Monday, October 24, 2016

Transfer Report Draft VI

Veronica Fazzio
Transfer report

I will provide my findings, methods and methodologies to date and how I intend to use them in the future. My draft chapter is about Contextual Review so I am not going to say much about it here.

My work involves facilitating Social Sculpture encounters where a group of participants create the piece using props and myself as its materials. I video and voice record, after the experience I use participants’ comments if needed as part the work. I work with different age groups. Initially I introduce my practice based research. I explain the process. I request their ideas on how we might use a particular material. After that dialogue, I start progressively to make fewer suggestions of my own, and I let them take over the decisions and negotiations on what to do. Using their interests in my work as an anchor, I talk with them about themes such as Social Sculpture and Participatory Art. Later on during editing of the material I use these recordings as the soundtrack and analyze them for my research writings in the form of Reflective Practice.. Even though my approaccto thate Socail Sculpture  ps it)tly from his bank account to avoid late payments. his tests. That the
A discussion of my research aims and how they’ve changed.

When I started this process my main areas of inquiry were Metamorphosis, life changes and transformations through time, translocations and mobility.
As I started working in my actions I slowly move to focus on transgenerational interactions, emotions and memory. I still use the term ‘transgeneration’ for my research to describe the collision between transformation and generation in order to convey the complexity and plurality of subjectivities and their transformations during the interactions in my Social Sculpture making. My Social Sculpture works are constructed through using my own body, sound collections of the participants and materials as participants. I am material for the research, my practice becomes a mirror and reflection simultaneously. The production of art works is integrated into social situations and experiences where the participants create while I take a more passive attitude to let myself be material for them.
During the doctoral journey evolution, my Social Sculpture practice has slowly been shifting to philosophy. I understand Social Sculpture as the materialization and/or embodiment of philosophy, as well as the language of it. I came to this realization while editing the material collected during the Social Sculpture encounters, because during this process I found that philosophical questions and archetypes emerged.
Through my work, I am able to see how every group of people has its own tragedy. During the Social Sculpture experiences, poesis comes to the surface in different ways. Different groups of participants relate to each other differently, and the relationship between participants objects, materials and the environment varies as well. When participants become overly analytical, and look for intellectual associations in a dialectical frame of negotiation, the Social Sculpture in fact reaches its conclusion because the core of the encounter losses its energy when bringing the experience to literal associations in which point it turns into a cliché while the tragedy, the essence goes away.
One of my aims during my thesis is to reflect my Social Sculpture explorations pieces and analyze them through Reflective Practice. How some of the pieces ended or turned the Poetics of the piece into Comedy (transferring to my practice Nietzsche ideas in The birth of tragedy,) due to the appearance of reason (Socrates dialectics) and the participants’ needs to intellectualize or rationalize their actions.
The nonstructural mode in which I facilitate experiences and reflect on them is in fact a way of working that is nomadic and non-central (post-human ideas), and it is not based in the idea of mimicking a divine original (Plato). There is no plot, plan, or identity but only energy, action, and reaction between people from different age groups, random objects, and other elements that are naturally placed in an environment that could be based on (though is not limited to) animals, plants, or the weather.

My findings:

·       Performance: I left the studio space and worked outside. I started by engaging with built spaces.
Evolution: I have moved from producing objects to producing actions, and giving to my former objects a new dialogic meaning. Eighteen months ago, I started exploring transformations. I was exploring possibilities by producing actions that were recorded on video. After a process of recording the sound separately, I added it to the video. Once the two elements were together (image and sound), the work became a video production, where the two elements transformed each other.In that body of work, I was performing my actions with different environments relationship: interacting with the public (as in “Action #1”); inside my studio, (as I did for “Colchonero, memory #1” and “El Juego, la Materia y el Ego”); or walking out my studio (as in “Embodying Space”).Simultaneously to the production of these actions, I was taking the Fieldwork Workshops, with a group of different discipline Artists; the particularity of this Workshop was that we didn’t know each other and even less know each other’s work and/or practice.During the Fieldwork Workshop each Artist presents a piece of an in process or finished work, the condition is not to say anything about it, each Artist has few minutes to exhibit it. After all the Artist’s work presentations, each one receives one by one feedback on feelings, comments and reactions to the Artwork.It was during those Workshops that I recorded what they said about my performances videos, and after each workshop I added the recordings to the video of the action I presented.I was focused on the liminal echo between the visual and the voices whose words come from their own projection that my action activates on them. My action then was the canvas for their own issues, thoughts, culture, experiences and vocabulary.  
·       Participatory Art. I Started looking for groups of people to work with, the first ones were a group from North Beach Senior Center and a group of teen from Miami Beach High.
Evolution: from working in actions by myself and using people’s voices/comments recordings I moved to looking for groups of people to develop my actions. During my exploration at the Senior Center (November 2015) I was exploring Relational Aesthetics, I was bringing my work to the senior community creating a playful environment where I lost control of the action surrendering myself to their control, decisions and proposals. I became material for them. I “provoke” them by bringing one material and asking them what to do with it. Another tool of provocation was the camera sitting on a tripod, they knew they would be filmed, to my surprise they liked it and they took control of it as well. Their voices and comments were recorded after the action and are part of the video.

·       Materials I changed my approach to the material and my understanding of the material.
Evolution: from using material to produce a piece; to use few materials as props for the action; to lately understand the materials as more-than-human participants (S. Pope) and at the same time understand myself as material, giving the control of the action to the participants as the encounter takes place.

At the moment, to describe my practice I use Joseph Beuys’s term “Social Sculpture” because it is a material-driven approach, as opposed to Relational Aesthetics’, a concept that has no object and much less material because it is focused purely on the social. In my work, the material plays several roles. During the encounters the material is an active participant as its interrelation with human participants and how different energies develops. During editing, I take the material into consideration through Reflective Practice. After editing I have objects, a video with sound and still photographs. The combining of video and sound creates an object, and the methods required for making this object draws on both the main technical strands of my background: camera work for video and photographs on the one hand and sound on the other. I understand sound as a 3D piece. During the sound editing, I create form and space with the audio and look for different textures.

Controlled/uncontrolled: During the encounter my role does not involve control. In contrast, once I begin editing and reflect, my role becomes exclusively one of control.
I explored the relationship between controlled and uncontrolled through the action and the piece’s participants, whether they are people, material or environment (which have been described by Pope as “more-than-human”, as I discuss in RDC2).

·      Social Sculpture I became more aware of the didactics and pedagogical elements of the encounter and reached the conclusion that my practice corresponds most closely to Beuys’ Social Sculpture rather than to isolated sculpture and/or performance. I aim to create a more appropriate lexicon to use in my work.

·       Philosophy and dialogic (M. Bakhtin) I view all these transformations of myself and my practice as the metamorphosis of the human of which Nietzsche speaks of. The realization that my work is raising questions and statements to which I find the answers and connections to Post Human philosophy such as Nietzsche, Deleuze, Bradotti.

·       Reflective Practice is  the method I use to link between practice and to articulate my findings. I’m developing my own scheme for my reserach based practice: self-reflection during encounter (Social Sculpture) > reflection and dialogue with participants from doing (after the encounter) > self-reflection during editing material> planning the next one.

I reflect on the differences between working with the senior community to working with the teens from High school. While the seniors struggle to understand contemporary art, performance and the interdisciplinary approach as art, they were very spontaneous and free during the action and after during the reflections. In contrast, the teens from were very knowledgeable and interested about performance and Social Sculpture in fact for them, even though never heard the concept of Social Sculpture before, they grasp the idea as something natural and intuitive. However, they struggle in participating spontaneously and without prejudices. In fact, there was a big difference the few times I left them working by themselves. Also, they struggle to give comments after the action, they show having obstacles in communicating their own encounter experience.


The methodology used in my research until now was based on Nietzsche’s triangulation. Nietzsche proposes the use of diverse approaches in order to increase knowledge, which echoes the often-interdisciplinary nature of practice-based research.
The form of triangulation that I deploy in my methodology incorporates the following three angles: Philosophy (Theory, Dialogic), Social Sculpture (Socially Engaged Art; SEA), and pedagogy. I use pedagogy not as an independent discipline but rather as an element of Philosophy and SEA. More than being the third element of the triangulation, pedagogy will transform the triangulation methodology into something that is more akin to circulation in its dynamics. Rather than using pedagogy as a separate element in my research, I will use it in an auxiliary role to allow the philosophy and Social Sculpture elements of the methodology to reciprocally inform one another. Therefor pedagogy is the transmission element that transforms the triangulation into a circulation methodology. For this reason, throughout the thesis I will speak of “transpedagogy” rather than of “pedagogy.”
My interest in transpedagogical issues is to articulate the transformation that Nietzsche speaks of in his theory of triangulation, which includes the use of diverse approaches and measuring the data from different perspectives and through an interdisciplinary approach. Joseph Beuys claimed that his greatest work of art was to be a teacher (Artforum, 1969) and explored this through his experimental pedagogy. Similarly, Claire Bishop in her book Artificial Hells has written a chapter dedicated to pedagogic projects. She explains the similarities and differences between artists-teachers and viewers-students, and emphasizes the processes as methods of art. The process in my Social Sculpture explorations are, in fact, the departing point of my practice-based practice.

During the Social Sculpture experiences those relationships and its dynamics are the focus of my reflection. Because I have a teaching background the role of the “teacher” comes out naturally. Even though I wouldn’t say that my work is an educational experiment, there are elements of didactic present in the way I relate to the participants. I am presently reflecting on these issues and will work in a deeper analysis for the Thesis.
The methods used are the Social Sculptures I facilitate themselves, the do video and audio, my reflections during editing, and my writing. At the same time, the writing method plays two roles, first as part of the practice and second as documentation of the process and conclusions.
Photography, video and sound recording are part of my practice in terms of methods, together with written production. The process of editing images and sounds collected during Social Sculpture experiences is both material for my pieces and a meditative moment that will allow me to process the experience using reflective practice concepts.

Past-present and future of my Research

Recently, I have been reflecting on the impossibility of one of my main premises, namely the idea of “giving myself up” during the Social Sculpture encounters. Throughout the RDC1 I defended that position, and my practice was also grounded in that idea. I have now concluded that it is not possible to give oneself up. Rather, what is possible is to go to the edge of doing so ( as Yoko Ono did on her “Cut” piece). This conclusion does not invalidate my RDC1 discussion but rather prompts me to focus on the boundary between the possible and the impossible as a frame of work. I currently doubt that it is possible for me to truly give myself up, but nonetheless I will keep trying, and I will analyze my attempts to do so. During and after RDC2, instead of focusing my analysis on “giving myself up” I will focus on, explore and map out the boundary between possible and impossible as I attempt to give myself up.
Other questions that were raised after RDC1 were: How can I make Social Sculpture without interacting with people? Can I achieve the “social” element of a piece by myself? Can I raise awareness of the “social” by making a non-participatory piece? What happens to the “Social” element of Social Sculpture when there is no a human participant? These questions have parallels with John Cage’s piece 4:33 and the implications of removing sound from his composition. These questions in turn raise further, more practical queries: How can I create Social Sculpture that raises social questions without interaction with human participants? What happens if I remove the human participants in a participatory piece? Are there any examples of this potential type of Social Sculpture with no people present that already exist (do Facebook and other social media platforms correspond to this definition, for example)?  

·       Explore ways to disseminate my findings not only on the Art world, share them with the educational, academic, institutional and non institutional world including alternative spaces such as the senior centers.
·       Space: keep exploring different environments, being more close to nature or the open urban spaces.
·       Discover and interview and work with other artists with similar interests.
·       Start a Social Sculpture platform a space where interested participants can share their findings.

Ethical issues in my research and how these have been resolved:

I present myself as an artist doing a research in which I look for groups of people to play (develop simple actions) with just a few materials and myself. I always explain that during each event there will be a camera and that I will be also doing voice recordings. The group is invited to participate and I will request their ideas on how we might use a particular material. After that explanation I manage to have less of my own proposals and let them take over the decisions and negotiations on what to do and/or how to play. After the sessions we share our understanding of how and what we engaged with. I make recordings of the discussions and later on during editing of the material I use these recordings as the sound piece and analyzed them for my research writings. Participants are asked to ensure that the choice they make during the social sculpture process do not have the potential to cause harm either to themselves or others.
Participants are always informed verbally in a group conversation about my research and my approach in constructing Social Sculpture pieces. The level of conversation will be adapted to the group age (for example) children will be approached differently than seniors. Participants will be given a consent form to sign explaining their rights to withdraw and the timing to do so, their right to be mention if needed on either the visual documentation of the writing part of the research (in the case of children their parents will be provided with the consent form). The consent form has also information about the project.
Before each session I will provide the participants with a consent form to read and sign with all the information about my research’s blog’s link. On the consent form participants are informed that they can withdraw at any time but they have to give me 30 days notice. In this case they have 90 days from the performance date to withdraw their images and recordings. If they decide to do so the parts in which that specific person appears either (visually or in voice) will be securely destroyed.

New contribution to knowledge

To develop a new methodology, which I call circulation, departing from Nietzsche’s triangulation methodology. The three angles of philosophy-dialogic, Social sculpture practice and didactics will compose the dynamics of the circulation methodology.
To develop a more specific lexicon to use to and articulate my practice.
To be able to develop my own reflective practice procedure and use it to document Social Sculpture in written and video formats.

Wednesday, July 20, 2016

Berlin 2016 reading diaries

Documentation-forms of reflection, with Meret Rostad

Journal of Research Practice, The role of Documentation in Practice-Led Research, Nithikul Nimkultrat, Helsinski, FINLAND

Abstract: to document the interplay between researcher-practitioner and her artistic work in process. Two principal aspects:
1.    Phases of documentation
2.    The role of documentation within research process.

Introduction: Practice-Led or Practice-Based Research

She will explain how to apply documentation methods to record her artistic process and how she relates the Documentation with the overall research process.

Practice-led research (or Practice-based research):  two decades debating those terms with no clear conclusion.

(The goes on by giving definitions the the terms practice-led and or research.)

Practice-led: conscious exploration with the knowledge involved in the making of artifacts. Role of practitioner/researcher : the two roles: practitioner and researcher are more equally important because the research becomes intertwined part of practice.
Practice-based: can be carried out freely for its own sake in order to produce artifacts (fairly similar to general conception of ART/DESIGN practice). Role of practitioner/researcher: the practitioner’s role is more dominant than the researcher role. The emphasis is on practice.

To capture visuals and texts become data that can be used as research material.

Documentation as research material.

Research in art involves multiple methods.

Makela (2003) “retroactive gaze” the process of looking back at one’s own practice in order to answer one’s research questions.

She uses research logs, diaries and journals to do documentation. She advises to write while making art: self-awareness of the evolving thoughts, intentions, and decisions, leading to appreciation for the whole process. Self-awareness difficult to disseminate only through text (due to the limitations of language): that explain why we keep out practice to complete communication.

Documentation: recording the journey. Documentation is vital for the Journey of a practice led research.

Documenting the Artistic Process. Interactions between different actors: materials, practitioner, and artifact. Written diary, sketchbook, voice recordings, photographs. Both successes and failures are to be recorded.

Role of documentation in the overall research Process. It connects practice with the world of research. As a practitioner she has come to realized that documentation has raised her understanding of how practice-led research could be carried ot: by being able to be critical of her own process, analyzing her own artistic process.

Visualizing research: a guide to the research process in art and design by Carole Gray and Julian Malins., Ashgate Publishing, 2004

I wish this book before, like just when I started, excellent. I would like to develop with you a custom Mind Mapping and a Reflective Journal.

She starts the book with a quotation from Alice, she compares the exitment of being a research student and the risk of getting lost on the rabbit hole due to te broad and interdisciplinary approaches we have on front of us.
She believes that persuing a research degree requires three things: passion, self-confidence and method.
The book enphazises pedagogy, experimental learning, theory of  constructive learning. Encourages stdets to engage in active exploration in relation to practice and context.
Visual thinking
1.    Planning & preparation for research
2.    Surveying the research context
3.    Locating your research questions to the context
4.    Generating and gathering data through the use of research methods
5.    Evaluating, analyzing and interpreting research outcomes
6.    Communicating research findings

The content of this guide book is derived from creative relationship between research, practice and teaching in Art and design.

1.    Planning the journey: Introduction to research in Art and Design

1.1  Travelers’ tales
How do practitioners come to do research:
Socratic dialogue, the author goes on with different disciplines true stories of people who tell why they came to do a practice-based research.
1.2  The research process
What?: the question of the research; Why?: context, locate position, explore strategies; How?: appropriate methodology, evaluating, analyzing and interpreting evidence; So What?: the research contribution to knowledge. Communication and dissemination.
Key stages of the process: genuine desire to find something out.
1.3  A route map: the importance of methodology
the process is more important than the product. Knowing about knowledge. Method: a way of doing something; orderliness of thought, action; the techniques or arrangements of work for a particular field or subject. Methodology: the study of the system of methods used in a particular discipline; the aim of methodology is to help us understand the process itself.
Reflection and Action question:
·      What could research in Art be?
·      What might artists do research?
·      How might artists do research?
1.4  The ‘reflective practitioner’
the extended professional is a reflective practitioner-researcher.
Consider what characterizes professional context. How do the best ‘professionals’ operate in the context? In what ways are you already, or could be in future, a reflective practitioner?; what problems do you think you might encounter being reflective practitioner-researcher?
1.5  Completed research for higher degrees: methodological approaches
She goes on examining examples of PhDs Pioneers and Settlers.

2- Mapping the terrain: methods of contextualizing research

2.1  The purpose and structure of contextual review
It’s a major part, long as the project itself: critical, analytical activity. The contextual review helps to identify precisely the nature of the research questions.
·      The scope of the inquiry
·      The state of the relevant knowledge
It’s a bridge between the problem (What?), and researching the problem through methodology (how).
The contextual review prompts a number of questions:
·      Rationale: why is the research needed and what evidence is there to support this?
·      Competitors, contributors, cooperators: Who else in the fields has addressed significant aspects of the research questions?
·      Currency, cultural, context: When and where was the research carried out?
·      How has the research carried out, what are the implications of this for your methodology and specific methods?
·      Gaps, new ground: What aspects remain unexplored or required further work

2.2  Critical thinking and response: key generic skills
 Meta-thinking: thinking about your thinking, and self evaluation. Critical thinking is creative thinking, it encourages questioning, connecting, interpreting, applying.
Argument is a process of reasoning in which: influence. 4 components: Claim, Evidence, Warrant,  Backing.
Intellectual standards: Clarity, Accuracy, Precision, Relevance, Depth, Breadth, logic/reason.
Critical thinking in visual practices: artists are visual, lateral thinkers.
Applying critical skills: outline strengths and weakness of different positions in order to explain/justify/defend preferred position. Develop a conceptual framework, concept map: purposes of, types of, kinds of, methodological assumptions, related literature, scale and scope of., and so on…
Critical writing: in relation to contextual review: different writing styles should be used:

2.3  Locating and using reference materials for art research
Pragmatic topic. No more than 6 key words when searching.
Identifying a gap of knowledge.
Using bibliographic software: ProCite, EndNote, FileMaker Pro.
FIELDS: Summary, Critical Evaluation, Key notes, other media.

2.4  Undertaking a contextual review: mapping the terrain.
Mapping techniques:
·      Mind Map: key words in its importance.
·      Matrix: columns and rows:
·      Networks same concepts as Matrix less structured. It’s a collection of nudes (points) connected by links (lines), visualize as tree. Describing an unfolding narrative.

2.5  A Reflective Practice
Reflective Journalling will:
·      Developing various models of practice
·      Developing interdisciplinary and collaboration through better communication
·      Extending professionalism through self-evaluation
·      Having better conversations with ourselves

3- Locating your position: orienting and situating research

3.1 Raising a Research question: from mapping to location-overview to your view
·      Why is the research needed and what evidence is there to support this
·      Who else in the field has addressed significant aspects of the research are?
·      When and where was other research carried out?
·      What aspects remain unexplored or required further research?
Raise a research question:
·      Immersion in the context where the possible questions lie
·      Adopting a proactive, creative approach to identifying possible questions

3.2 Methodology revisited: possible research positions and approaches
·      Naturalistic Inquiry: an approach for real situations
·      The bricoleur: collage and construction
·      Action research: designed to make a difference
·      Soft systems: understanding the complex whole
·      Inquiry by design: design and research, parallel process?
·      Reflection and action: suggestions

3.3 structuring and writing a research proposal

3.4 Managing research Project Information, a rigorous process.

4-Crossing the terrain: establishing appropriate research methodologies.

4.1 A case for Visual Inquiry.
Leonardo Davinci statements about the visual issues and Einstein statement about Chos are discuss in this section. …Visual research methodology…

4.2 Data, Evidence, Claim: The bases for argument
·      A claim: an argument,
·      Evidence: data used ti support the claim
·      Warrant: an expectation that provides the link between the evidence and the claim
·      Backing: context and assumptions used to suppert the validity of the warrant and evidence
Primary and secondary DATA:
·      Secondary data: archive texts, available txts, classify periods or movements. Convincing arguments by other, some times no easy to take a fresh view.
·      Discovered as a result of the application of research methods. Raw, partial view, possibly incomplete. More risky because they are new.
Good quality data are bedrock of an argument, for both primary and secondary must be critical of their authenticity and dependability. Source and context.

4.3 Crossing the terrain: vehicles for exploration
·      Vehicles for research: she goes on explaining In detail many research methods validated in Art & Design…(pg 121 triangulation)

4.4 Considering preliminary evaluation and analysis
·      To evaluate: is to ascertain the value of something and to judge or assess its worth.
·      To analyze: is to examine something in detail in order to discover its meaning, to break something down into components or essential features.

5-Interpreting the map: methods of evaluation and analysis

5.1 Evaluation, analysis and interpretation
·      Evaluating methodology and methods
·      Validity & reliability: establish research quality. For a naturalistic inquiry validity and reliability concepts are replaced with “TRUSTWORTHINESS” just being honest in everysingle thing.

5.2 Examples of analysis from completed formal research in Art & Design
·      Analysis using triangulation:
·      Visual analysis
·      Multiple perspective analysis
Reflection and action: suggestions

5.3 Playing with data: ttols for analysis
·      Matrices
·      Mind maps
·      Networks
·      Activity records
·      Flow charts
·      Dimensional analysis
·      Chronological analysis
·      Analysis of physical and social environments
·      Analysis on Reflective Journal/development log
·      Metaphor and analogy a analytical and interpretative tools

6-Recounting the jounrney: recognizing new knowledge and communicating research findings

6.1  Recognition of the new knowledge
“original and independent contribution to knowledge”
·      Theoretical knowledge
·      Apply knowledge
·      BOTH
Portfolio of evidence
·      Learning outcomes
o   Visualize concepts
·      Evidence of achievement
o   Map mind
o   Network display
o   Set of photographs
·      Reflective statements

6.2  Recounting the Journey: communicating research findings
·      Thesis as argument
·      The written part
o   Introducing and contextualizing the research topic
o   Describing and evaluating the research methodology
o   Analyzing and discussing the research outcomes

·      Exhibition and exposition expect to see articulated in a exposition:
o   The research questions which were posed
o   The project objectives
o   The methodology including how practice has been involved
o   Some positioning of the project in relation to other key research field, research context
·      Criteria for evaluating involving practice
o   Rigour, depth, critical approach, use of method
o   Revelation, new contribution, dissemination, public output
o   Relevance, contribution to the discipline, society, industry, education, and so on
o   Return, feedback-economic physical, psychological
·      Abstract
o   State research issue/question
o   Describe briefly the context and rationale
o   Describe briefly procedures/methods
o   End with a statement of the main point/outcome/contributions to knowledge
·      Keywords:
o   The original derivation of a term
o   Definition of the term
o   References to key sources
o   How do you adapt a term to your research

6.3  destination achieved: defending your territory, disseminating the research and future expeditions

Artistic research methodology : narrative, power and the public by Mika Hannula, Juha Suoranta, Tere Vadén, New York : Peter Lang, 2014

1-    Artistic Research Inside-in
o   The research is done inside the practice, by doing acts that are part of the practice.
o   Context: Its made no found, its in a process not static, its situated not stale.
o   Antti Eskola: ” it is not rational to exclude any form of critique or methodological principals of inquiry at the start”….but at the end at the final analysis one should clearly state which ones better than others: “one has to dare to declare the winner, for the debate does not stop here, but continiues with such questions as who were the judges, and what were their principals of justification”
§  What constitutes a tradition is a conflict of interpretation
§  Questioning and doubting by necessity take place within the context of a tradition
“to be born is to be born of the world and to be born into the world. The world is already constituted, but also never completely constituted” Maurice Merleau-Ponty
Ø  To recognize what are the inherent chances and challenges of one’s oeuvre and genre, its contested internal logics and the strategies of its survival
Ø  To enjoy those contextual freedoms and responsibilities that come down both as openings and as restrictions and impossibilities but as focus dilemmas to be addressed and articulated
Ø  “Is not to say that art and science are the same, but their separation in the name of creativity and discoveries is false” Nisbet
Ø  The cloven viscount by Italo Calvino
§  DILTHEY, a knowledge must be lead by the following:
Ø  Organization
Ø  Stability
Ø  Coherence
Ø  Economy of expression
Ø  Logical consistency

2-    Basic formula of Artistic Research
·      “Being engaged in the artistic process means moving back and forth between periods of intensive (insider) engagement and more reflective (outsider) distance taking” pg. 16
·      Conceptual Work
o   Contextualization: situating the research in its tradition.
o   The text = conceptual work
The narration of one’s research findings is dependent on how one situates, interprets and conceptualizes its parts…writing is about thinking and discovering things.
The starting point, the inside from which everything starts and to which everything returns, is the contextualized practice.

3-    Back to the future: Democracy Experiences, Methodological Abundance and Verbalization.
Naukkarinen (2012) List of what has to be written:
·      What is topic and the question
·      What kind of materials (books, artefacts, interviews, etc.) are used addressing the question?
·      How are the materials used? How are they read, interpreted?
·      On what viewpoints, theories and concepts is the approached based? (feminist, psychoanalytic, hermeneutic, etc.)
·      How can the results, the method, the material and the viewpoints be criticized?

PART II: Narrative, Power and the Public

4-    Face-to-face, one-to-one: Production of Knowledge in and Narrative Interviews
·      Background: qualitative research: Dilthey develops the differences between quantitative (natural sciences, explains the issue) and qualitative (human or social sciences, understands the issue) research (1910): they do not exclude each other they respect each other. DEMOCRACY OR EXPERINCES: both must be used in different aims, must have clarity when to used one or another.
·      Reasons for narrative interviews:
o   Why?
o   What kind of a narrative of a narrative is in question?
o   Open-ended or closed?
o   Linear or fragmented?
o   Collective, one time or a continuous encounter?
o   Transcribed and by whom?
o   Done with voice recorder or with video?
o   Shared and interpreted by the researcher only or by other?
o   Focus in how is said or what is said?
o   Etcetcetc
The narrative interview method is to move toward, seeking a contact, a connection and a contradiction.
Hermeneutics principals
o   To allow and encourage the other to articulate and to present his or her views and visions on his or her vocabulary, manner and vernacular. In short: the first task is to listen and to try to open up toward a different perspective.
o   To relate and reflect what this different view says to you about the same or similar and issue. In short: there should be a critical interpretation of what is said, how the context is constructed and orchestrated, and how it relates to one’s own views and visions.
·      A practical case

5-Methodology of power: commitment as a Method
what is unique in artistic research
There must be a unique argument for artistic research, based on the unique things it can do.
6-Different roles of an artistic researcher, the public and the uses of sociological imagination.


Live Writing with Geoff Cox

Kenneth Goldsmith, Uncreative Writing, New York: Columbia University Press 2011

I enjoy this book greatly!! It opened plenty of doors in my thinking, I will definitely add in my research bibliography, I already had selected parts to potentially quote from it.

The world is full of texts, more or less interesting I do not wish to add anymore…
New condition on writing today:
o   We must learn to negotiate with amount of txt already exists
o   How to manage to parse, organize, distribute
Perloff’s notion of unoriginal genius.
Raymond Queneau’s 1964 Hundred thousand Billion poems:
Working of technology and Web as ways of constructing Literature:
·      Word processing
·      Data basing
·      Recycling
·      Appropriation
·      Intentional plagiarism
·      Identity ciphering
·      Intensive programming
Jonathan Lethem publish a pro plagiarism essay The ecstasy of influence: A Plagiarism. (very interesting to me: examples where he assumed to had own original thoughts and then later he realized by Googling them that he unconsciously absorbs someone else’s ideas.
Lethem essay it self is an example of patchwritting a way of weaving together other’s people’s words into a tonally cohesive whole.
Context the new content.
SELECT ALL/ COPY/ PASTE: Literary Revolution.

1-    Revenge of the text
Web for writing = photography for painting
“Mallarme asks us to consider the act of reading-whether silent or aloud-as an act of decoding by actualizing and materializing the symbols (in this case letters) on a page.” Pg. 12
James Joyce’s Finnegan’s wake the act of reading itself is an act of decoding, deciphering and decryption.
Nail Mills Seven number poems, 1971 “I believed that the meaning which emerged I the reading of poetry lay primarily in intonation and rhythm, and only secondarily in semantic content i.e. that what was important was how something was read, rather that what was said-the human voice functioning as a musical instrument” pg. 13
Quantity is the Quality: writing needs to redefine in order to adapt to the new environment of textual abundance.
Joyce inspired language/data ecosystem…writers as custodians of that ecology

2-Language as material
“…language works on several levels, endlessly flipping back and forth between the meaningful and the material: we can choose to weigh it and we can choose to read it…” pg.20
·      The situationists out in the streets
·      Concrete Poetry and the future of the Screen
·      Verbovocovisual: Ezra Pound, Chinese ideograms…music element: Klangfarbenmelodie

3-Anticipating instability
·      Blurred: Parsing thinking and Seeing

5-   Toward a Poetics of Hyperrealism
·      Uncreative writing is a postidentity literature.

Subjectivity and the Mirror with Ruth Novacek

Hilton Als: Photos, writing and portraits:

I didn’t see phots, portraits, I read some of his articles… I check the blogs round; I wish we got more specific about what to seeing this blog. I did see the pics, looked like polaroid, illustrating his movies articles, and I read them as well. No much to say.

Joe Brainard I Remember, 2001, Granary Books  pdf
Beautiful postcards of memories, I could see and feel what he sees and feels. Excellent!

Chris Kraus I Love Dick [excerpt] 1997, Semiotext(e), 2015, Serpents Tail  pdf

Very interesting and enjoyable reading, I like how Kraus plays with 1st, 2nd and 3th person, I like how he construct the story, the train of thought the description of the characters. I really enjoyed this reading.

Film: Jim McBride, David Holzman’s Diary 1967   –   Available on Vimeo

Amazing video, I will make my version from a single mother, artist, 2016, Miami beach….

Eileen Myles, Inferno (A Poet’s Novel) 2010. see extract here

Enjoy it, one more reading full of postcards, images, memories…

Eileen Myles, My Childhood   pdf

Beautiful poem bur I think is more of the same…self portrait. Memories, porstcards…

Cindy Sherman, Untitled Film Stills 1977

Very familiar with Sherman’s portraits. Very interesting the way she embodies other women stereotypes, no very fan of her work though. The article ststes “…She stopped, she has explained, when she ran out of clichés.” I personally believe that clichés born everyday.

Polyplot with Lynn Book 

Excerpts, Rosi Braidotti, Nomadic Subjects, preface + chapter 1, 60 pages pdf

·      Implications of the loss of unity of the subject.
·      What exactly are the political and the ethical conditions that structure nomadic subjectivity, and wat are their implications for critical Theory?
·      Nomadic Subject ever be taken as Metaphor for the Human condition.
·      Nomadic thought amounts to a politically invested cartography of the present condition of mobility in a globalized world.
·      Space (geopolitical, social, and ecophilosophical dimesion)
·      Time (the historical and genealogical dimension)
o   Analize locations in terms of powers in two terms
·      Potestas restrictive
·      Potentia empowering and affirmative
Momadic subjectivity= ethically accountable and empowering

o   GAP between

·      How we live and how we represent ourselves this lived existence in theorethical terms and discourses.
Postmodernity: inhabiting different time zones an schizophrenic characteristic.

Global Hybridity

Subjectivity as a process to became nomad.
Figuration of the nomad=
renders image subject=
nonunitary, multilayered, dynamic and changing entity.

Socioeconomic= Perverse hybridization= Capitalism=Interim, part-time, substandard, underpaid work= Pseudo Nomadism

Bradotti’s nomadic subject genealogically plunges its roots in feminist theory and antiracist politics. Addresses the need to destabilize and activate the center.

Excerpts, David Apelbaum, Voice, preface + Cough, Verge, Chant, Poem, 60 pages  pdf

Iris Rogoff, We Collectivities, essay, 6 pages pdf

Anne Carson, Glass, Irony and God, “The Gender of Sound”, 18 pages pdf

Done and very interesting….good amount of history in a subject I have never thought of. Im a woman with a low tone voice, I like to be like this.

Michael Parsons, The Scratch Orchestra, essay, 7 pages pdf

Very interesting in fact I will use it for my research.
An essay about interdisciplinarity, i.e.visual music….
Cornelius Cardew, “towards the Ethic of Improvisation”> Scratch Orchestra:
“Ideally such music should be played by a collection of musical innocents (people who had no misucal training)”

Influences to the Scratch Orchestra:

·      John Cage> 4”33” “silent”
·      Early Fluxus>George Brecht’s “Water Yam” his pieces operate in an intermediate zone between object and event & LaMonte Young

These and other Fluxus-related works were accessible to musically untrained performers, offering a different kind of challenge; they called for alternative skills of inventiveness, in- genuity, practicality and self-discipline, and total commitment to the task at hand in the face of any eventuality (in- cluding adverse audience reaction, inter- ruption and even interference).
Parsons, The Scratch Orchestra and Visual Arts pg 6
the Scratch Orchestra’s more collective ap- proach to performance reflected its loose and informal sociability, which was based on mutual respect and tolerance rather than on adherence to any pre- conceived structure or set of rules.
Parsons, The Scratch Orchestra and Visual Arts pg 7
Tim Mitchell, Michel Chant, Brecht, Lucier, Young, Ichiyanagi.
All inclusive social music and performance.