In a phenomenology seminar [18.02.16] we are introduced to a 2015 TED talk by Daniel Kish, a man that has been blind since a young baby who uses sonar to “navigate the world”.
Which resents a challenge to the ingrained implicit biases of philosophies that focus on the eyes/vision [for example Sartre’s ‘look’ where the look of the other situates you through the feeling of shame] when inclusive phenomenology becomes extra sensory.
“BLIND MAN USES HIS EARS TO SEE”, CNN article, 2011
[phenomenolizing ways of living = implicit bias?]
"When you send out a sonar call ... you're interrogating the environment,"
"You're asking, 'Where are you?' and 'What are you?' And the environment answers back."
On the controversy surrounding his teaching navigation via sonar: "I think that has a lot to do with a dogmatic adherence to tradition -- if it ain't broke, why fix it."
Travis Scott/Patrick Staff/Miranda Penell: Video and gesture
Artist and producer Travis Scott / Artist Patrick Staff : an observation on use of a scene [theatrical and social] through location object placement and simple gesture in music video online/”video installation” in a gallery setting.
Artist Miranda Pennell: You Made Me Love You, 2004 : gesture and desire see comments on ALL SYSTEMS…go post for detail.
Travis Scott - Mamacita ft. Rich Homie Quan, Young Thug
[screenshots of video]
ALL SYSTEMS...go & Philosophy Speakers Programme at DJCAD
Re: A deeper understanding of the wider contexts for practice and research...
Cooper Gallery ALL SYSTEMS... go specifically with regards to Screening & In Conversation with Miranda Pennell and Isla Yeaver-Yap: Wednesday 24 Feb 2016, 6.30-8pm and the poetry, dance and performance events 17/21 Jan.
Continuing work as Gallery Assistant at the DCA involving tours of the work.
Miranda Pennell’s ‘You Made Me Love You’ Pictured below.
the sound and rhythm in video / performative nature of the work happening relying on something happening. The desire to face the camera eye to eye, the distanced face-to-face interaction.
-
Philosophy Speakers program Humanism, Dalhousie Building:
Why reform humanism?
Risk of the desire to affirm another & Recognizing political economic conditions re: Fanon
Brain plasticity, What do we do with our brain? re: Katherine Malibu
-
Attendance to End(s) of Art symposium:Contemporary practice research across philosophy/ art practice papers:
VVS , Vertical Video Syndrome.
‘motion picture has always been horizontal, TVs are made horizontal, our eyes are horizontal’
[one puppet with vertical eyes to another with horizontal eyes: “I LOVE VERTICAL VIDEOS!” “NOBODY CARES ABOUT YOU”
Philosophical implications of VVS or vertical video according to [ ]
BAS08
Notes for professional development trip to BAS08 with DCA GalleryAssistants: things that aren’t the work affecting the viewer/audience [How atmosphere can effect] James Richards & sound or lack of using acoustic panels. [How place can affect] Laure Prouvost can make you look at what is not there. Making the invisible theatrical. Patrick Staff, The Foundation (in the basement of Inverleith House). The implicit environment / atmosphere that is created in the materials used - You can smell the materials, impact on senses in obscure/displaced ways so you can smell/feel the room although it’s dark. Makes for a non-participatory-participation. - On entering the room the viewer encounters a flux of implicit / explicit sexual tones/images/atmosphere. - The dancing/music/location/selection of clothes/senses/culture sharing of vintage homoerotic archival footage/images. How video / music does this so fluidly.
[Patrick Staff, The Foundation: Preview Clip]
Narrative without language. Gesture on video
Up to the point of language...
People like fur (Inverleith House overheard comments)
GI 2016
Catrine Val political letters 5 street level photoworks, Leila Helemat the French mistake, Koppe Asther, Birthe Jorgensen & Tawona Sithole Bitter Rose, Akram Zaatari The Common Guild 12-5pm, Will Kendrick, skypark, tramway Lawrence Lek QE3, Laurent Gault, Art Village Krysia Kordecki, David Dale Sol Calero
Mika Rottenberg NoNoseKnows 2015 TRAMWAY
Lawrence Lek QE3, 2016 TRAMWAY
Tessa Lynch Painter’s Table, GOMA
Cosima von Bonin Who’s Exploiting Who in the Deep Sea? GOMA
Reviving the Lifeworld ...feeling "othered" by phenomenology?
VIEW WORK HERE : Reviving the lifeworld 31.03.16
re: shared worlds, sharing cultures and history. Societal Slippery Slopes& philosophical implications specific regard to phenomenology: lifeworld philosophy inc. Paul Churchland, Edmund Husserl, Luce Irigaray, Chimamanda Ngozi Adichie, Franz Fanon, Stuart Hall.
…An essay discussing the relevance and potential of Phenomenology. With specific regards to culture and it’s place in the making of a Lifeworld, specifically, as opposed to a non-human centred Lifeworld. (With reference to phenomenologists and physicalists respectively). I will go on to consider the necessity and importance of a human centred structure for experience through drawing connections between ‘different Lifeworlds’ in order to elucidate the limits of the contemporary Lifeworld and assert that these limits are not all destructive to the phenomenological cause. What’s mentioned above is all particularly complex, and for the purposes of this essay I will summarise where appropriate in order to make considerations as clearly as possible.
Phenomenological implications of art and collective practice with specific reference to the shared experience of art and the trans african project:
A Trans-African Worldspace by Emmanuel Iduma 2015 :
“The work of Invisible Borders since inception has appropriated ordinariness quite differently. Artists and writers who have travelled as part of the project did not insist on showing everyday spaces—like markets, streets, restaurants, roads, and malls—as places in need of repair or development. But as places where life occurs without judgment, with mirth, theatricality, and beauty. This approach has not lessened the severity of the continent’s contradictions.”
Invisible Borders Update April 2016:
Borders Within 2016: Help us in your City or Region
10 April 2016 | by Emeka Okereke
From May 12 to June 26, 2016 we shall embark on a Road Trip across 14 states in all regions of Nigeria on the “Borders Within Trans-Nigerian Road Trip Project".Our aim is first, to discover our own country and through our encounters and experiences create works that encourage conversations about our differences, similarities and hoping, as a result, to underscore the borders that are both inscribed and elusive within the country. The artists – employing a subjective gaze – will focus primarily on reflecting the voices of individuals – the average Nigerians…”
“mapping diversity across regions, states & ethnic formations in Post-Colonial Nigeria”
In the same way that in order to sustain a phenomenological outlook there has to be an attitude adopted where you leave behind judgements and opinion in order to map out the web of relations between people and how we experience things in the world.
In this case the project leaders are aiming to mapping encounters / experiences. Employing particular self awareness. Building ongoing projects movement and momentum.
Slopes can be good for building mo men tum. It’s not all bad.
project first found when browsing [07.02.16] Aeneas wilder’s website ahead of a speakers programme talk [which I did not attend]; in a write up of 56th Venice Biennale 2015:
“If there is any one stand out work that I should pick from the Arsenale it would be the artists collective Invisible Borders presentation A Trans-African Worldspace. The exhibition included contributions from Ala Kheir, Amaize Ojeikere, Charles Okereke , Emeka Okereke, Emmanuel Iduma, Jide Odukoya, Jumoke Sanwo, Lillian Novo Isioro, Lucy Azubuike, Ray Daniels Okeugo, Teresa Menka, Tom Saater, Uche Okpa-Iroha, Venessa Peterson.”
Invisible Borders [The Trans-African] project 2009- ongoing re: movement amongst people, across identity, how we connect with things we have no tacit knowledge/previous experience of:
“EO: Exactly, because we hope to explore the idea of a parenthesis that becomes possible as a result of estrangement. We want to touch on the makings of this parenthesis with hopes of not being too prosaic but rather nuanced enough to evoke sensibilities, which would lead to open-ended conversations.”
“EI: I recall that we began to speak about parenthesis in relation to the people who are waiting, almost interminably, and desolately, for the opportunity to cross the sea. And we were interested in what happens in that time of waiting. How have you managed to take photographs based on this?”
Emeka Okereke
“The image “Under Construction,” which I made somewhere in Yaba, Mainland Lagos, speaks very much to this thinking. First of all, it is an effort to implicate my own body and presence in the narrative. It is a performative image in the sense that the image-maker is not exempted from the vulnerabilities and eventualities of the actual image. But beyond that, there is a space similar to this parenthetic space, which exists in the distance between the camera (and we know the history of the role of the camera as an oppressor’s tool) and the image. The process of making the image is a daunting repetition of movements back and forth the camera and the image. At a point it becomes heavy and exhausting and almost self-tormenting.”
http://www.radioapartment22.com/spip.php?article193&var_recherche=emeke%20okereke
[Reviving the lifeworld 31.03.16 , pg.4] “collection of largely unconscious associations” that effect “how we perceive / interact with and evaluate members of social groups in our societies”
20.02.16
in response to reading through phenomenology questions:
8.) ‘Traditional phenomenology is implicitly biased in favour of the white European male.’ Is this claim accurate? Answer with reference to Fanon and at least one further thinker studied on this module.
note-able that like phenomenology, the art world is implicitly at times, and explicitly favours the white European male / white male / white / male.
re: sharing what was never ‘yours’ culturally and creatively http://www.thefader.com/2015/12/03/on-fleek-peaches-monroee-meechie-viral-vines
source ( https://www.nylon.com/articles/doreen-st-felix-interview )
How we feel past implicit bias, is sharing the answer?
social silence social deprivation competing rights - not necessarily socially intersubjective.social needs that are rights based social resources."intersubjectivity means :when you ask someone to provide social contact with you you're also offering it" Its a reciprocal type of resource The extent/limits of reciprocity. "asymmetrical in terms of what each person gets out of [the social activity]." feeling "othered" by phenomenology? The Limits of the Lifewold: gender, culture and isolation
The Limits of the Lifeworld: Recognition and Abnegation
Investigations into sharing and silence : archiving identity, sharing identity, situated identity, milieu.
Emmanuel Iduma - Face in the archive
...
“I seek to situate myself in that history when I look at the photographs a century later. To situate myself, I deal contemporaneously with the archive, and treat history with conceit and imagination. My prejudice is to reflect on images of a colonial past and how they foretold this moment when the task of decolonization isn’t quite done.”
...
“I imagine that the boys, while being photographed, contemplated the unfamiliar camera. How did they consider the equipment? As a box-like mirror whose meaning and use eluded them?”
...
“Supposing they knew what the camera was, that it made pictorial records of their habits and customs, it is unlikely that they saw a copy of the photograph. How they considered themselves mattered little to the state for whom the photographer worked. They were subject to a Eurocentric interpretation of their identity and image.”
...
“My relationship with their image cannot escape the possibility that they didn’t see it, or the fact that I project my biases toward their faces, unaware of their thoughts. Yet I must surpass those limitations. The ultimate aim of considering their image is to establish kinship. In looking at them, declaring that I am their progeny, I affirm our shared struggle to repossess our identity from the violence of colonialism.”
Iduma’s words are a catalyst for affective experience* through writing and art.
and as opposed to previously written re: Carsten Höller’s “The Double Club”
Sharing &/is caring? Not caring &/is sharing.
re: affective experience “sentimentally commanded encounter”
according to a source in the library’s copy of the Double Club, the "most important achievement of The Double Club; taking Art outside its usual context and turning it into a real life experience."
my response to that is who’s real life experience are they talking about?
what happens when you sharing something, the need to share something that is not even yours is it all a question of question begging?
…appropriating food, drink, bar design, clientele
phenomenolizing cultures and eachother. Slippery Slope
Slope Theory, Theory 2k16
re: employment of literary devices in mis/readings of work, the attributes of the ‘slippery slope’ [i.e. assumed outcomes] match that of many encounters in contemporary culture across art, education and socialising.
Slippery Slope as explained in Rick Famuyiwa’s 2015 film DOPE as : "a small event that leads to a chain reaction of events that leads to unintended consequences that were unforeseen at the time of the inciting event.”
***Informal Fallacies / Question begging / Loaded Language / Cherry Picking***
[Reviving the lifeworld 31.03.16, pg.5]
Begging the question of bias
Don't go breaking my ‘art:
I tried to use my birthday balloons to entice eyes and reflect away from seriousness[1]
[1] it didn’t work out. I still have their weights though. I unwrapped them.
(What was recovered can be seen in images used in “don’t go breakin’ my art:
Discussions surrounding the ways writing can open up practices as opposed to acting as supplementary/ explanatory. Through short readings and immediate discussion. ***** 5pm-6pm, GENERATOR PROJECTS MEMBERS SPACE ****** We will be continuing the conversation with our focus shifting to the 'places' in which we encounter and employ language / narrative / interpretation. ...WHERE and WHEN language / narrative / interpretation happens and the effect that this has...
- Last week we started the discussion by reading a short piece of writing by Isla Leaver - Yap, A frog, a bird, a mouse, and five arrowheads. Excerpt from a publication study of: To enable me to fix my attention on any one of these symbols I was to imagine that I was looking at the colours as I might see them on a moving picture screen. An exhibition by Hannah Rickards at Modern Art Oxford 15 Feb - 21 Apr 2014
- This reading got us discussing art as 'the gift' and the idea of a narrative being "at best information: at worst distortion"
- We spoke about how as a text i.e. non-visually, the piece 'hit the spot' in terms of almost re-enacting or showing us how we encounter art.
- We got speaking about Alexandra Pirici and Manuel Pelmuş and their contribution to both the Venice Biennale, 2013 and the TATE Liverpool in Feb this year. in 2053: A Living Museum how a disruption in how we would expect to experience the works they were 'performing' in a way leads to what Leaver-Yap called 'radical obliteration of clear interpretation' or a 'provocation of uncertainty'
- Perhaps it could be said that we were discussing how 'object communication' is transferred across different forms that 'art' takes.
- Interested in taking it further by thinking about the effect that HOW/WHERE we encounter language and then therefore employ interpretation/understand narrative
- To show the widespread extent of what 'where' could mean this week will be a reading from Alison Gibbs' website surrounding 'Our Extra Sensory Selves' from the Exhibition Fugue States at the CCA early 2015
-We can use this as one example of place (in terms of mental spaces for perception/interpretation AND in terms of the place in which art happens i.e. this is a call out for group sessions) and use it as a jumping off point to talk about other places, be it psychological/internal spaces for interpretation or the physical / cultural contexts in which they take place.
" fugue-like states, such as alcohol-induced "blackouts." "Dissociative fugue, formerly called psychogenic fugue, is one of a group of conditions called dissociative disorders. The word fugue comes from the Latin word for "flight.""
[11.03.16] points of discussion at Read –In’ Group 2:
-The 'haunted house' sensation and how it distorts the narrative of things within a space, gaining extra senses through acknowledging one of our accepted senses i.e. increased awareness of sound/sight.
-Mice tests with coloured lights making them happy/sad
-Carey Young's donor card, giving a literal description, a gift, and asking you to directly engage via contract - how that explicit nature brings an element of connection.
- Iranian artist without using words as a narrative forces you to read other things - rely on other things to develop an understanding, a less aggressive /explicit way of asking to engage, very implicit - often unnoticed/ overlooked by English language dominated western world.
- How artists can give us a way in to take on - girl walks home alone at night, the use of subverting the usual stereotypes of tradition garments. Very minimal speech, very clear, engaging narrative.
LINKS DISCUSSED:
A Girl Walks Home Alone At Night, Ana Lily Amirpour, 2015 [see pictured]
Discussion group with the aim of exploring ways that writing can open up practices [as opposed to acting as supplementary/ explanatory]. Through short readings on arrival and immediate discussion following. ***** 5pm-6pm, GENERATOR PROJECTS MEMBERS SPACE ******
[26.02.16] Read –In’ Group 1
Research for material for reading group from publication surrounding Hannah Rickards work 2014 [1] :
Isla Leaver Yap , 8 Metaphors (because the moving image is not a book), 2011
[https://leaveryap.wordpress.com/2011/02/19/8-metaphors-because-the-moving-image-is-not-a-book/]
“How does an artists write their practice? These questions were not just the starting point for this project, but the principles upon which this book has been constructed… seeks to find a new space for discussion where such debate, rendered in text, is critical to the complexity of work and the depth of an artists practice.”
THE HAPPY HYPOCRITE – HEAT ISLAND, ISSUE 7, 2014
“Seeks to understand how our hands (as both digital and analogous devices) and our bodies physically traverse and negotiate knowledge.”
https://www.bookworks.org.uk/node/1821
'The Voice Is A Language' https://vimeo.com/43260876 2012
[“Isla Leaver-Yap, organiser of 'The Voice Is A Language', a performance and screening project that orbits the legacy of avant-garde pioneer Meredith Monk”]
Sue Tompkins[2]
http://awp.diaart.org/tompkins/book/mykindbook.html 2011
https://voiceisalanguage.wordpress.com/ 2010
Cara Tolmie
[previous interest in ‘pley’ as written about in philosophy paper 2014]
https://vimeo.com/87851383 Pley, 2013 (excerpt)
https://vimeo.com/64557117 Chronicle, 2011
[1] “To enable me to fix my attention on any one of these symbols I was to imagine that I was looking at the colours as I might see them in a moving picture screen”
[2] First saw Sue Tompkins’ work at Hospitalfield as part of GENERATION when volunteering
[Nick Mauss and Ken Okiishi, Poetry as not, with singing 2015http://awp.diaart.org/maussokiishi]
[26.02.16] Read –In’ Group 1:
***** THIS WEEK: LANGUAGE, NARRATIVE,
INTERPRETATION... what are they good for? *****
-This reading got us discussing art as 'the gift' and the idea of a narrative being "at best information: at worst distortion"
- The connotations of a gift i.e. not always wanted (in reference to definition in text).
- We spoke about how as a text i.e. non-visually, the piece 'hit the spot' in terms of almost re-enacting or showing us how we encounter art examples Alexandra Pirici and Manuel Pelmuş : Venice Biennale, 2013 and the TATE Liverpool earlier this month.
[1] “To enable me to fix my attention on any one of these symbols I was to imagine that I was looking at the colours as I might see them in a moving picture screen” Hannah Rickards 706.4 (42) DJCAD
[2] First saw Sue Tompkins’ work at Hospitalfield as part of GENERATION when volunteering
VIEW WORK IN FULL HERE : **Emma McCarthy, Heidegger and Culture: a Textual Commentary, March 03 2016
_‘The structure of the Being of what is readytohand as equipment is determined by references and assignments. In a peculiar and obvious manner, the ‘Things’ which are closest to us are ‘in themselves’; and they are encountered as ‘in themselves’ in the concern which makes use of them without noticing them explicitly – the concern which can come up against something unusable…. [W]hen an assignment has been disturbed – when something is unusable for some purpose – then the assignment becomes explicit…. When an assignment to some particular “towardsthis” has been thus circumspectively aroused, we catch sight of the “towardsthis” itself, and along with it everything connected with the work – the whole ‘workshop’ as that wherein concern always dwells. The context of equipment is lit up, not as something never seen before, but as a totality constantly sighted beforehand in circumspection. With this totality, however, the world announces itself. _
_Similarly, when something readytohand is found missing, though its everyday presence has been so obvious that we have never taken any notice of it, this makes a break in those referential contexts which circumspection discovers. Our circumspection comes up against emptiness, and now sees for the first time what the missing article was readytohand with,and what it was readytohand for.The environment announces itself afresh.’ _
(Martin Heidegger, Being and Time,Trans. John Macquarrie and Edward Robinson, Oxford: Blackwell, 1962, p 105).
~
The passage explains the way in which (according to Heidegger) we achieve an insight into the connectedness of the world. This is something that is fundamental in how we experience things as Dasein [1].Using his own constructed terms Heidegger explains how the world shows itself to us (or) ‘announces itself afresh’ and how we therefore find our placepositionrole in the world (in connection with everyone and everything else)[2] .Heidegger claims that it is through some distortion of our encounter with what he calls the ‘ready-tohand’that the world has the chance to ‘announce’itself.
As an example of this disturbance take my relationship with the keys to my flat: I don’t think about how a key works when I lock my front door on my way out of my flat every morning, I just do it because I need to make sure my flat and things in it are secure. But if one day, my keys were to snap off in the lock of my door it would render the key, as a thing, ‘unusable’ (thus, this readytohand thing would have been ‘found missing’). The same could be applied in the situation of literally losing my keys. In either situation the context in which I engage with the key changes and a new context will be illuminated, I would, for example, have to think about why and how I use my key, and maybe call someone who specialises in key cutting / locksmith. My front door key is no longer just a means to an end in this new light...
REFERENCES/BIBLIOGRAPHY
Chimamanda Ngozi Adichie, WE SHOULD ALL BE FEMINISTS, Fourth Estate, 2014
David Woodruff Smith, “Phenomenology”, The Stanford Encyclopedia of Philosophy (Winter 2013 Edition), Edward N. Zalta (ed.), http://plato.stanford.edu/archives/win2013/entries/phenomenology/
Edmund Husserl, The Crisis of European Sciences and Transcendental Phenomenology. Trans. David Carr, Evanston: Northwestern University Press, 1970
Martin Heidegger, Being and Time , Trans. John Macquarrie and Edward Robinson, Oxford: Blackwell, 1962
Michael Inwood , A Heidegger Dictionary , eISBN: 978063119095, Print publication date: 1999, http://www.blackwellreference.com/public/uid=860/tocnodeid=g9780631190950_chunk_g978063119095020_ss13
PI32023Phenomenology: Lifeworld Philosophy (15/16), Week 3 (01.02.16) Heidegger: the Practical Lifeword, Slide 24) Graham Harman, ToolBeing, pg6
Seth Price, FUCK SETH PRICE : A Novel , Leopard 1st Edition edition, 2015 (“… provocative, moving novella about what it means to be a creative person under today’s digital regime…”)
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