Mike Kelley discusses being influenced by Öyvind Fahlström's complex, systematic works that combined diverse elements without being self-indulgent. Kelley was initially drawn to Fahlström's use of logic systems and mixing of facts with fictional elements. Though Kelley's own work has evolved to be more open-ended and interwoven between projects, he acknowledges the influence of Fahlström's approach of giving meaning to elements before abandoning them. Kelley values works that engage viewers in "spelunking" and misreading rather than accepting surface interpretations.
Stefan Blom is a South African artist known for his politically and socially charged sculptures. His upcoming solo exhibition at Commune 1 gallery features work he has developed over several years that addresses themes of gender, politics, and personal experiences with racism and conservatism in South Africa. While some pieces are revivals of earlier works, the prolonged development period has allowed for greater maturity and exploration of the concepts. Blom sees his artistic process as cathartic and a way to communicate his views to others who relate to the challenges of living in contemporary South Africa. He hopes to provoke an emotional response rather than intellectual conversation through his work.
The learning experiences that children have in our classrooms should resemble that early stage of learning. How can this be accomplished? Through games, songs, chants. In this way, we foster learning situations in which children can succeed in acquiring a second language
This document provides guidance for students to create a commonplace book over the summer break. It instructs students to use the book to bring together thoughts, ideas, drawings, and objects of interest in an analytical, diary-style format. The commonplace book will help students discover and develop their unique artistic voice and stance. It should be professionally compiled and catalogued. Students are prompted to question what they are looking at and why, and how to record this information. The goal is for the book to become a resource for future narrative and drawing projects and help students' work begin to "speak ventrilloquillistically."
The document discusses several influential figures and theories related to graphic design, including Herbert Bayer and the Bauhaus movement, Laszlo Moholy-Nagy, Gestalt principles, and Ellen Lupton. It provides background on Bayer's work developing the Bauhaus typographic style and Moholy-Nagy's influences from modernist art movements. Gestalt principles of visual perception like similarity, closure and figure/ground are explained. Ellen Lupton's influence on establishing graphic design as a respected field and encouraging designers to engage with social and political issues is noted.
The document discusses several influential figures and theories related to graphic design, including Herbert Bayer and the Bauhaus movement, Laszlo Moholy-Nagy, Gestalt principles, and Ellen Lupton. It provides background on Bayer's work developing the Bauhaus typographic style and Moholy-Nagy's influences from modernist art movements. Gestalt principles of visual perception are explained. Ellen Lupton's work theorizing graphic design is cited, noting her view that designers engage politically and globally. Podcasting theory is discussed, highlighting how the medium has grown in popularity and respect.
Bookness refers to considering how elements of books are incorporated into artworks even if they are not traditional book formats. It includes ideas, materials, production processes and functions related to books. The document discusses how book arts can take non-traditional forms like dance, film and artworks that reference concepts of books without being physically book-like. It provides several examples of artists who have explored bookness in their work and pushed the boundaries of what constitutes a book.
This document analyzes and summarizes three contemporary Japanese artworks: Tetsuya Ishida's "Strange World", a surreal painting depicting a man with faces covering his body; Masayo Odahashi's "The View Inward", a quiet glass sculpture of a girl in reflection; and Chiho Aoshima's "A Pink Dream", a colorful print mixing childhood imagery with skulls. While different stylistically, the works all express aspects of human nature and experience through abstract yet meaningful representations of modern life.
Stefan Blom is a South African artist known for his politically and socially charged sculptures. His upcoming solo exhibition at Commune 1 gallery features work he has developed over several years that addresses themes of gender, politics, and personal experiences with racism and conservatism in South Africa. While some pieces are revivals of earlier works, the prolonged development period has allowed for greater maturity and exploration of the concepts. Blom sees his artistic process as cathartic and a way to communicate his views to others who relate to the challenges of living in contemporary South Africa. He hopes to provoke an emotional response rather than intellectual conversation through his work.
The learning experiences that children have in our classrooms should resemble that early stage of learning. How can this be accomplished? Through games, songs, chants. In this way, we foster learning situations in which children can succeed in acquiring a second language
This document provides guidance for students to create a commonplace book over the summer break. It instructs students to use the book to bring together thoughts, ideas, drawings, and objects of interest in an analytical, diary-style format. The commonplace book will help students discover and develop their unique artistic voice and stance. It should be professionally compiled and catalogued. Students are prompted to question what they are looking at and why, and how to record this information. The goal is for the book to become a resource for future narrative and drawing projects and help students' work begin to "speak ventrilloquillistically."
The document discusses several influential figures and theories related to graphic design, including Herbert Bayer and the Bauhaus movement, Laszlo Moholy-Nagy, Gestalt principles, and Ellen Lupton. It provides background on Bayer's work developing the Bauhaus typographic style and Moholy-Nagy's influences from modernist art movements. Gestalt principles of visual perception like similarity, closure and figure/ground are explained. Ellen Lupton's influence on establishing graphic design as a respected field and encouraging designers to engage with social and political issues is noted.
The document discusses several influential figures and theories related to graphic design, including Herbert Bayer and the Bauhaus movement, Laszlo Moholy-Nagy, Gestalt principles, and Ellen Lupton. It provides background on Bayer's work developing the Bauhaus typographic style and Moholy-Nagy's influences from modernist art movements. Gestalt principles of visual perception are explained. Ellen Lupton's work theorizing graphic design is cited, noting her view that designers engage politically and globally. Podcasting theory is discussed, highlighting how the medium has grown in popularity and respect.
Bookness refers to considering how elements of books are incorporated into artworks even if they are not traditional book formats. It includes ideas, materials, production processes and functions related to books. The document discusses how book arts can take non-traditional forms like dance, film and artworks that reference concepts of books without being physically book-like. It provides several examples of artists who have explored bookness in their work and pushed the boundaries of what constitutes a book.
This document analyzes and summarizes three contemporary Japanese artworks: Tetsuya Ishida's "Strange World", a surreal painting depicting a man with faces covering his body; Masayo Odahashi's "The View Inward", a quiet glass sculpture of a girl in reflection; and Chiho Aoshima's "A Pink Dream", a colorful print mixing childhood imagery with skulls. While different stylistically, the works all express aspects of human nature and experience through abstract yet meaningful representations of modern life.
This document summarizes and critiques a scientific journal article on biological determinism and homosexuality. It discusses how claims of biological bases for differences in gender and sexuality have historically been used to justify social hierarchies. The document then analyzes a specific study on differences in the corpus callosum between men and women, arguing it was based on a small sample size and its findings were contradicted by later studies with better methodologies. Finally, it closely examines and critiques a study on brain differences between heterosexual and homosexual men, identifying flaws in its premises, sample size, and conclusions.
Hoe werkt de methode Feed Forward Stories voor onderzoek doen en beleidmaken voor maatschappelijke vraagstukken? Op 1 oktober presenteerde Kennisland de tussentijdse resultaten van jongLAB: een social lab om leef- en systeemwereld rond jongeren in Nijmegen dichterbij elkaar te brengen.
The document discusses the concept of politics and argues that it is an unhelpful term because everything can be considered political. It asserts that defining certain issues as "political" vs "personal" serves to exclude certain groups' perspectives from important political discourse. It analyzes how the expansion of voting rights in the U.S. to all white males simultaneously narrowed the definition of who constituted the political community, cementing the exclusion of women and African Americans. The document concludes that the idea of objective politics is false and politics will always involve prioritizing some groups' interests over others.
The document discusses educational opportunities in virtual worlds like Second Life. It summarizes some projects and simulations conducted at Loyalist College, including a blended learning border crossing simulation. Student feedback indicated the simulation felt realistic and allowed them to practice skills in an immersive virtual environment. The document also notes that many young people today are growing up socializing and playing in virtual worlds, showing an opportunity to engage digital natives through virtual education.
Podcasting allows people to subscribe to audio or video files from websites and listen to or watch them on mobile devices like iPods. The first podcast was created in 2005 and allowed people to listen to audio from blogs on their iPods. Since then, podcasting has grown significantly with over 500,000 people downloading podcasting software and over 2,000 available shows by 2006. Podcasting provides advantages like allowing people to access audio and video content on the go, see detailed statistics on audience, and create unlimited applications. Wordpress is a tool that can be used to easily create podcasts by building a blog website and adding plugins for features like audio, video, feeds, and audience metrics.
Viral, Buzz & Influential marketing : How to adopt marketing 2.0Emmanuel Vivier
Emmanuel Vivier, CEO & cofounder of Vanksen (buzz + digital + advertising agency) explains here how to adopt marketing 2.0 (buzz, viral, word of mouth marketing, social media, guerilla marketing...). To discover more about the subject, check Vanksen blog : http://www.culture-buzz.com
Viral, Buzz & Influential marketing : How to adopt makrting 2.0
My Second Life didn't turn out the way I thought it would: Managing expectati...Ken Hudson
This document summarizes Ken Hudson's presentation on managing expectations for teaching and learning in virtual worlds. Some key points from virtual worlds include the sense of self, the death of distance, and the power of presence. Studies show that behaviors in virtual worlds can transfer to real life. Loyalist College piloted virtual world simulations for the Canadian Border Services Agency that led to improved grades and testing success compared to traditional teaching methods. Other organizations are also using virtual worlds for training purposes.
The document discusses the rise of crowdfunding and social media. It notes that crowdfunding has grown exponentially from raising $5000 in funds in 2009 to over $25,000 in funds today. Social media plays a key role in crowdfunding's success by allowing projects to engage supporters and share their stories and progress. The document outlines attributes of successful crowdfunding projects like having a compelling story and emotional connection, as well as tips for implementation.
Making Money on Android - Droidcon London 2010Volker Hirsch
The document discusses creating a mobile gaming platform that connects players through social features like profiles, leaderboards, achievements and virtual currencies. It proposes integrating these social elements across games and platforms to give players a unified gaming experience and home for their profiles. The platform would use these social features and a virtual currency system to encourage player engagement and facilitate in-app purchases and a freemium business model.
This document discusses the "Blues Aesthetic" and the "Black Aesthetic" as political expressions of African American culture. It argues that the Blues arose in the late 19th/early 20th century as a secular expression of African American musical culture that summed up their lives and history. The Blues reflects earlier African American musical developments and forms a reflection of post-Civil War African American culture that was no longer limited to religious references or social restraints of slavery. The document also discusses how the Black Aesthetic is rooted in ancient African animist beliefs and emphasizes continuity, endlessness, and the interconnection of all things. It traces how aspects of ancient African culture and aesthetics are reflected in various elements of African American
The slides to my talk on "Conquering New Spaces: Bringing Social to Mobile" delivered at the Social Gaming Summit at Chelsea Football Club in London on 11 November 2010.
This document discusses two interconnected events that occurred in 1956 celebrating the 50th anniversary. The first was the international recognition of Concrete Poetry produced by the Noigandres group of Brazilian poets. The second was the opening of the first National Exhibition of Concrete Art in São Paulo, which featured paintings, sculptures, and poster poems exhibited together. This helped establish the label "Concrete Art" in Brazil and linked visual artists with Concrete poets. The exhibition included works from the Ruptura and Frente groups and affirmed their view as the avant-garde in art and poetry.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive functioning. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms.
The document discusses solutions for reducing nuisance and violence on squares in Amsterdam during nightlife. It analyzes research from visitors, bouncers and bar owners about their experiences. The ideal vision is a square with a good design and attractive programming. Rather than restrictive measures, a positive approach that enables people to contribute and connect is more likely to invoke positive responses. Prototypes tested included an offline twister game and string of hearts art installation as well as an online Facebook page to stimulate positive behavior and prevent issues on the squares at night. The document concludes that people will contribute to a positive environment when enabled to do so and that developing a community can help form an "immune system" that improves behavior.
This document provides an introduction and overview of H.G. Wells' book "A Modern Utopia". It describes the book as a hybrid between fiction and non-fiction, using an imagined "voice" to discuss ideas about utopias and social organization. The owner of the voice is described as a middle-aged man who will take the reader on curious experiences while discussing utopias, though he will periodically return to reviewing ideas at a table. The introduction aims to prepare readers for an unconventional style that blends narrative with philosophical discussion.
Alexander Weheliye on desiring for a different worldYHRUploads
This interview with Alexander Weheliye, Professor of African American Studies at Northwestern, comprises part of The 1701 Project, a venture led by The Yale Historical Review.
This document summarizes and critiques a scientific journal article on biological determinism and homosexuality. It discusses how claims of biological bases for differences in gender and sexuality have historically been used to justify social hierarchies. The document then analyzes a specific study on differences in the corpus callosum between men and women, arguing it was based on a small sample size and its findings were contradicted by later studies with better methodologies. Finally, it closely examines and critiques a study on brain differences between heterosexual and homosexual men, identifying flaws in its premises, sample size, and conclusions.
Hoe werkt de methode Feed Forward Stories voor onderzoek doen en beleidmaken voor maatschappelijke vraagstukken? Op 1 oktober presenteerde Kennisland de tussentijdse resultaten van jongLAB: een social lab om leef- en systeemwereld rond jongeren in Nijmegen dichterbij elkaar te brengen.
The document discusses the concept of politics and argues that it is an unhelpful term because everything can be considered political. It asserts that defining certain issues as "political" vs "personal" serves to exclude certain groups' perspectives from important political discourse. It analyzes how the expansion of voting rights in the U.S. to all white males simultaneously narrowed the definition of who constituted the political community, cementing the exclusion of women and African Americans. The document concludes that the idea of objective politics is false and politics will always involve prioritizing some groups' interests over others.
The document discusses educational opportunities in virtual worlds like Second Life. It summarizes some projects and simulations conducted at Loyalist College, including a blended learning border crossing simulation. Student feedback indicated the simulation felt realistic and allowed them to practice skills in an immersive virtual environment. The document also notes that many young people today are growing up socializing and playing in virtual worlds, showing an opportunity to engage digital natives through virtual education.
Podcasting allows people to subscribe to audio or video files from websites and listen to or watch them on mobile devices like iPods. The first podcast was created in 2005 and allowed people to listen to audio from blogs on their iPods. Since then, podcasting has grown significantly with over 500,000 people downloading podcasting software and over 2,000 available shows by 2006. Podcasting provides advantages like allowing people to access audio and video content on the go, see detailed statistics on audience, and create unlimited applications. Wordpress is a tool that can be used to easily create podcasts by building a blog website and adding plugins for features like audio, video, feeds, and audience metrics.
Viral, Buzz & Influential marketing : How to adopt marketing 2.0Emmanuel Vivier
Emmanuel Vivier, CEO & cofounder of Vanksen (buzz + digital + advertising agency) explains here how to adopt marketing 2.0 (buzz, viral, word of mouth marketing, social media, guerilla marketing...). To discover more about the subject, check Vanksen blog : http://www.culture-buzz.com
Viral, Buzz & Influential marketing : How to adopt makrting 2.0
My Second Life didn't turn out the way I thought it would: Managing expectati...Ken Hudson
This document summarizes Ken Hudson's presentation on managing expectations for teaching and learning in virtual worlds. Some key points from virtual worlds include the sense of self, the death of distance, and the power of presence. Studies show that behaviors in virtual worlds can transfer to real life. Loyalist College piloted virtual world simulations for the Canadian Border Services Agency that led to improved grades and testing success compared to traditional teaching methods. Other organizations are also using virtual worlds for training purposes.
The document discusses the rise of crowdfunding and social media. It notes that crowdfunding has grown exponentially from raising $5000 in funds in 2009 to over $25,000 in funds today. Social media plays a key role in crowdfunding's success by allowing projects to engage supporters and share their stories and progress. The document outlines attributes of successful crowdfunding projects like having a compelling story and emotional connection, as well as tips for implementation.
Making Money on Android - Droidcon London 2010Volker Hirsch
The document discusses creating a mobile gaming platform that connects players through social features like profiles, leaderboards, achievements and virtual currencies. It proposes integrating these social elements across games and platforms to give players a unified gaming experience and home for their profiles. The platform would use these social features and a virtual currency system to encourage player engagement and facilitate in-app purchases and a freemium business model.
This document discusses the "Blues Aesthetic" and the "Black Aesthetic" as political expressions of African American culture. It argues that the Blues arose in the late 19th/early 20th century as a secular expression of African American musical culture that summed up their lives and history. The Blues reflects earlier African American musical developments and forms a reflection of post-Civil War African American culture that was no longer limited to religious references or social restraints of slavery. The document also discusses how the Black Aesthetic is rooted in ancient African animist beliefs and emphasizes continuity, endlessness, and the interconnection of all things. It traces how aspects of ancient African culture and aesthetics are reflected in various elements of African American
The slides to my talk on "Conquering New Spaces: Bringing Social to Mobile" delivered at the Social Gaming Summit at Chelsea Football Club in London on 11 November 2010.
This document discusses two interconnected events that occurred in 1956 celebrating the 50th anniversary. The first was the international recognition of Concrete Poetry produced by the Noigandres group of Brazilian poets. The second was the opening of the first National Exhibition of Concrete Art in São Paulo, which featured paintings, sculptures, and poster poems exhibited together. This helped establish the label "Concrete Art" in Brazil and linked visual artists with Concrete poets. The exhibition included works from the Ruptura and Frente groups and affirmed their view as the avant-garde in art and poetry.
The document discusses the benefits of exercise for mental health. Regular physical activity can help reduce anxiety and depression and improve mood and cognitive functioning. Exercise causes chemical changes in the brain that may help protect against mental illness and improve symptoms.
The document discusses solutions for reducing nuisance and violence on squares in Amsterdam during nightlife. It analyzes research from visitors, bouncers and bar owners about their experiences. The ideal vision is a square with a good design and attractive programming. Rather than restrictive measures, a positive approach that enables people to contribute and connect is more likely to invoke positive responses. Prototypes tested included an offline twister game and string of hearts art installation as well as an online Facebook page to stimulate positive behavior and prevent issues on the squares at night. The document concludes that people will contribute to a positive environment when enabled to do so and that developing a community can help form an "immune system" that improves behavior.
This document provides an introduction and overview of H.G. Wells' book "A Modern Utopia". It describes the book as a hybrid between fiction and non-fiction, using an imagined "voice" to discuss ideas about utopias and social organization. The owner of the voice is described as a middle-aged man who will take the reader on curious experiences while discussing utopias, though he will periodically return to reviewing ideas at a table. The introduction aims to prepare readers for an unconventional style that blends narrative with philosophical discussion.
Alexander Weheliye on desiring for a different worldYHRUploads
This interview with Alexander Weheliye, Professor of African American Studies at Northwestern, comprises part of The 1701 Project, a venture led by The Yale Historical Review.
The general question for these Analytical Reflection Essays is what.docxrtodd194
The general question for these Analytical Reflection Essays is: what did you find to be interesting, relevant, or important about this week's lecture or reading -- and why? As you consider possible ways to focus your Gertrude Stein essay, remember that Stein is interested in how people see things, and how people tell stories about what they see. You might, for example, choose one object in particular from "Tender Buttons" in the reading packet, and examine how she tries to capture the absolute uniqueness of that object. Or you might respond to the "Portrait of Picasso" in more detail
Gertrude Stein lecture
1. OK this week we’re going to continue exploring modernism through the work ofGertrude Stein. Stein was an important modernist writer in her own right, and she also had a strong impact on many other writers, especially Hemingway. This video lecture will giveyou an overview of Stein’s life and her work, and it will show you not only what influencesshaped her artistic and philosophical beliefs. Along the way, we will define and explore some additional literary and cultural concepts, such as fiction, “stream of consciousness” writing, and “the lost generation.” As you learn about Stein, I’d like you to consider the larger question of modernism and its relation to psychology. How does Gertrude Stein’sinterest in psychology help her contribute to modernist innovation?
So here is a picture of Gertrude Stein, and from the first glance you will probably note that she does not reflect traditional notions of femininity. She was born in 1874, and according to the 19th century American values of her childhood, women were expected to be pious, submissive, pure and domestic. Yet Gertrude Stein was able to escape these expectations because her family was very rich. She spent her childhood in Europe so she developed a refined sense of art and culture early in life. She was also extremely well educated. At Radcliffe College, she studied psychology with
3. William James, who was known as the father of Psychology, and he wrote the first modern Psychology textbook in 1890. This was a work that had a strong impact on manyscientists, including Sigmund Freud. Stein was influenced by William James’s theories ofthe mind and of human emotion, especially the relationship between sensation and perception. He was interested in the way the mind processed and understood humanexperience. Under James’s direction, she pursued a project on
4. Automatic Writing, which is a kind of writing without using the conscious mind. In automatic writing, one attempts to enter a trancelike state in order to access the subconscious.
So we see that even as an undergraduate college student, she was interested in experimenting with new possibilities for writing. After Radcliffe, Stein attended the Johns Hopkins medical school where she studied the anatomy of the brain, but she left medical study because she decided she was more interested in art and writing.
5. In 1903 she moved to .
This document provides a summary of Melissa Mudd's portfolio from 2010, including examples of her creative writing experiments and art projects from an institute course. It contains 3 short pieces of creative writing focused on imagery from her surroundings. The document also describes 2 seedling projects - booklace necklaces combining images and text, and a painting with embedded headlines exploring hope. Graphic narrative storyboards and a self-portrait triptych investigating roles and identities are presented as additional examples of works started in the course.
This document provides an autobiographical summary of the artist Brandy Stark and her artistic journey and influences. It describes how she began creating wire sculptures in 1995 and found success selling her work, though she had no formal art training. The document then analyzes some of the themes and subjects in her work, including androgyny, spirituality, mythology, and gender roles as depicted in sculptures of superheroes. Key influences on her art included literature, religion and ancient mythology from a young age.
The document provides information on the artistic careers and styles of M.C. Escher and Louise Bourgeois. It discusses Escher's development from technical print works in his youth to mathematically complex tessellations and optical illusions. It outlines Bourgeois' influences including personal trauma and her transition from painting to sculpting organic and humanoid forms to explore psychology and sexuality. A recurring motif in her work was the "Arch of Hysteria" depicting flexible male and female forms alluding to 19th century medical theories.
The document provides an autobiographical summary of the artist's development from childhood interests in art to becoming a professional artist. It describes influences like mythology and religion, her introduction to sculpture in college, and finding success bending wire in 1995. Today she is a multi-award winning artist showing locally, nationally, and internationally with themes of spirituality, androgyny, and mythology.
This document discusses figurative language techniques used in creative nonfiction writing. It identifies several techniques including imagery, simile, metaphor, hyperbole, personification, and allegory. For each technique, examples are provided. The document also discusses the five senses and corresponding types of imagery. Additional techniques like alliteration, irony, and rhetorical questions are covered. Finally, the document explains the functions and reasons for using literary devices in writing, such as helping readers visualize scenarios and experiences.
Informal Essay Sample. Compose a Remarkable Informal Essay with Our Professio...Claire Flanagan
Compose a Remarkable Informal Essay with Our Professional Help. How to Write an Informal Essay - Complete Guide. Informal Essay | Friendship | Intimate Relationships | Free 30-day .... 013 Page 1 Informal Essay ~ Thatsnotus. Letter Writing Informal Examples - Latest News. Informal Essay Examples by InformalEssayExample on DeviantArt. 007 Essay Example Informal Examples Of Narrative Formal Letter Sample .... Example Of An Informal Essay – Telegraph. How to Write an Informal Essay: Explanatory Guide with Tips – Wr1ter. 007 Informal Outline For Essay Formal Research Paper Example Compare .... Informal Email Sample | PDF Template. How to write an informal essay paper a report by justin mark - Issuu. Informal Essay Help! How do you start a formal essay?. Fantastic Informal Essay ~ Thatsnotus. Informal Essay Writing Definition, Topics, Examples. 012 Informative Essay Examples For High School Example Narrative Goal .... How to Write an Informal Essay – Outline, Body, and Conclusion. Buy Cheap Essay: Informal essay. Informal essay examples. Guide to Writing a Perfect Informal Essay and .... Informal Interview Essay | Interview | Essays | Free 30-day Trial | Scribd. How To Write Informal Essay - Adams Author. Informal Letter Essay Sample | Goal | Action (Philosophy). An Informal Essay – Telegraph. How To Write An Informal Essay | Steps and Format of Informal Essay ....
College Essay Examples - 9+ in PDF | Examples. 32 College Essay Format Templates & Examples - TemplateArchive. How to Write In College Essay Format | OCC NJ. Essay sample in pdf example essays skills hub university - essnewday .... Sample essay-p1 | Lepre's Learning Log. Good Examples of College Essays. ESSAY EXAMPLES - alisen berde. Reflection essay: Short essay writing examples. How to write a good academic essay.
Davide Mana: My Inspirations (Future of Storytelling Creative Task 4) Davide Mana
Davide is a paleontologist and writer who discusses inspirations for his work. He recommends three books: Cosmos by Carl Sagan, which inspires his writing about science and the future ("What"); The Day the Universe Changed by James Burke, which inspires his writing about how knowledge can transform people ("Why"); and The Zen of Creativity by John Daido Loori, which inspires his writing process and attitude towards creativity ("How").
This document summarizes key ideas from John Dewey's work Art as Experience regarding how he defines art. Dewey proposes that art should not be viewed as static objects, but as dynamic experiences and interactions between viewers and objects. He argues we must understand art in its unrefined forms found in everyday life, like watching a fire or construction work, before analyzing refined art forms. Dewey believes separating art from lived experience creates barriers to understanding its significance. His view defines art as a process embedded in how people engage with and find enjoyment in their activities, rather than static objects removed from human experience.
Writing Papers High. Buy High School Papers OnlineWendy Hager
The document provides instructions for buying high school papers online from the website HelpWriting.net. It outlines a 5-step process: 1) Create an account with an email and password; 2) Complete an order form with instructions and deadline; 3) Review bids from writers and choose one; 4) Review the completed paper and authorize payment; 5) Request revisions until satisfied, with a full refund option for plagiarism. The purpose is to assist students by writing papers for a fee while ensuring originality and customer satisfaction.
This document discusses and analyzes several self-portraits by notable artists from different time periods and cultures. It begins by discussing Rembrandt's 1632 self-portrait in which he depicts himself in a fashionable manner at age 26, showing a sense of youth and pride. It then briefly discusses Van Gogh's 1889 self-portrait with his bandaged ear and how the function of realistic painting had been replaced by photography in the 19th century. Finally, it analyzes Busschers' self-portrait from 2018 that shows raw emotions and a sense of fragility, allowing viewers to feel the artist's sadness and connection to her experience through her realistic depiction.
- The document discusses an interview with Hungarian psychologist László Garai about his work influenced by Vygotsky's cultural-historical theory and Leontiev's activity theory.
- Garai developed his own theory of social identity, arguing that social identity is determined by relationships rather than internal properties. He used an example from 1930s Germany to illustrate how social categorization can produce unambiguous social identities from more complex sociological realities.
- The interview discusses the ongoing split in psychology between natural-scientific and hermeneutic approaches. While Vygotsky and activity theory aimed to overcome this, their Soviet followers' emphasis on the material aspect of activity may have exacerbated the divide.
Essay Titles About Sleep Deprivation. Online assignment writing service.Deb Reaser
The document discusses steps for getting help writing an assignment through the website HelpWriting.net. It outlines 5 steps: 1) Create an account with a password and email. 2) Complete an order form providing instructions, sources, and deadline. 3) Review bids from writers and choose one. 4) Review the completed paper and authorize payment. 5) Request revisions to ensure satisfaction, and the company offers refunds for plagiarized work.
The document discusses the lyric essay, a hybrid form of creative nonfiction. It originated in the late 1990s and is championed by writers like John D'Agata. Lyric essays emphasize language, imagery, and experimentation with form over traditional structure. They explore themes through questions rather than conclusions. Common forms include flash essays, collages, braided essays, and hermit crab essays, which adopt the form of an outside source. The document provides examples and discusses how different forms shape content and themes. It concludes with an in-class assignment to write a collage essay using found text fragments.
Este documento discute a relação entre a identidade homossexual e a biologia. Afirma que muitos homossexuais acreditam que nasceram assim, ao contrário das feministas que rejeitaram a ideia de destino biológico. No entanto, a identidade biológica homossexual exerce uma dupla violência, sendo uma diferença psicológica e não biológica. O documento também descreve a história do conceito de identidade biológica homossexual desde o século XIX e como estudos cientí
1. O documento discute a relação entre homossexualidade e discursos biológicos, notando que enquanto os movimentos feministas rejeitaram explicações biológicas, os movimentos gay adotaram explicações de "nascer assim".
2. Isso levou a noções como "cérebro gay" e "gene gay" que são bem aceitos pelo público, apesar de usos anteriores desse tipo de explicação para fins racistas e sexistas.
3. Há debates sobre se a aceitação do "inatismo gay" se deve mais a sentiment
How hormones affect behavioral and neural developmentTeresa Levy
This document provides an introduction to a special issue journal on how gonadal hormones affect behavioral and neural development. It summarizes several studies showing that hormones like testosterone and estrogen influence behaviors in humans and other species. For example, females exposed to high testosterone levels prenatally tend to show more male-typical behaviors. The introduction discusses themes across the special issue articles, such as how hormones have both organizational effects during development and activational effects in adulthood. It also provides background on the range of methods used to study hormone-behavior relationships.
Homosexuality, birth order, and evolutionTeresa Levy
This article proposes that homosexuality can be explained by a polygenetic trait influenced by multiple genes. During development, these genes shift male brain development in a more feminine direction. While single alleles may produce homosexuality, carriers of these alleles who are heterosexual tend to be better fathers and more attractive mates. This balanced polymorphism allows alleles that contribute to homosexuality to survive by offsetting their negative reproductive impacts through positively impacting heterosexual carriers. A similar effect is proposed to exist for genes that could produce lesbianism in females.
Homosexuality, birth order, and evolution (2)Teresa Levy
This journal article proposes that homosexuality can be explained by a polygenetic trait influenced by multiple genes. During development, these genes shift male brain development in a more feminine direction. While single alleles may produce homosexuality, carriers of these alleles who are heterosexual tend to be better fathers and more attractive mates. There is a balanced polymorphism where the feminizing effects in heterosexuals offsets the reproductive disadvantages of these alleles contributing to homosexuality. The birth order effect on homosexuality may be a byproduct of a mechanism that shifts later-born sons' personalities more femininely, reducing competition with brothers.
The document discusses research into the biological basis of homosexuality from the perspective of psychiatry and neurobiology. Early research treated homosexuality as a mental illness for psychiatry to treat. Later, neurobiology framed it as a natural variation in behavior and studied anatomical differences between the brains of straight and gay men using standard experimental designs to identify significant differences. However, the research approaches did not question predefined categories of what is considered "natural" and often objectified the people studied.
The document summarizes the current scientific research into the biological factors that influence sexual orientation. It notes that biology has begun to study what causes homosexuality and has provided some early answers, though the findings are still tentative. It also acknowledges that researching sexuality and the brain is challenging given our limited understanding of neurobiology. Some fear the quest to find biological explanations could lead to hype or be an intellectual dead end. The document concludes by saying the topic is politically charged, which has led to professional rivalries among researchers, some of whom have personal motivations as they themselves are gay.
Handedness, sexual orientation and genderTeresa Levy
This journal article examines the relationship between handedness, sexual orientation, and gender-related personality traits. The introduction summarizes previous research finding associations between non-right handedness and homosexuality in both men and women, as well as gender identity disorder. Specifically, homosexual men were 34% more likely to be non-right handed than heterosexual men, and homosexual women were 91% more likely to be non-right handed than heterosexual women. The article also reviews evidence of slightly higher rates of left-handedness in males compared to females. Finally, a few studies found that non-right handed women tended to score higher on instrumentality and lower on expressiveness, exhibiting more male-typical personality traits.
Hand preference, sexual preference and transsexualismTeresa Levy
This journal article examines the relationship between hand preference, sexual preference, and transsexualism. The authors studied 443 male-to-female and 93 female-to-male transsexuals and found they were more often non-right handed compared to male and female controls. This suggests an altered pattern of cerebral hemispheric organization in transsexuals. Prenatal androgen levels may influence both handedness and psychosexual development. Elevated testosterone in utero could affect brain development and increase non-right handedness.
This document summarizes a journal article about genes and human behavior. The article reviews research on the genetic influences of cognitive abilities, personality traits, health habits, and psychopathology. It discusses studies on conditions like reading disabilities, Fragile-X syndrome, alcoholism, schizophrenia, and Alzheimer's disease. The article also examines new molecular genetics approaches and debates around behavioral genetics research.
This document provides an introduction to the book "Gay Science: The Ethics of Sexual Orientation Research" by Timothy F. Murphy. The introduction outlines the ongoing scientific and social debate around the origins and meaning of sexual orientations like homosexuality. It notes that while past research often assumed homosexuality was a psychological disorder, more recent research takes a neutral stance on causation but still has social implications. The introduction previews the book's aim to provide an ethical analysis of sexual orientation research and its potential impacts, both positive and negative, on gay people. It does not intend to argue for any particular causal theory but rather map out the relevant issues for discussion.
Finger length ratios in female monozygotic twinsTeresa Levy
This study examines finger length ratios in female monozygotic twins who are discordant for sexual orientation. Previous research has found that lesbian women tend to have lower finger length ratios, suggesting higher prenatal androgen exposure. The study aims to determine if differences in prenatal environment contribute to differences in sexual orientation for these twins by examining their finger length ratios. If finger length ratios differ between twins discordant for sexual orientation, it would provide evidence that prenatal environment, not just genetics, impacts development of sexual orientation.
Female sexual orientation and pubertal onsetTeresa Levy
This article examines the relationship between female sexual orientation and pubertal onset. The researchers hypothesized that lesbians would have a later, more masculine age of pubertal onset compared to heterosexual women based on theories that both sexual orientation and pubertal timing are influenced by prenatal androgens. They studied samples of community volunteers and discordant twins but found no significant differences in pubertal onset between homosexual and heterosexual women, contrary to their hypothesis.
Evolutionary perspective of sex typed toy preferencesTeresa Levy
This article discusses an evolutionary perspective on sex-typed toy preferences in children. It proposes that evolved visual processing biases may contribute to differences in how boys and girls interact with toys. Selection pressures that evolved male preferences for male playmates and female roles related to object features and functions may influence children's toy choices in adaptive ways. Research on sex differences in spatial abilities, color vision, and the social and biological factors that shape toy preferences is reviewed to support this perspective.
Empowerment and medicalization of homosexualityTeresa Levy
This article summarizes the origins of the Committee for the Study of Sex Variants, formed in 1935 to study homosexuality. It involved collaboration between the homosexual community, represented by activist Jan Gay, and the medical community, led by Dr. Robert Latou Dickinson. However, their interests conflicted, as physicians sought to medicalize and pathologize homosexuality rather than empower the community. The committee's study, while well-intentioned, undermined Gay's goals and served to further subjugate homosexuals under the medical gaze. The collaboration nonetheless anticipated later efforts to establish a more equitable relationship between researchers and their subjects.
Evolutionary psychology holds that human behaviors, like mate selection and aggression, evolved through natural selection to promote survival and reproduction. According to this view, humans look for symmetry, averageness, and signs of fertility like hormone levels in mates. Some evolutionary psychologists have proposed that rape tendencies could have evolved as a reproductive strategy for socially unsuccessful males to pass on their genes. However, others argue this does not justify such behavior today. Evolutionary psychology remains controversial as some view it as suggesting unequal chances for success.
Differences in finger length ratios between butch and femineTeresa Levy
This journal article examines differences in finger length ratios between self-identified "butch" and "femme" lesbians. Prior research has found that auditory evoked potentials and otoacoustic emissions, markers of prenatal androgen exposure, are more masculine in lesbians compared to heterosexual women. This study explores whether the ratio of the length of the index finger to the ring finger (2D:4D), another purported marker of prenatal androgen exposure, differs between "butch" and "femme" lesbians.
Dermatoglyphics, handedness sex, and sexual orientationTeresa Levy
This journal article examines the relationship between dermatoglyphics (fingerprint patterns), handedness, sex, and sexual orientation. It suggests that examining characteristics like dermatoglyphics and handedness, whose timing of formation is known, can help localize when sexual orientation is programmed during development. The article notes that fingerprint patterns are determined between 8-16 weeks of fetal life, while handedness appears to depend on prenatal genetic and environmental factors. It aims to replicate and expand on prior research examining theoretical associations between dermatoglyphic asymmetry, handedness, and sexual orientation.
This article discusses three brain systems related to human mating and reproduction: lust, romantic attraction, and attachment. Lust evolved to initiate mating with any appropriate partner for sexual gratification. Attraction evolved to help individuals choose and prefer specific mating partners to conserve time and energy. Attachment evolved to enable individuals to cooperate with a reproductive mate until parental duties are completed. The article defines these three systems and discusses an ongoing study using fMRI to investigate the neural circuits associated with romantic attraction.
1. UbuWeb Papers
Interview With Mike Kelley
Sérgio Bessa
Sérgio Bessa- When I heard last year that you were writing an essay on
Öyvind Fahlström I got very curious. Then I was told that you had actually
met him in the 1970s. There are many things your work has in common with
his, especially with regard to logic systems. Do you feel that you've been
influenced by his work?
Mike Kelley- I've always been a big fan of Fahlström. Even when I was in
my twenties, I liked the complexity of his work. But at first my interest in
systems came from my interest in literature. I was interested in the writings
of Raymond Roussel, and the way that kind of systematic approach freed you
from being too involved in the subject matter of the work and allowed you to
develop artworks without having to get so involved in personal interests. I
liked Roussel because of his word games. He could write a whole novel full of
incredible detail, completely exotic and amazing, and yet it wasn't some kind
of personal exploration. There was plenty of room within there to free-
associate, but there was also plenty of room to use things that were quite
alien to you.
SB- You wanted your work to have that kind of complexity?
MK- I wasn't so organized at that time, because I was trained as a formalist
and I was working against that somewhat. I was interested in the "new
novel," like the work of Burroughs and the "cut-up method." I also became
interested in Beuys' work, which was all based in mythic systems, a kind of
materialist approach to myth. I became interested in all those things. Then
when I came to California, most of my teachers were conceptualists, and
they were interested in more of a systems approach; but what I didn't like
was that they also had a reductivist approach, and I really liked the
maximalist approach of Fahlström and Beuys, people like that.
2. SB- A little more messy?
MK- Yes, and more worldly. I tempered the messiness of that earlier
approach with the reductivism of conceptualism at that point, and tried to
play with that a bit, but that didn't last very long. I started doing
performances, and that's what led me into doing all these projects that are
based to some degree in logic systems. But in the beginning, when I was
younger, my work was based more in visual analogies, but through the
influence of the conceptual artists it became a little more language-oriented.
SB- You mentioned earlier that you wanted to avoid getting involved in
personal interests, but in works such as "Monkey Island," for instance, your
point of departure was a childhood memory.
MK- Well, I never wanted to leave out the biographical; I just didn't want it
to be predominant. I wanted to treat biographical things as equal to fiction,
mixed with fictive elements or historical elements, and I didn't want to deny
that because, for example, I've always been interested in surrealist art, and I
liked that surrealist art had a program: it wasn't just about gushing, it was
about taking all these memories and then trying to put that material back
into a kind of sociological context. Which is something that I think was never
taken very seriously with the transition of surrealism into America. The
programmatic social aspect was left behind, and it all became really
subjective; but I always thought the analytic aspect of surrealism was not so
different from conceptualism.
SB- That's true. Fahlström also owes a lot to surrealism.
MK- Yes, specially in the early work. I was also, like him, really interested in
abstraction at a certain point. For example, he was doing concrete poetry. At
a certain period all my writings were abstract -- they were sound things and
poems, like some of the work of Raoul Hausmann or Schwitters. I found that
interesting, but then I got bored with it after a while, because it didn't have
3. any social resonance. And I really like Fahlström's use of, say, things taken
from the newspaper -- facts, big historical things mixed with minor things.
SB- I have recently found a great deal of scatology in Fahlström's work that I
didn't see at first.
MK- At the time when I first saw his work I never particularly focused on
that aspect of it. I was more interested in how he was able to take diverse
things and fit them into a system. But there are scatological elements,
especially in his drawings of Richard Nixon. At the time I thought of that
more in relation to the comedic politics of the New Left, especially the
Yippies. There was a lot of that kind of political scatological humor, which is
traditional low political humor -- this defaming kind of thing, like drawings of
the president on the toilet.
SB- I was puzzled at first because he is so cerebral and methodical, but on
the other hand there are times when these scatological impulses take over.
And it is quite explicit in some of his writings.
MK- I think it comes in a way from his politics, the New Left and the politics
of liberation. I think it's interesting to think about it in relation to the maps in
which he's using shapes of actual countries and then he just starts making
them up. This is a kind of fanciful having fun, playing with shapelessness.
And he's contextualizing this shape, giving it meaning, and then he just goes
back and makes another one. So meaning is really floating in his work, but
meaning isn't denied, it's not nihilist, and that's what I really liked about the
work.
SB- His work was never self-indulgent.
MK- I didn't really like a lot of expressionist work, or mystical works, where
chaos is this unbounded thing, and you never contextualize it, you never
bother to make it mean anything. It's always either outside of meaning or
incapable of meaning, and I don't think that that's how you think, I don't
4. think that's how you approach the world. You always make things mean
something -- you might abandon them, but you make things mean
something for the moment because you need to do that. So artwork for me
has always been the production of a provisional reality, and then you
produce another one, and you produce another one, and you produce
another one. But you have to take it seriously; otherwise it doesn't have any
psychological or social function at all.
SB- Are you familiar with Fahlström's writings and poetry?
MK- Only the works that were translated into English. The manifesto in which
he talks about "bisociation" was a very important piece of writing for me. I
was taken with the idea, and I thought it was an interesting manner of
working. I don't remember the writing particularly very much, but at the time
it seemed to be about having two concepts and finding a resonance between
them in order to produce a third concept. I was interested in that, especially
since in my school I was being trained in a pretty starchy, formalist way.
There was a tendency to think about art in a very primary way -- basic laws,
singularity, things being finished and things being of themselves --
essentially based on Greenbergian ideas.
SB- This is exactly what makes it possible for me to associate your work to
Fahlström's. "Plato's Cave," for example, has a kind of relentless energy in
moving from one issue to the next, and back again, so that we, the readers,
never find a safe area to rest. Did you have all these issues laid out before
you from the outset, or there were things added as the work progressed?
MK- That particular work started with the issue of the possessive, but once it
got rolling I just gave that whole thing up. I didn't even expand on it. And
the work became more about developing the themes textually. But a lot of
that development was quite formal as well, arising out of various researches
into all these various themes. I would write on each subject, and then I
would weave them together based on language association and image
5. association, things like that. It became more a process of developing a text.
Now, certain of these issues would be discussed, or brought up, but they
weren't often expanded upon. The work isn't either didactic or poetic. In all
the performances, the way they function through time is that there's
contradiction, and so a certain sort of thought is contradicted later on. In
general you can say that the work, because of these three themes, is playing
with, or maybe debunking these metaphysical myths. But that's not really
the point of the work. The point is more a structural one.
SB- Perhaps one might be misled by the title, which gives the reader these
three very loaded ideas to associate.
MK- The title already has the issue inherent in it. It already raises the issue
of deconstruction of those myths. I wouldn't have to do anything more than
that -- to make the title -- if that was the point of the work. The point of the
work was the experience of it in real time -- the time-based work -- and
that's why the final outcome is more a structural work. I don't know if you
looked at the book, or if you were able to find a copy of the text, but you'll
see it's more about flow, about dwelling on subject matter. It is mean-
spiritedly committed, sometimes at the expense of the found texts, which I
scramble and invert and do other things with. But again, it is more a matter
of playing with it. And again, the work wasn't designed to be didactic, and it
doesn't function didactically or hold up to philosophical scrutiny on that level.
It's more play with language and ideas. But it is, in its subject matter, kind of
heroic. And I played with that concept in relation to the presentation of
myself as some kind of self-conscious rock star, playing with the heroic
performer -- sort of a pseudo-Jim Morrison performance. But it didn't get to
stay there -- it didn't maintain that pose; it kept falling apart.
SB- But there was a need to engage the viewer, and make him or her see it
your way. The invitation to engage in "spelunking in the cave," as opposed to
accepting the Platonic model.
6. MK- That is sort of a joke I make. If you were going into the cave with your
back towards the light, you'd never get to reality -- you'd just go into
another cave.
SB- But if you accept the joke the whole work becomes about misreading.
MK- My work pretty much has been the glorification of misreading, and not
just one misreading but a lot of misreading. At least at that point it was.
SB- Is "Plato's Cave" typical of your process of working? Is that how you
usually go about it?
MK- I am less programmatic than I used to be. At times, I pick the theme
and work with it, and sometimes it stays there and turns into something
else; but at a certain point I would decide that, "Well, here is the leitmotif,"
and I stuck with it. Generally I try to pick something that will allow some
development, some kind of open-ended motif, or some kind of historic
situation that I try to jam with.
SB- How exactly do you see it changing now?
MK- After the "Plato's Cave" piece, none of the pieces culminated in a
performance anymore, like "Half a Man." There wasn't really any kind of end
to the work. And at that point I started going back and doing things in older
styles. I decided I wanted to play against notions of development and
history. In the other work I was always substituting one logic system for
another logic system, but they were all discrete. But now I'm more interested
in my work not being discrete. I want to go back and make works from any
of these series and just continue them.
SB- So you are not closing a body of work. You begin it and leave it open?
MK- Right, I just leave it open, endlessly morphing. And they morph from
one into the other. In fact, I have maybe three or four projects now, but I
7. can't differentiate them, except maybe by major themes. They blend into
each other.
SB- Have you shown any of these projects?
MK- Yes. I'd say the "Missing Time" project is one of those. I've been also
doing some sci-fi related works, and a work about the "Land-O-Lakes" butter
princess. All these works are separate projects, but there are thematic
crossovers. I let them flow one into the other, and I don't care so much
about having to tie up an end with them. Even the performances were
pseudo endings, because they didn't make any sense, so they weren't
coherent logic systems. Still, they had the effect on the audience of being a
coherent logic system, because they were dramatic, and people felt moved
by them. They had an impulse to believe, as you have in theater. In a certain
way I was relying on people's impulses to project meaning and closure onto
works. And that is especially easy to do in time-based works, because they
can't remember what happened -- it's too confusing. So now I'm more
interested in that projection, in playing with it more overtly, especially in the
"Missing Time" projects. I'm interested in how people project personae onto
me, and onto historic figures. I make works about that.
SB- Was "Missing Time" a critique of the art education system?
MK- I'd say it was more about a kind of Oedipus relationship, a pseudo
Oedipus relationship to your master, whether that's your family, your
teacher, or your culture -- the patriarchy -- and doing works that seem to be
in line with the tenets of your training. So the school model was really the
positioning of a place, but I was also interested in the composition of the
model, which was composed as a formal painting. The model doesn't tell you
anything particularly, but it does tell something about composition. The
paintings were a kind of joke, sort of gestural formal paintings with the
intrusion of pulpish elements, which gives everything a kind of dysfunctional
edge, perhaps giving the whole thing the air of child abuse. Which is what I
8. was going for. And then I wrote all these abuse scenarios that were meant to
look like newspaper clippings, which gave them the veneer of truth, to look
like news. They looked like something real, cut out of a newspaper, but they
were complete fabrications or fantasies.
SB- How do you think people received this show?
MK- I don't think they got it.
SB- I thought the show was very dry, and I knew people would react to
that...
MK- You said that before, but I don't understand what that means, because I
don't think it was visually any drier than my previous work, except maybe
the stuffed-animal works, but people just like those because they allow them
to emote.
SB- Maybe, but compared to the black-and-white drawings that you've done
in the past, pieces such as the photos of children's paintings accompanied by
texts, this work was hard to approach.
MK- The black-and-white drawings have a certain amount of visual oomph
they're simple imagery, really. They're like posters, nicely designed, but in
actuality I think from the "Half a Man" series onward I allowed the viewer
more. Because the early drawings are quite reduced, in that I wouldn't allow
myself to use any color, but on the other hand I felt, "Why is my world so
restricted to this presentational mode?" and that's when I started using craft
material. Now I'm more interested in using materials that have certain kinds
of cultural qualities in themselves, the way an architectural model has a
certain kind of pretty quality that is inherent to it, and in going back and
doing paintings again and allowing myself to do something that I really
wouldn't allow myself to do because I was embarrassed by it. So I've been in
shows in Europe, for example, in recent years that were only paintings, and
people go into those and may think that I returned to paintings, but people
9. have gotten really lazy in recent years, and they don't want to look at what
the work is about, they just want to fetishize the painting qualities of things.
SB- I don't really believe that the black-and-white drawings were any less
demanding than the new work you're doing now. They were never indulgent
or showy, they were never about draftsmanship.
MK- At the time, though, because it was before the return of pop in the art
world, the general criticism couldn't get past the fact that they looked like
cartoons. They only saw them in terms of high and low issues, and it was
really frustrating for me, and I just said forget about it. Now the art world
has changed so much in the last six or seven years, and become so
dominated by pop strategies, that these old drawings look really natural now;
but at the time there was a kind of rigor I could see in them that other
people couldn't see. At the time, people talked about them as if they were
cut out of a comic book, and how they were about "aesthetics of the low."
SB- ...or adolescence.
MK- Yes, or adolescence or childhood or something like that, just kind of
numskull, bad-boy issues, as if I were doing this work to be naughty. I even
go back and do work like that on occasion, because I know what it looks like,
but I'm more interested in these other problems. I'm more interested in the
problem of making a painting that people will look at sincerely in terms of the
handed-down qualities. I think almost all my work has that quality now, and
it's overtly historical.
SB- It's almost a surrealist strategy in a sense, the fact that you're allowing
yourself to work in a way that is taboo -- at least in regard to what most
people expect your work to be.
MK- Abstract-surrealism was an attempt to break with bourgeois picturing
techniques, but Magritte and Dali were interested in utilizing those
10. techniques. In my work the social pact of imaging is foregrounded, there's
less focus on individual psyche and more on social psyche.
SB- I have always been very curious about a group of work that made
reference to Wilhelm Reich, I don't think you gave a title to it, but you had
an orgone shed, an enema table etc. How do you think that body of work
was received?
MK- Well, it was pretty much ignored. But then most of my work has been
pretty much ignored since the stuffed animals.
SB- It was a very strong show, and I was expecting a good reaction to it, but
it was frustrating to see that no one seemed to care.
MK- I hate to say this, but I think a lot of my work is reactive to what people
say about the previous work. And that work was really a reaction against the
discussions surrounding the craft works. There was a lot of discussion about
them in relation to feminism and gender politics. It wasn't exactly what my
interest was. Because that was a PC period, I thought that people got caught
up with the assumption that everything that's sewn is about women, when I
gave plenty of clues that my work wasn't about that. I didn't see why people
kept clinging to this idea. And really their doing this was just about politics, it
was about trying to use my work as a springboard to talk about how women
artists have been unfairly treated in art history. I don't mind that, but that's
not what I was doing. So I thought, I'll just do some work that is really male.
And then I thought, I'll just use different male archetypes.
SB- It was a very macho show.
MK- Yes, it was a very macho show. But then it was about playing with
different kinds of psychology, so it wasn't a unified macho image, except in
terms of material. It was like going into a rental wood shop and having a
bunch of different men make a bunch of stuff with the same tools. That was
the way I was thinking about it: "Here's the guy who's into orgone therapy,
11. and here's the guy who's into..." -- you know, a lot of it was about self help,
but it had a kind of psychological/body pathology overtone to it. That's what
gave it continuity, and the materials also gave it continuity, but there wasn't
any kind of unifying theme. Even formally there wasn't much connecting the
pieces, besides the fact that there was a kind of general furniture orientation.
But never was any of that discussed in any review of that work. I thought it
was screamingly obvious, and I wrote about it and told people what it was
about. This latest body of work, "Missing Time," has almost only been shown
in Europe, which is funny because the whole repressed-memory syndrome
phenomenon isn't so prevalent there, and they have a really different
relationship to art and all of this material; they will never understand it. And
then the people here just essentially refuse to look at it.
SB- Perhaps it was too painful for some people to go through it, because it
came around a time when a lot of stories about abuse were coming out, like
the little girl in Long Island who was abducted by her uncle and kept in a
dungeon that he had built, stories like that. And then your show was talking
about people empowering themselves through craft, through these very
homey things.
MK- Yes. That show is what got me interested in architecture -- exactly what
you're saying, that you can have this kind of craft, or produce these kinds of
spaces that have a really highly charged negative overtone, and they have
the veneer of homeyness, but then they are very frightening. That's when I
decided to build schools; I said "Well, let's expand this to a larger scale," to
an institutional scale, instead of something like a cubbyhole -- you can have
a giant cubbyhole that has the same horrific tone. And that's what I tried to
do with this educational complex. I'm going to do new buildings where I
actually build full-scale rooms -- it's like building one room as an educational
complex. There will be mixtures of various styles, and still have cult
overtones, or torture rooms, or sex rooms, or something like that. But
they're going to look more like stage sets. They won't look like rooms. They'll
look like paintings, like three-dimensional paintings.
12. SB- What is your work for Documenta about?
MK- "The Poetics" is an overtly historical piece. Tony Oursler and I were in a
band together in the late 1970s and early 1980s, "The Poetics," so I
suggested to him that we pick up that work and develop it into a new body of
work. The first thing we did was remix all these old tapes; we're going to
make a CD box set, a reissue. And then we did all this video stuff, real
straight documentary footage of interviews and landscape, the environment
and things like that. But then we're also doing things that are scripted, and
things that look like reality television. So, it's kind of a play with how you
picture history, and in a really particular way rock history. Basically, what
we're doing is going back and remaking works that we were going to make
then, but never did. What we were thinking about was this kind of trope of
conceptual art that was about when it was designed in your mind -- this
whole thing about backdating, and the controversy surrounding several
artists who have made works that people claim that they backdated, and all
that stuff.
SB- Didn't Yoko Ono did something like that a few years ago?
MK- Yes, and I think Robert Morris has done this; he's built things from his
notebooks, and they were dated the year in which they were designed. This
has always been a major tenet of that kind of conceptualism. So we're doing
that, but it doesn't look anything like that, you know, it's just very weird. A
lot of the work was designed to be seen almost in a nightclub kind of
environment, really garish. And then we're doing a fanzine and a CD box set.
And there'll be a room with video projections and sculptures and all this stuff.
So it will be part art show, part historical kiosk.
SB- Are you going back to performance with this work?
MK- No, I'm just doing music again. I haven't been performing, I've just
been making music. When I was young, I took music very seriously as a kind
of analogue of my visual production, but when I started performing I gave
13. music up. I saw the theater, and these performances, as a kind of sculptural
music. I thought it was more serious, more analytical, or more
deconstructive or something, so if I played music then it was purely for
relaxation, and I didn't think about it as art. Recently I've felt compelled to
make music again, but because of the way I've looked at it, I've had a hard
time justifying it to myself as art. So this was a way for me to approach it --
as a problem of historical constructions -- to think of the pieces as visual
tropes of history or something like that. That would allow me to start doing
the music as a kind of theater, without worrying about the quality of the
music. It's analogous to my return to painting; I don't have to care whether
the paintings or the music themselves are good in any traditional sense.
SB- In a sense it is going back to performance, just not a public
performance.
MK- Not with me as actor. The problem became that I couldn't be on the
stage anymore, but I don't have any problem with doing this work with
media, or playing music, where the focus isn't on me personally.
SB- I always wondered whether performance was a means to help you build
a work.
MK- The way I came to it was that the whole body of work was the
performance. Then people called the part at the end the performance, but I
thought the whole thing was the performance, and then the part on the stage
was just the end of the performance. There was the social cliché of what a
performance is, but I thought of the whole thing as performance. I thought of
my work as operating very much within a Beuysian tradition, and that it was
about the whole thing. You can compartmentalize certain things off, not so
much for any real reason, but that's the convention of presentation. People
can't take in the whole thing. They can only take a chunk at a time. So
really, it's more about using the social code, or visual language, so that
people understand what you're doing.
14. SB- When you mention Beuys, do you also identify with the "shamanistic"
element of his work, or the whole idea of "healing?"
MK- No, no, I mean no. I've always been against primitivism in art. I just
don't like the word "Shamanism" because it always hooks into the New Age,
or into neo-primitivism. The word is so colored by these implications that I
refuse to use it. Within that kind of dialogue people use other words -- like
"the trickster," or "the warrior," and all these terms that people bandy about,
but it all goes back to clichés of tribalism. I just won't use that kind of
language. I only use language of the industrial environment. The problem
with the metaphysics of Beuys is that it allows people to see his work as
based on timeless principles, and not to see it as a constructed myth. I
dislike that about Beuys' work, even though I feel that his work is so much
more, because if you look at its logic, it is very funny. And the more you look
at it, the more humor you see in it. It's sort of absurdist. People miss that,
people don't talk about that. I don't like the connection of artist to priest.