DOCSLIB.ORG

Whatcanabodydo 1-1.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Whatcanabodydo 1-1.Pdf What Can a Body Do? Inscribing and Adjusting a Disabled Experience in Contemporary Art By Amanda Cachia Submitted in partial fulfillment of the requirements for the degree Masters of Art in Visual and Critical Studies, California College of the Arts Date of submission: ____________________ Thesis Director Signature: _______________________ Dr. Susan Gevirtz Program Chair Signature: _______________________ Dr. Tirza Latimer Internal Advisor Signature: _______________________ Dr. Stephanie Ellis New Ó Amanda Cachia, 2012 page TK TABLE OF CONTENTS 4 List of Figures 6 Thesis Dedication 7 Acknowledgements 8 Thesis Abstract 9 Prologue 14 Introduction: What Can a Body Do? A Multiplicity of Challenges 20 Disability and Reassigning Meaning in Visual Culture 30 Chapter Outline & Key Terms 36 Chapter I: Grappling with a Disabled Identity and Theme in Curatorial Practice 48 Chapter II: Disabled Bodies in Visual Culture: Past, Present, Future 51 Dismantling Historical Representations of Disabled Bodies 64 Complex Embodiment: A Place for Disability in Contemporary Art Discourse 69 “Heightened” Perception 77 Coherence and Incoherence of the Body 83 Ordinary Objects, Ordinary Bodies 85 Chapter III: Anthropomorphic Ficus Trees 87 The Anthropomorphic Imagination in Art History 93 TOGETHER together 103 The Fallen, Hybrid Garden Gnome 108 Chapter IV: Stainless Steel Lines of Flight 113 Please Adjust 130 Conclusion: Disability as Generative, Dynamic Physiology 135 Epilogue 137 Bibliography LIST OF FIGURES 81 Figure 3.27 Gary Hill, Inasmuch As It Is Always Already Taking Place, 1990 82 Figure 3.28 Mary Kelly, Post-Partum Document, 1973-79 1 BwO diagram drawing by Amanda Cachia 82 Figure 3.29 Corban Walker, Please Adjust, 2011 Introduction 82 Figure 3.30 Laura Swanson, TOGETHER together, 2009 15 Figure 1.1 Laura Swanson, Double Portrait, 2007 84 Figure 3.31 Marcel Duchamp, Fountain, 1917 84 Figure 3.32 Laura Swanson, Untitled, n.d. Chapter I 38 Figure 2.1 Medusa’s Mirror: Fears, Spells and Other Transfixed Positions, 2011 Chapter III 38 Figure 2.2 Medusa’s Mirror: Fears, Spells and Other Transfixed Positions, 2011 87 Figure 4.1 Doris Salcedo, Untitled, 2007 39 Figure 2.3 Medusa’s Mirror: Fears, Spells and Other Transfixed Positions, 2011 89 Figure 4.2 Louise Bourgeois, Cell: You Better Grow Up, 1993 39 Figure 2.4 Medusa’s Mirror: Fears, Spells and Other Transfixed Positions, 2011 90 Figure 4.3 Louise Bourgeois, Femme maison, 1946-47 40 Figure 2.5 Installation of Neil Marcus drawing, Medusa’s Mirror, 2011 92 Figure 4.4 Robert Smithson, Spiral Jetty, 1970 42 Figure 2.6 Ryan Gander, The Artwork Nobody Knows, 2011 93 Figure 4.5 Laura Swanson, TOGETHER together, 2009 42 Figure 2.7 Marina Abramović, Thomas Lips, 1975 94 Figure 4.6 Laura Swanson, TOGETHER together, 2009 (lampposts) 42 Figure 2.8 Chris Burden, Shoot, 1971 95 Figure 4.7 Laura Swanson, TOGETHER together, 2009 (ficus trees) 96 Figure 4.8 Marina Abramović & Ulay, Imponderabilia, 1977 Chapter II 102 Figure 4.9 Doris Salcedo, Widowed House IV, 1994 52 Figure 3.1 Diego Velázquez, Las Meninas, 1656 104 Figure 4.10 A typical garden gnome 54 Figure 3.2 Circus World Museum, Baraboo, Wisconsin, n.d. 105 Figure 4.11 Santiago Forero, A Story About Gnomes, 2009 54 Figure 3.3 Diane Arbus, A Jewish giant at home with his parents in the Bronx, 106 Figure 4.12 Ana Mendieta, Untitled (Grass on Woman), 1972 N.Y.C., 1979 56 Figure 3.4 Walker/O’Neal logo for Size DOES Matter, 2010 Chapter IV 59 Figure 3.5 Munchkins, The Wizard of Oz, 1939 113 Figure 5.1 Corban Walker, Please Adjust, 2011 59 Figure 3.6 Oompa Loompas, Willy Wonka and the Chocolate Factory, 1971 114 Figure 5.2 Sol LeWitt, Cube construction, 1971 60 Figure 3.7 Katarzyna Kozyra, The Midget Gallery Goes to Frieze, 2009 114 Figure 5.3 Agnes Martin, Tremolo, 1962 60 Figure 3.8 Katarzyna Kozyra, The Midget Gallery Goes to Frieze, 2009 117 Figure 5.4 Robert Morris, Untitled (L-beams), 1965 62 Figure 3.9 Freaks, theatrical release poster by MGM, 1932 119 Figure 5.5 The Dogon Egg from Deleuze & Guattari’s A Thousand Plateaus (1987) 62 Figure 3.10 Peter Dinklage in GQ Magazine photo shoot, 2011 120 Figure 5.6 Corban Walker, Please Adjust, 2011 (detail) 67 Figure 3.11 Francesco di Giorgio Martini, Architectural View, c. 1490-1500 122 Figure 5.7 Leonardo da Vinci, Vitruvian Man, 1487 71 Figure 3.12 Joseph Grigely, Songs Without Words (Eartha Kitt), 2009 122 Figure 5.8 Le Cobusier, Modulor, 1943 72 Figure 3.13 Christine Sun Kim in her studio, 2001 124 Figure 5.9 Corban Walker, Mapping #4, 2000 72 Figure 3.14 Christine Sun Kim, Seismic Calligraphy, 2008 124 Figure 5.10 Corban Walker, Mapping #4, 2000 72 Figure 3.15 Christine Sun Kim, Seismic Calligraphy, 2008 126 Figure 5.11 A viewer circumnavigating Corban Walker’s Please Adjust, 2011 72 Figure 3. 16 Park McArthur, Mobility: New York, 2010 74 Figure 3.17 Rebecca Horn, Finger Gloves, 1972 74 Figure 3.18 Carmen Papalia, Blind Field Shuttle – CCA, 2012 75 Figure 3.19 Ann Hamilton, body object series #17 – toothpick suit, 1984-2006 75 Figure 3.20 Ann Hamilton, body object series #5 – bushhead, 1984-1993 75 Figure 3.21 Carsten Höller, Upside Down Mushroom Room, 2000 76 Figure 3.22 Félix González-Torres, “Untitled” (Portrait of Ross in L.A.), 1991 78 Figure 3.23 Laura Swanson, Revelation, 2009 78 Figure 3.24 Corban Walker, TV Man, 2011 80 Figure 3.25 Carolee Schneemann, Interior Scroll, 1975 80 Figure 3.26 Yayoi Kusama, Untitled, c. 1970 6 7 Acknowledgements The development of my thesis for my Masters in Visual and Critical Studies is one of the most profound years of my life. My encounter with disability in all its forms permeated many levels of my thesis year: socially, professionally, academically. I came to understand the world in new, rich ways thanks to my new friends and lover in the world of the disability community. None of this would have been possible without my friend Joseph Stramondo. It was Joe who first got me thinking about the contribution I could make to the disability studies field, and how I might marry my passion for contemporary art with an area of my life that is so personally and socially significant. My thanks go to my new friends, Chun-Shan (Sandie) Yi, Sunny (Sunaura) Taylor, Carmen Papalia, Sadie Wilcox, Neil Marcus and Bethany Stevens. Without your powerful, beautiful bodies, I could not have had the courage to move forward in this community. Thank you for nurturing and encouraging me. This thesis is dedicated to my parents, Joe and Frances Cachia, Thanks to my thesis committee: Susan Gevirtz, Thesis leader, Stephanie Ellis, my internal thesis advisor (who recommended Laura Swanson to me,) Tirza Latimer and Joseph Grigely. I also wish to thank Judith Serin for helping me to become a better writer and to my late fiancé, Cory Malone, for making all this possible. during my Fall writing mentorship and to Vivian Bobka for being an incredible editor in the spring. Also thanks to Julian Carter and And to Ryan: my body without organs. Michele Carlson for Sightlines and Thesis Symposium work and to Defne Beyce for the design of the poster. Shawn Hibmacronan and Adrien Segal, thanks for a lovely custom-built podium (and to Alison Smith for recommending Shawn). I’m also grateful to Susan Weiss and Barbara Templeton for helping me with transcribing all my lengthy interviews and with additional editing. To the incredible disability scholars in Berkeley and across the USA, I owe my gratitude: Katherine Sherwood, Ann Millett- Gallant, Georgina Kleege, Catherine Kudlick, Petra Kuppers, Anne Finger, Carrie Sandahl, Riva Lehrer, Ann Fox, Rosemarie Garland-Thomson and Tobin Siebers. To VCS: Tirza Latimer, Kate Moore, Lindsey Westbrook, Jim Norrena, Melanie Corn and ShawnJ West, plus Indira Allegra, Patty Lessard, Ric Owen and to all who supported my round-table event on Feb 17. I also thank VCS for the research grant to attend the Venice Biennale for the Vernissage and opening reception of the Irish Pavilion and my fellow class-mates for their general support. In assisting with Corban Walker’s work, I thank Emily-Jane Kirwan, Pace Gallery, New York, Eamonn Maxwell, Lismore Castle Arts, Ireland and Sarah Goulet, Press Officer, Pace Gallery. I also thank Stephanie Roach, Director of the FLAG Art Foundation in New York for her generosity in sharing with me information about Size DOES Matter. To my sweetheart Ryan Gambrell: thanks for listening and for being such an integral part of this process. You were on this journey with me in equal measure. Last but not least: Laura Swanson and Corban Walker. Thank you for our rich and detailed conversations. You inspire and give me the conviction and the courage to move forward in my vocation to inject the art world with a heightened, complex visibility of disability. I am deeply grateful to both of you for your trust, commitment to and belief in my project. 9 Thesis Abstract Laura Swanson and Corban Walker challenge dominant culture’s perceptions of scale, size and proportion as they inscribe their site-specific sculptures with their experience of dwarfism. In doing so, they adjust and destabilize an often reductive representation of the disabled body as they move towards complex, embodied forms. The artists move away from problematic figures such as the midget or the freak as portrayed within historical and contemporary Western visual discourses, particularly in popular culture, the entertainment industry and canonical art history. Instead, their work emphasizes that many embodiments are each crucial to the understanding of humanity and its variations, whether physical, social, or historical.
Load more

Recommended publications
  • Reconceiving Curriculum: an Historical Approach Stephen Shepard Triche Louisiana State University and Agricultural and Mechanical College
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2002 Reconceiving curriculum: an historical approach Stephen Shepard Triche Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Education Commons Recommended Citation Triche, Stephen Shepard, "Reconceiving curriculum: an historical approach" (2002). LSU Doctoral Dissertations. 495. https://digitalcommons.lsu.edu/gradschool_dissertations/495 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. RECONCEIVING CURRICULUM: AN HISTORICAL APPROACH A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy In The Department of Curriculum and Instruction by Stephen S. Triche B.A., Louisiana State University, 1979 M.A.. Louisiana State University, 1991 August 2002 To my family for their love and support over the years as I pursue this dream and to the memory of my father. ii ACKNOWLEDGMENTS The process of researching and writing this dissertation has brought many teachers into my life—those special people who have given me their time and unique talents. First, and foremost, I wish to thank Dr. William Doll for his unwavering confidence and determination to bring out the best that I could give. Without his wisdom and support this project could not have been accomplished.
    [Show full text]
  • Exist-Ence Catalogue 2011
    exist-ence a festival of live art, performance art and action art 13 – 16 October, 2011 Brisbane Powerhouse Queensland, Australia http://existenceperformanceart.wordpress.com THANK YOU This event would not be possible without the generosity of each and every participant. You have given your time and your work for free for us to experience your art. Thank You. CURATED, PRODUCED & PRESENTED BY [2011 crew] Thomas Quirk & Rebecca Cunningham PRESENTED BY SUPPORTED BY ARTISTS HAVE HAD ASSISTANCE FROM CONTENTS about exist-ence about exist schedule overview about the program artist’s information writing on performance/ writers in residence 2 day project websites related to this event exist acknowledges the traditional owners of the land on which it is situated, and is committed to fostering a culture of remembrance and respect for Indigenous people. The contents of this catalogue is printed in good faith; any errors within are the curators alone. Opinions expressed by exist-ence participants are theirs alone and not necessarily the opinions of the curators of exist-ence. exist-ence: a festival of live art, performance art and action art presented by exist and the Brisbane Powerhouse Venue: Brisbane Powerhouse, 119 Lamington St. New Farm Admission: $10/8 day pass $30/25 festival pass Presenting work by artists from Australia, Canada, Germany, Italy, The Netherlands, Poland, Portugal, Singapore, Spain, Sweden, UK, USA About exist-ence: a festival of live art, performance art and action art Following the success of exist in 08, exist presents the fourth annual exist-ence festival, bringing the best, the bold and the brave to Brisbane Powerhouse.
    [Show full text]
  • Rhetoric for Becoming Otherwise
    The Pennsylvania State University The Graduate School College of the Liberal Arts RHETORIC FOR BECOMING OTHERWISE: LIFE, LITERATURE, GENEALOGY, FLIGHT A Dissertation in English by Abram D. Anders © 2009 Abram D. Anders Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2009 ii The dissertation of Abram D. Anders was reviewed and approved* by the following: Richard M. Doyle Professor of English and Science, Technology and Society Dissertation Advisor Chair of Committee Jeffrey T. Nealon Liberal Arts Research Professor of English Xiaoye You Assistant Professor of English and Asian Studies Robert A. Yarber, Jr. Distinguished Professor of Art Robert R. Edwards Edwin Erle Sparks Professor of English and Comparative Literature Department of English Graduate Director *Signatures are on file in the Graduate School. iii ABSTRACT Rhetoric for Becoming Otherwise begins with the Isocratean premise that thought, speech, writing are best understood as bridges between the already said of language and the emerging circumstances that are the occasions for their production. This argument is rehearsed across a variety of domains and instances following Isocrates exhortation that the rhetorician or practitioner of philosophia can only model the movement of discourse without expecting to provide any “true knowledge” or “absolute theory” for how to encounter the problematics of an endlessly deferred present. As a matter of rhetoric, becoming otherwise is the continually renewed task of creating something new from the resources of language and for the demands of an ever deferred present—Presocratics versus Classicists (Chapter 1). As a matter of health, becoming otherwise is the necessity of overcoming limitation and suffering in order to achieve new norms of health and pursue the ever changing opportunities of a self‐developing capacity for producing new capacities—Normativity versus Normalization (Chapter 2).
    [Show full text]
  • I – Introduction
    QUEERING PERFORMATIVITY: THROUGH THE WORKS OF ANDY WARHOL AND PERFORMANCE ART by Claudia Martins Submitted to Central European University Department of Gender Studies In partial fulfillment for the degree of Master of Arts in Gender Studies CEU eTD Collection Budapest, Hungary 2008 I never fall apart, because I never fall together. Andy Warhol The Philosophy of Andy Warhol: From A to B and Back again CEU eTD Collection CONTENTS ILLUSTRATIONS..........................................................................................................iv ACKNOWLEDGMENTS.................................................................................................v ABSTRACT...................................................................................................................vi CHAPTER 1 - Introduction .............................................................................................7 CHAPTER 2 - Bringing the body into focus...................................................................13 CHAPTER 3 - XXI century: Era of (dis)embodiment......................................................17 Disembodiment in Virtual Spaces ..........................................................18 Embodiment Through Body Modification................................................19 CHAPTER 4 - Subculture: Resisting Ajustment ............................................................22 CHAPTER 5 - Sexually Deviant Bodies........................................................................24 CHAPTER 6 - Performing gender.................................................................................29
    [Show full text]
  • From Surrealism to Now
    WHAT WE CALL LOVE FROM SURREALISM TO NOW IMMA, Dublin catalogue under the direction of Christine Macel and Rachael Thomas [Cover] Wolfgang Tillmans, Central Nervous System, 2013, inkjet print on paper mounted on aluminium in artist’s frame, frame: 97 × 82 cm, edition of 3 + 1 AP Andy Warhol, Kiss, 1964, 16mm print, black and white, silent, approx. 54 min at 16 frames per second © 2015 THE ANDY WARHOL MUSEUM, PITTSBURG, PA, COURTESY MAUREEN PALEY, LONDON. © WOLFGANG TILLMANS A MUSEUM OF CARNEGIE INSTITUTE. ALL RIGHTS RESERVED. FILM STILL COURTESY OF THE ANDY WARHOL MUSEUM. PHOTO © CENTRE POMPIDOU, MNAM-CCI, DIST. RMN-GRAND PALAIS / GEORGES MEGUERDITCHIAN CONTENTS E 1 FOREWORD Sarah Glennie 6 WHAT WE CALL LOVE Christine Macel 13 SURREALISM AND L’AMOUR FOU FROM ANDRÉ BRETON TO HENRIK OLESEN / FROM THE 1920s TO NOW 18 ANDRÉ BRETON AND MAD LOVE George Sebbag 39 CONCEPTUAL ART / PERFORMANCE ART FROM YOKO ONO TO ELMGREEN AND DRAGSET / FROM THE 1960s TO NOW 63 NEW COUPLES FROM LOUISE BOURGEOIS TO JIM HODGES / FROM THE 1980s TO NOW 64 AGAINST DESIRE: A MANIFESTO FOR CHARLES BOVARY? Eva Illouz 84 THE NEUROBIOLOGY OF LOVE Semir Zeki 96 LOVE ACTION Rachael Thomas WHAT 100 LIST OF WORKS 104 BIBLIOGRAPHY WE CALL LOVE CHAPTER TITLE F FOREWORD SARAH GLENNIE, DIRECTOR The Irish Museum of Modern Art (IMMA) is pleased to present this publication, which accompanies the large scale group exhibition, What We Call Love: From Surrealism to Now. This exhibition was initially proposed by Christine Macel (Chief Curator, Centre Pompidou), who has thoughtfully curated the exhibition alongside IMMA’s Rachael Thomas (Senior Curator: Head of Exhibitions).
    [Show full text]
  • Measuring Student Success Skills: a Review of the Literature on Complex Communication
    MEASURING STUDENT SUCCESS SKILLS: A REVIEW OF THE LITERATURE ON COMPLEX COMMUNICATION March 31, 2020 Dr. Jeri Thompson National Center for the Improvement of Educational Assessment www.nciea.org TABLE OF CONTENTS INTRODUCTION ...................................................3 DEFINITIONS ........................................................5 • What is Complex Communication as a Success Skill? ............................................... 5 • Are Communication Skills Generic or Discipline-Specific? ...................... 12 • What is the Relationship Between Communication and Other Success Skill Concepts? ............................... 12 DEVELOPMENT ..................................................13 • How Does Communication Develop? ....... 13 INSTRUCTION ....................................................15 • What Instructional Approaches are there for Teaching Complex Communication? .. 15 • What Do We Know About the Effects of Instruction on the Development of Communication Skills and 1. Center for Assessment completed this work on behalf of PBLWorks (Buck Institute for Student Achievement? ................................ 17 Education) in its effort to provide tools and resources to school and district partners as they assess student success skill performance MEASUREMENT/ASSESSMENT .........................18 in Gold Standard Project Based Learning. • How is Communication Typically Measured or Assessed? .............. 18 • What are the Measurement/Assessment 2. I acknowledge the terrific feedback on previous drafts from my
    [Show full text]
  • Explanatory Documents from the Public.Pdf
    SCULPTURE HONORING DR. MAYA ANGELOU ARTISTS SELECTION MEETING 2 SUMMARY MEETING DATE August 9, 2019 VOTING SELECTION PANELISTS Indira Allegra, Artist and Independent Curator JD Beltran, Commissioner, San Francisco Arts Commission Angela Hennessy, Artist and Associate Professor of Fine Arts, CCA Maria Jenson, Executive Director, SOMArts Cultural Center Guy Johnson, Caged Bird Legacy Dr. Shokooh Miry, Commissioner, Commission on the Status of Women Shawna Sherman, Librarian, African American Center, San Francisco Public Library Connie Wolf, Library Commissioner PROCESS The following artists presented an overview of their practice and proposals for the Sculpture Honoring Dr. Maya Angelou Artist Selection Panel: Jules Arthur Kenyatta A. C. Hinkle Lava Thomas The panelists were asked to discuss and evaluate each of the proposals on the following criteria: – Aesthetic quality – Appropriateness of the proposed artwork for the site and project goals – Demonstrated feasibility of the preliminary proposal and the proposal budget – Demonstrated maintainability and durability of the artwork’s design, materials, fabrication and installation methods The panelist then ranked the artists 1, 2, or 3 (1 = highest rank) accordingly. RESULTS Lava Thomas 10 Jules Arthur 18 Kenyatta A. C. Hinkle 20 ARTS COMMISSION APPROVAL Motion: Motion to approve the selected artist Lava Thomas for the Sculpture Honoring Dr. Maya Angelou public art opportunity, as recommended by the artist selection panel. Motion: Motion to authorize the Director of Cultural Affairs to enter into a contract with the selected artist Lava Thomas for an amount not to exceed $180,000 for the design, engineering, fabrication, transportation and consultation during installation of an artwork for the Sculpture Honoring Dr.
    [Show full text]
  • Introduction to Art Making- Motion and Time Based: a Question of the Body and Its Reflections As Gesture
    Introduction to Art Making- Motion and Time Based: A Question of the Body and its Reflections as Gesture. ...material action is painting that has spread beyond the picture surface. The human body, a laid table or a room becomes the picture surface. Time is added to the dimension of the body and space. - "Material Action Manifesto," Otto Muhl, 1964 VIS 2 Winter 2017 When: Thursday: 6:30 p.m. to 8:20p.m. Where: PCYNH 106 Professor: Ricardo Dominguez Email: [email protected] Office Hour: Thursday. 11:00 a.m. to Noon. Room: VAF Studio 551 (2nd Fl. Visual Art Facility) The body-as-gesture has a long history as a site of aesthetic experimentation and reflection. Art-as-gesture has almost always been anchored to the body, the body in time, the body in space and the leftovers of the body This class will focus on the history of these bodies-as-gestures in performance art. An additional objective for the course will focus on the question of documentation in order to understand its relationship to performance as an active frame/framing of reflection. We will look at modernist, contemporary and post-contemporary, contemporary work by Chris Burden, Ulay and Abramovic, Allen Kaprow, Vito Acconci, Coco Fusco, Faith Wilding, Anne Hamilton, William Pope L., Tehching Hsieh, Revered Billy, Nao Bustamante, Ana Mendieta, Cindy Sherman, Adrian Piper, Sophie Calle, Ron Athey, Patty Chang, James Luna, and the work of many other body artists/performance artists. Students will develop 1 performance action a week, for 5 weeks, for a total of 5 gestures/actions (during the first part of the class), individually or in collaboration with other students.
    [Show full text]
  • Textile Society of America Newsletter 28:1 — Spring 2016 Textile Society of America
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Newsletters Textile Society of America Spring 2016 Textile Society of America Newsletter 28:1 — Spring 2016 Textile Society of America Follow this and additional works at: https://digitalcommons.unl.edu/tsanews Part of the Art and Design Commons Textile Society of America, "Textile Society of America Newsletter 28:1 — Spring 2016" (2016). Textile Society of America Newsletters. 73. https://digitalcommons.unl.edu/tsanews/73 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Newsletters by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME 28. NUMBER 1. SPRING, 2016 TSA Board Member and Newsletter Editor Wendy Weiss behind the scenes at the UCB Museum of Anthropology in Vancouver, durring the TSA Board meeting in March, 2016 Spring 2016 1 Newsletter Team BOARD OF DIRECTORS Roxane Shaughnessy Editor-in-Chief: Wendy Weiss (TSA Board Member/Director of External Relations) President Designer and Editor: Tali Weinberg (Executive Director) [email protected] Member News Editor: Caroline Charuk (Membership & Communications Coordinator) International Report: Dominique Cardon (International Advisor to the Board) Vita Plume Vice President/President Elect Editorial Assistance: Roxane Shaughnessy (TSA President) [email protected] Elena Phipps Our Mission Past President [email protected] The Textile Society of America is a 501(c)3 nonprofit that provides an international forum for the exchange and dissemination of textile knowledge from artistic, cultural, economic, historic, Maleyne Syracuse political, social, and technical perspectives.
    [Show full text]
  • Stelarc: the Monograph Free
    FREE STELARC: THE MONOGRAPH PDF William Gibson,Julie Clarke,Timothy Druckrey,Jane Goodall,Amelia Jones,Arthur Kroker,Marilouise Kroker,Brian Massumi,Marquard Smith | 280 pages | 31 Oct 2007 | MIT Press Ltd | 9780262693608 | English | Cambridge, Mass., United States (PDF) Stelarc: The Monograph, The MIT Press, , Preface | marquard smith - Stelarc's art starts from and continually returns to a point at which Stelarc: The Monograph and body have not yet split or at which they have rejoined. His medium is the body as a sensible concept. Problem: In what way is the body an idea and the idea bodily? In what way can probing one extend the other? To say, as Stelarc does, Stelarc: The Monograph technology Stelarc: The Monograph our human nature' and that there is no natural, metaphysically and biologically given human body, is not to suggest that the relation between technology and the human is always and everywhere the same. Different technologies make possible different ways of conceiving this relation at different times. Nor is Stelarc's function to render visible the 'originary technicity' of the human. This would be to reduce his performances to an endless repetition of a past, and a future, that is always the same. What Stelarc performs with his investigations into how different developments in technology robotics, the Internet, virtual reality systems, prosthetics, medical instruments and procedures alter our conception of the human and of the human body, is the way in which technology escapes the control of its inventors to produce unseen and unforseeable changes and possibilities; and thus a future - for Stelarc: The Monograph self, the human, for the body and for technology - which can be neither programmed nor predicted.
    [Show full text]
  • Stories, Traces of Discourse, and the Tease of Presence: Gertrude
    University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations May 2013 Stories, Traces of Discourse, and the Tease of Presence: Gertrude Simmons Bonnin as Orator and Indigenous Activist Paige Allison Conley University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the Indigenous Studies Commons, Rhetoric Commons, and the Women's Studies Commons Recommended Citation Conley, Paige Allison, "Stories, Traces of Discourse, and the Tease of Presence: Gertrude Simmons Bonnin as Orator and Indigenous Activist" (2013). Theses and Dissertations. 675. https://dc.uwm.edu/etd/675 This Dissertation is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. STORIES, TRACES OF DISCOURSE, AND THE TEASE OF PRESENCE: GERTRUDE SIMMONS BONNIN AS ORATOR AND INDIGENOUS ACTIVIST by Paige Allison Conley A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in English at The University of Wisconsin-Milwaukee May 2013 ABSTRACT STORIES, TRACES OF DISCOURSE, AND THE TEASE OF PRESENCE: GERTRUDE SIMMONS BONNIN AS ORATOR AND INDIGENOUS ACTIVIST by Paige Allison Conley The University of Wisconsin-Milwaukee, 2013 Under the Supervision of Professor Alice M. Gillam An accomplished writer, editor, musician, teacher, organizer, lobbyist, and political reformer, Gertrude Simmons Bonnin worked tirelessly during the first half of the twentieth century to enhance opportunities for Native Americans. Literary texts authored by Bonnin (writing as Zitkala-Ša) are well known, but her legacy as an early twentieth- century orator and indigenous activist receives little critical attention.
    [Show full text]
  • Narrative Inquiry: Attending to the Art of Discourse
    Narrative Inquiry: Attending to the Art of Discourse Carl Leggo University of British Columbia Storytelling is an attempt to deal with and at least partly contain the terrifyingly haphazard quality of life. (Fulford, 1999, 14) Every interpretation is a political move. (Marshall, 1992, 192) Here I am, at the border between story and history, personal desire and a shared reality over which I have no more power than I do over my dreams. (Keefer, 1998, 163) At least once a year, I teach a graduate course titled Narrative Inquiry. Students from many different disciplines, including education, health, nursing, creative writing, and psychology, register for the course with the anticipation that they will learn how to do narrative inquiry. At the beginning of the course I always inform students that they will not likely learn how to do narrative inquiry in the narrative inquiry course. Instead they will interrogate the strategies, purposes, practices, and challenges of narrative inquiry, and they will learn how complicated, even messy, the whole business of narrative inquiry really is. I organize the course around an investigation of three principal dynamics involved in narrative inquiry: story, interpretation, and discourse. I explain that story is what happened. Therefore, story can be researched by asking the journalist’s questions: who? what? when? where? why? how? Then, interpretation addresses the basic question of so what. In other words, what is the significance of the story? Finally, discourse is all about how we tell the story. Discourse refers to the rhetoric of story- telling, the art and science of shaping and constructing a story for communicating to others.
    [Show full text]