT
MODERNITY ≠ TRADITION
Sight and surveillance are dependent on detachment and distance.
We have to go from authority to vulnerability in order to truly explore a culture.
Contemporary GEO-POLITICS, (including de-colonization and multinational corporations) require thinking about boundaries not simply as barriers but as bridges and membranes.
The consequence of denying the idea of borderlands and zones leads us to the RETHINKING OF IDNTITY AND CULTURE AS CONTSTRUCTED AND RELATIONAL.
——THE RISE OF PERFORMANCE——
Capturing the struggle, PRAXIS and passion of a villages life.
Victor Turner used the language of drama and performance.
People are actors who represent roles and scripts. (culture is performative?)
Humans are culture inventing, social preforming, self transforming creatures.
Performance rendered research takes the BODY ( and its experience in time, place, and history) as both the Subject AND Method.
The Ethnographer must be a co- performer. Not a mere director and camera man (observer).
CULTURAL PERFORMANCES ARENT JUST REFLECTIONS OR EXPRESSIONS OF CULTURE.
THEY THEMSELVES ARE ACTIVE AGENCIES OF CHANGE REPRESENTING THE EYE WITH WHICH CULTURE SEES ITSELF.
Cultural performances aren’t simply epideictic spectacles (investigated historically within political contexts). They are profoundly deliberative occasions.
Rethinking the approach of documenting the world as text to the world as performance.
Conlcusions.
The performance Paradigm will be mosgt useful IF IT DECENTERS RESEARCH FROM MERE TEXT WITHOUT DISREGARDING IT.
The best is a balanced co-existence of the two.
Ethnography = Rhetoric.
Our current re-defining of Ethnography has been empowered by rhetorical critique of anthropological discourse.
Getting peoples LIVES onto paper ( or any other method that aims to REPRESENT them) has turned morally, politically and epistemologicaly DELICATE.
