http://pzwiki.wdka.nl/mw-fineart/index.php?title=ProjectProposalOutline&feed=atom&action=historyProjectProposalOutline - Revision history2024-03-29T11:08:49ZRevision history for this page on the wikiMediaWiki 1.38.2http://pzwiki.wdka.nl/mw-fineart/index.php?title=ProjectProposalOutline&diff=2863&oldid=prevKevin at 09:04, 8 November 20122012-11-08T09:04:22Z<p></p>
<a href="http://pzwiki.wdka.nl/mw-fineart/index.php?title=ProjectProposalOutline&diff=2863&oldid=2544">Show changes</a>Kevinhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=ProjectProposalOutline&diff=2544&oldid=prevKevin at 16:09, 29 October 20122012-10-29T16:09:31Z<p></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>To contemplate a maneuver like that weird neighbor upstairs who bangs on the floor seven times each night to the sound of their parrot’s best imitation of the seven banging sounds.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>To contemplate a maneuver<ins style="font-weight: bold; text-decoration: none;">, </ins>like that weird neighbor upstairs who bangs on the floor seven times each night to the sound of their parrot’s best imitation of the seven banging sounds.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
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</table>Kevinhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=ProjectProposalOutline&diff=2543&oldid=prevKevin at 16:08, 29 October 20122012-10-29T16:08:52Z<p></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>What if we treated the '''world-as-a-museum'''? <del style="font-weight: bold; text-decoration: none;">It’s always transmitting. </del></div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>What if we treated the '''world-as-a-museum'''?</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>What would a curator show in the world-as-a-museum? Would they paint the walls? What would they choose and where would they place it? </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>What would a curator show in the world-as-a-museum? Would they paint the walls? What would they choose and where would they place it? </div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
</table>Kevinhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=ProjectProposalOutline&diff=2542&oldid=prevKevin at 16:07, 29 October 20122012-10-29T16:07:20Z<p></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>It's is happening while I’m happening. That’s what gets me off. Anything could happen.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>It's is happening while I’m happening. That’s what gets me off. Anything could happen.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;"></del></div></td><td colspan="2" class="diff-side-added"></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">It’s like that weird neighbor upstairs who bangs on the floor seven times each night to the sound of their parrot’s best imitation of the seven banging sounds.</del></div></td><td colspan="2" class="diff-side-added"></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>What if we treated the '''world-as-a-museum'''? It’s always transmitting. </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>What if we treated the '''world-as-a-museum'''? It’s always transmitting. </div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>What would a curator show in the world-as-a-museum? Would they paint the walls? What would they choose and where would they place it? </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>What would a curator show in the world-as-a-museum? Would they paint the walls? What would they choose and where would they place it? </div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">To contemplate a maneuver like that weird neighbor upstairs who bangs on the floor seven times each night to the sound of their parrot’s best imitation of the seven banging sounds.</ins></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
</table>Kevinhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=ProjectProposalOutline&diff=2541&oldid=prevKevin at 16:04, 29 October 20122012-10-29T16:04:54Z<p></p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 17:04, 29 October 2012</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>The terrain I plan to sketch out over the course of the thesis will have to do with an elaboration of my ideas concerning the space of interzone. What is it? What could it be? Where could it exist? For me the interzone is a place of becoming, it is temporary and morphing, in a way much like a living organism. The territory is articulated, but doesn’t necessarily have to resolve itself. The space seems to be a processual space, not sedimentary, but in flux. Some of my past projects have been explorations of documents or images of the past that I attempt to reify or re-explore through taking those things and putting them back into an operative space, through processes such as speech and action. I hope my works in this way maintain a certain ‘operative’ or ‘processual’ quality. The space of the interzone for me is a lived space and in this way maintains a certain autonomy, the interzone inherently means ‘multitextual.’ Within the multitext there is not a single author, but multiple. It is not claimed, or owned but negotiated. Authors exist, but I’m not sure if owners do. So I see this thesis operating as a series of parts that create a whole, but autonomous as parts as well, distinct but related. I sympathize a lot with Susan Hiller’s definition of her practice as ‘Paraconceptual.’ Dr. Alexandra Kokoli describes it thusly: “the prefix 'para' -symbolizes the force of contamination through a proximity so great that it threatens the soundness of all boundaries.” Also Hiller often uses un-artistic methodologies, such as the scientific, for things other than scientific ends, absurd categorizations. In my practice this has been explored in works such as “The Following Piece” in which a Private Investigator followed Vito Acconci around the streets of New York for one day and documented his activities, or a recent video where I asked my father, a biologist to draw still lifes of fruits and vegetables sourced from some of the first United States Plant Patents. Another recent video has more subtly addressed these issues surrounding representation and imagination, it is a montage of photographs sourced from the internet of flamingos, the soundtrack is taken from a youtube video of a scuba diver exploring an underwater terrain. Overlaid on top of some of the images of the flamingos is a schema-like black illustration, they are in a way maps to read something, but what they read is always situationally specific, for this work they break down certain flamingo images into segments, or chart the image but what the charting does is open to interpretation. In the video I was attempting to create a space that couldn’t resolve itself, but in doing so became generative or producing because of its irresolvable nature. However, all of the elements in the video are somehow representations of travel, perhaps even the exotic such a a flamingo which many of us know thorugh representations of that thing versus witnessing the actual creature. We learn so much through representations and in a way these representations just don't stand in for the actual thing but can live and breath as well. Last year I made a series of maps that were made up of bits and pieces of actual maps, they were silhouettes and produced on the computer so the cuts became seamless, these impossible places for me became instead psychic portraits of association and disassociation of 2 dimensional geographic locations. This type of psychic-spatial geography was alluded to in titles such as: "The only China I've ever been to is on Canal Street and East Broadway" or "The only Crab I’ve ever held is a lygia clark sculpture." As far as the structure goes I still feel a bit uncertain. Below I've articulated more loosely some of the important topics I would like to talk about in the thesis such as - <del style="font-weight: bold; text-decoration: none;">affect </del>and <del style="font-weight: bold; text-decoration: none;">effect </del>- going live - world as a museum (outsides and insides) - psychospaces - disruption.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>The terrain I plan to sketch out over the course of the thesis will have to do with an elaboration of my ideas concerning the space of interzone. What is it? What could it be? Where could it exist? For me the interzone is a place of becoming, it is temporary and morphing, in a way much like a living organism. The territory is articulated, but doesn’t necessarily have to resolve itself. The space seems to be a processual space, not sedimentary, but in flux. Some of my past projects have been explorations of documents or images of the past that I attempt to reify or re-explore through taking those things and putting them back into an operative space, through processes such as speech and action. I hope my works in this way maintain a certain ‘operative’ or ‘processual’ quality. The space of the interzone for me is a lived space and in this way maintains a certain autonomy, the interzone inherently means ‘multitextual.’ Within the multitext there is not a single author, but multiple. It is not claimed, or owned but negotiated. Authors exist, but I’m not sure if owners do. So I see this thesis operating as a series of parts that create a whole, but autonomous as parts as well, distinct but related. I sympathize a lot with Susan Hiller’s definition of her practice as ‘Paraconceptual.’ Dr. Alexandra Kokoli describes it thusly: “the prefix 'para' -symbolizes the force of contamination through a proximity so great that it threatens the soundness of all boundaries.” Also Hiller often uses un-artistic methodologies, such as the scientific, for things other than scientific ends, absurd categorizations. In my practice this has been explored in works such as “The Following Piece” in which a Private Investigator followed Vito Acconci around the streets of New York for one day and documented his activities, or a recent video where I asked my father, a biologist to draw still lifes of fruits and vegetables sourced from some of the first United States Plant Patents. Another recent video has more subtly addressed these issues surrounding representation and imagination, it is a montage of photographs sourced from the internet of flamingos, the soundtrack is taken from a youtube video of a scuba diver exploring an underwater terrain. Overlaid on top of some of the images of the flamingos is a schema-like black illustration, they are in a way maps to read something, but what they read is always situationally specific, for this work they break down certain flamingo images into segments, or chart the image but what the charting does is open to interpretation. In the video I was attempting to create a space that couldn’t resolve itself, but in doing so became generative or producing because of its irresolvable nature. However, all of the elements in the video are somehow representations of travel, perhaps even the exotic such a a flamingo which many of us know thorugh representations of that thing versus witnessing the actual creature. We learn so much through representations and in a way these representations just don't stand in for the actual thing but can live and breath as well. Last year I made a series of maps that were made up of bits and pieces of actual maps, they were silhouettes and produced on the computer so the cuts became seamless, these impossible places for me became instead psychic portraits of association and disassociation of 2 dimensional geographic locations. This type of psychic-spatial geography was alluded to in titles such as: "The only China I've ever been to is on Canal Street and East Broadway" or "The only Crab I’ve ever held is a lygia clark sculpture." As far as the structure goes I still feel a bit uncertain. Below I've articulated more loosely some of the important topics I would like to talk about in the thesis such as - <ins style="font-weight: bold; text-decoration: none;">affects </ins>and <ins style="font-weight: bold; text-decoration: none;">effects </ins>- going live - world as a museum (outsides and insides) - psychospaces - disruption.</div></td></tr>
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</table>Kevinhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=ProjectProposalOutline&diff=2540&oldid=prevKevin at 16:03, 29 October 20122012-10-29T16:03:52Z<p></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>My mom was a flight attendant for almost twenty years. She has spent more time in high altitudes than most astronauts. These mobile, migratory birds carry all sorts of bacterias and viruses. Just a shell, the interior lined with columns and rows of polyester and cotton pockets - each with its own organism. The skin of the subjects is exceptionally smooth, thereby heightening the striking color effect. The internal membrane is self regulating. The tops are globular in shape and of large size. Portions of the surface may be any shade between pale yellow and deep red, thus tan and orange shades are present on nearly every subject.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>My mom was a flight attendant for almost twenty years. She has spent more time in high altitudes than most astronauts. These mobile, migratory birds carry all sorts of bacterias and viruses. Just a shell, the interior lined with columns and rows of polyester and cotton pockets - each with its own organism. The skin of the subjects is exceptionally smooth, thereby heightening the striking color effect. The internal membrane is self regulating. The tops are globular in shape and of large size. Portions of the surface may be any shade between pale yellow and deep red, thus tan and orange shades are present on nearly every subject<ins style="font-weight: bold; text-decoration: none;">. My Father is a biologist, he explores the routes and networks of these organisms operating systems</ins>.</div></td></tr>
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</table>Kevinhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=ProjectProposalOutline&diff=2539&oldid=prevKevin at 16:01, 29 October 20122012-10-29T16:01:34Z<p></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><br></div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><br></div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Bruce Nauman is psychotic. He creates '''psychospaces'''. <del style="font-weight: bold; text-decoration: none;">Arto Lindsay is an Anarchist. </del>Arto Lindsay is an Anarchist. His parades are operative anarchorganisms. </div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Bruce Nauman is psychotic. He creates '''psychospaces'''. Arto Lindsay is an Anarchist. His parades are operative anarchorganisms. </div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Jean Tinguley is Frankenstein, a mad scientist, each sculpture a new Monster.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Jean Tinguley is Frankenstein, a mad scientist, each sculpture a new Monster.</div></td></tr>
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</table>Kevinhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=ProjectProposalOutline&diff=2538&oldid=prevKevin at 16:00, 29 October 20122012-10-29T16:00:56Z<p></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>The terrain I plan to sketch out over the course of the thesis will have to do with an elaboration of my ideas concerning the space of interzone. What is it? What could it be? Where could it exist? For me the interzone is a place of becoming, it is temporary and morphing, in a way much like a living organism. The territory is articulated, but doesn’t necessarily have to resolve itself. The space seems to be a processual space, not sedimentary, but in flux. Some of my past projects have been explorations of documents or images of the past that I attempt to reify or re-explore through taking those things and putting them back into an operative space, through processes such as speech and action. I hope my works in this way maintain a certain ‘operative’ or ‘processual’ quality. The space of the interzone for me is a lived space and in this way maintains a certain autonomy, the interzone inherently means ‘multitextual.’ Within the multitext there is not a single author, but multiple. It is not claimed, or owned but negotiated. Authors exist, but I’m not sure if owners do. So I see this thesis operating as a series of parts that create a whole, but autonomous as parts as well, distinct but related. I sympathize a lot with Susan Hiller’s definition of her practice as ‘Paraconceptual.’ Dr. Alexandra Kokoli describes it thusly: “the prefix 'para' -symbolizes the force of contamination through a proximity so great that it threatens the soundness of all boundaries.” Also Hiller often uses un-artistic methodologies, such as the scientific, for things other than scientific ends, absurd categorizations. In my practice this has been explored in works such as “The Following Piece” in which a Private Investigator followed Vito Acconci around the streets of New York for one day and documented his activities, or a recent video where I asked my father, a biologist to draw still lifes of fruits and vegetables sourced from some of the first United States Plant Patents. Another recent video has more subtly addressed these issues surrounding representation and imagination, it is a montage of photographs sourced from the internet of flamingos, the soundtrack is taken from a youtube video of a scuba diver exploring an underwater terrain. Overlaid on top of some of the images of the flamingos is a schema-like black illustration, they are in a way maps to read something, but what they read is always situationally specific, for this work they break down certain flamingo images into segments, or chart the image but what the charting does is open to interpretation. In the video I was attempting to create a space that couldn’t resolve itself, but in doing so became generative or producing because of its irresolvable nature. However, all of the elements in the video are somehow representations of travel, perhaps even the exotic such a a flamingo which many of us know thorugh representations of that thing versus witnessing the actual creature. We learn so much through representations and in a way these representations just don't stand in for the actual thing but can live and breath as well. Last year I made a series of maps that were made up of bits and pieces of actual maps, they were silhouettes and produced on the computer so the cuts became seamless, these impossible places for me became instead psychic portraits of association and disassociation of 2 dimensional geographic locations. This type of psychic-spatial geography was alluded to in titles such as: "The only China I've ever been to is on Canal Street and East Broadway" or "The only Crab I’ve ever held is a lygia clark sculpture." As far as the structure goes I still feel a bit uncertain. Below I've articulated more loosely some of the important topics I would like to talk about in the thesis such as - affect and effect - going live - world as a museum (<del style="font-weight: bold; text-decoration: none;">going outside, going inside- everything is a context</del>) - psychospaces - disruption.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>The terrain I plan to sketch out over the course of the thesis will have to do with an elaboration of my ideas concerning the space of interzone. What is it? What could it be? Where could it exist? For me the interzone is a place of becoming, it is temporary and morphing, in a way much like a living organism. The territory is articulated, but doesn’t necessarily have to resolve itself. The space seems to be a processual space, not sedimentary, but in flux. Some of my past projects have been explorations of documents or images of the past that I attempt to reify or re-explore through taking those things and putting them back into an operative space, through processes such as speech and action. I hope my works in this way maintain a certain ‘operative’ or ‘processual’ quality. The space of the interzone for me is a lived space and in this way maintains a certain autonomy, the interzone inherently means ‘multitextual.’ Within the multitext there is not a single author, but multiple. It is not claimed, or owned but negotiated. Authors exist, but I’m not sure if owners do. So I see this thesis operating as a series of parts that create a whole, but autonomous as parts as well, distinct but related. I sympathize a lot with Susan Hiller’s definition of her practice as ‘Paraconceptual.’ Dr. Alexandra Kokoli describes it thusly: “the prefix 'para' -symbolizes the force of contamination through a proximity so great that it threatens the soundness of all boundaries.” Also Hiller often uses un-artistic methodologies, such as the scientific, for things other than scientific ends, absurd categorizations. In my practice this has been explored in works such as “The Following Piece” in which a Private Investigator followed Vito Acconci around the streets of New York for one day and documented his activities, or a recent video where I asked my father, a biologist to draw still lifes of fruits and vegetables sourced from some of the first United States Plant Patents. Another recent video has more subtly addressed these issues surrounding representation and imagination, it is a montage of photographs sourced from the internet of flamingos, the soundtrack is taken from a youtube video of a scuba diver exploring an underwater terrain. Overlaid on top of some of the images of the flamingos is a schema-like black illustration, they are in a way maps to read something, but what they read is always situationally specific, for this work they break down certain flamingo images into segments, or chart the image but what the charting does is open to interpretation. In the video I was attempting to create a space that couldn’t resolve itself, but in doing so became generative or producing because of its irresolvable nature. However, all of the elements in the video are somehow representations of travel, perhaps even the exotic such a a flamingo which many of us know thorugh representations of that thing versus witnessing the actual creature. We learn so much through representations and in a way these representations just don't stand in for the actual thing but can live and breath as well. Last year I made a series of maps that were made up of bits and pieces of actual maps, they were silhouettes and produced on the computer so the cuts became seamless, these impossible places for me became instead psychic portraits of association and disassociation of 2 dimensional geographic locations. This type of psychic-spatial geography was alluded to in titles such as: "The only China I've ever been to is on Canal Street and East Broadway" or "The only Crab I’ve ever held is a lygia clark sculpture." As far as the structure goes I still feel a bit uncertain. Below I've articulated more loosely some of the important topics I would like to talk about in the thesis such as - affect and effect - going live - world as a museum (<ins style="font-weight: bold; text-decoration: none;">outsides and insides</ins>) - psychospaces - disruption.</div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
</table>Kevinhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=ProjectProposalOutline&diff=2537&oldid=prevKevin at 15:58, 29 October 20122012-10-29T15:58:41Z<p></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>The terrain I plan to sketch out over the course of the thesis will have to do with an elaboration of my ideas concerning the space of interzone. What is it? What could it be? Where could it exist? For me the interzone is a place of becoming, it is temporary and morphing, in a way much like a living organism. The territory is articulated, but doesn’t necessarily have to resolve itself. The space seems to be a processual space, not sedimentary, but in flux. Some of my past projects have been explorations of documents or images of the past that I attempt to reify or re-explore through taking those things and putting them back into an operative space, through processes such as speech and action. I hope my works in this way maintain a certain ‘operative’ or ‘processual’ quality. The space of the interzone for me is a lived space and in this way maintains a certain autonomy, the interzone inherently means ‘multitextual.’ Within the multitext there is not a single author, but multiple. It is not claimed, or owned but negotiated. Authors exist, but I’m not sure if owners do. So I see this thesis operating as a series of parts that create a whole, but autonomous as parts as well, distinct but related. I sympathize a lot with Susan Hiller’s definition of her practice as ‘Paraconceptual.’ Dr. Alexandra Kokoli describes it thusly: “the prefix 'para' -symbolizes the force of contamination through a proximity so great that it threatens the soundness of all boundaries.” Also Hiller often uses un-artistic methodologies, such as the scientific, for things other than scientific ends, absurd categorizations. In my practice this has been explored in works such as “The Following Piece” in which a Private Investigator followed Vito Acconci around the streets of New York for one day and documented his activities, or a recent video where I asked my father, a biologist to draw still lifes of fruits and vegetables sourced from some of the first United States Plant Patents. Another recent video has more subtly addressed these issues surrounding representation and imagination, it is a montage of photographs sourced from the internet of flamingos, the soundtrack is taken from a youtube video of a scuba diver exploring an underwater terrain. Overlaid on top of some of the images of the flamingos is a schema-like black illustration, they are in a way maps to read something, but what they read is always situationally specific, for this work they break down certain flamingo images into segments, or chart the image but what the charting does is open to interpretation. In the video I was attempting to create a space that couldn’t resolve itself, but in doing so became generative or producing because of its irresolvable nature. However, all of the elements in the video are somehow representations of travel, perhaps even the exotic such a a flamingo which many of us know thorugh representations of that thing versus witnessing the actual creature. We learn so much through representations and in a way these representations just don't stand in for the actual thing but can live and breath as well. Last year I made a series of maps that were made up of bits and pieces of actual maps, they were silhouettes and produced on the computer so the cuts became seamless, these impossible places for me became instead psychic portraits of association and disassociation of 2 dimensional geographic locations. This type of psychic-spatial geography was alluded to in titles such as: "The only China I've ever been to is on Canal Street and East Broadway" or "The only Crab I’ve ever held is a lygia clark sculpture."</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>The terrain I plan to sketch out over the course of the thesis will have to do with an elaboration of my ideas concerning the space of interzone. What is it? What could it be? Where could it exist? For me the interzone is a place of becoming, it is temporary and morphing, in a way much like a living organism. The territory is articulated, but doesn’t necessarily have to resolve itself. The space seems to be a processual space, not sedimentary, but in flux. Some of my past projects have been explorations of documents or images of the past that I attempt to reify or re-explore through taking those things and putting them back into an operative space, through processes such as speech and action. I hope my works in this way maintain a certain ‘operative’ or ‘processual’ quality. The space of the interzone for me is a lived space and in this way maintains a certain autonomy, the interzone inherently means ‘multitextual.’ Within the multitext there is not a single author, but multiple. It is not claimed, or owned but negotiated. Authors exist, but I’m not sure if owners do. So I see this thesis operating as a series of parts that create a whole, but autonomous as parts as well, distinct but related. I sympathize a lot with Susan Hiller’s definition of her practice as ‘Paraconceptual.’ Dr. Alexandra Kokoli describes it thusly: “the prefix 'para' -symbolizes the force of contamination through a proximity so great that it threatens the soundness of all boundaries.” Also Hiller often uses un-artistic methodologies, such as the scientific, for things other than scientific ends, absurd categorizations. In my practice this has been explored in works such as “The Following Piece” in which a Private Investigator followed Vito Acconci around the streets of New York for one day and documented his activities, or a recent video where I asked my father, a biologist to draw still lifes of fruits and vegetables sourced from some of the first United States Plant Patents. Another recent video has more subtly addressed these issues surrounding representation and imagination, it is a montage of photographs sourced from the internet of flamingos, the soundtrack is taken from a youtube video of a scuba diver exploring an underwater terrain. Overlaid on top of some of the images of the flamingos is a schema-like black illustration, they are in a way maps to read something, but what they read is always situationally specific, for this work they break down certain flamingo images into segments, or chart the image but what the charting does is open to interpretation. In the video I was attempting to create a space that couldn’t resolve itself, but in doing so became generative or producing because of its irresolvable nature. However, all of the elements in the video are somehow representations of travel, perhaps even the exotic such a a flamingo which many of us know thorugh representations of that thing versus witnessing the actual creature. We learn so much through representations and in a way these representations just don't stand in for the actual thing but can live and breath as well. Last year I made a series of maps that were made up of bits and pieces of actual maps, they were silhouettes and produced on the computer so the cuts became seamless, these impossible places for me became instead psychic portraits of association and disassociation of 2 dimensional geographic locations. This type of psychic-spatial geography was alluded to in titles such as: "The only China I've ever been to is on Canal Street and East Broadway" or "The only Crab I’ve ever held is a lygia clark sculpture." <ins style="font-weight: bold; text-decoration: none;">As far as the structure goes I still feel a bit uncertain. Below I've articulated more loosely some of the important topics I would like to talk about in the thesis such as - affect and effect - going live - world as a museum (going outside, going inside- everything is a context) - psychospaces - disruption.</ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div> </div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>*Alexandra M. Kokali, 'Susan Hiller's Paraconceptualism,' in Technologies of Intuition, ed. Jennifer Fisher, (Toronto: XYZ Books,2006),119-139.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>*Alexandra M. Kokali, 'Susan Hiller's Paraconceptualism,' in Technologies of Intuition, ed. Jennifer Fisher, (Toronto: XYZ Books,2006),119-139.</div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Note: All words in '''bold''' are topics I plan to discuss and elaborate on in the thesis.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Note: All words in '''bold''' are topics I plan to discuss and elaborate on in the thesis.</div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>“Brief Description:</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>“Brief Description:</div></td></tr>
</table>Kevinhttp://pzwiki.wdka.nl/mw-fineart/index.php?title=ProjectProposalOutline&diff=2534&oldid=prevKevin at 15:53, 29 October 20122012-10-29T15:53:44Z<p></p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 16:53, 29 October 2012</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The terrain I plan to sketch out over the course of the thesis will have to do with an elaboration of my ideas concerning the space of interzone. What is it? What could it be? Where could it exist? For me the interzone is a place of becoming, it is temporary and morphing, in a way much like a living organism. The territory is articulated, but doesn’t necessarily have to resolve itself. The space seems to be a processual space, not sedimentary, but in flux. Some of my past projects have been explorations of documents or images of the past that I attempt to reify or re-explore through taking those things and putting them back into an operative space, through processes such as speech and action. I hope my works in this way maintain a certain ‘operative’ or ‘processual’ quality. The space of the interzone for me is a lived space and in this way maintains a certain autonomy, the interzone inherently means ‘multitextual.’ Within the multitext there is not a single author, but multiple. It is not claimed, or owned but negotiated. Authors exist, but I’m not sure if owners do. So I see this thesis operating as a series of parts that create a whole, but autonomous as parts as well, distinct but related. I sympathize a lot with Susan Hiller’s definition of her practice as ‘Paraconceptual.’ Dr. Alexandra Kokoli describes it thusly: “the prefix 'para' -symbolizes the force of contamination through a proximity so great that it threatens the soundness of all boundaries.” Also Hiller often uses un-artistic methodologies, such as the scientific, for things other than scientific ends, absurd categorizations. In my practice this has been explored in works such as “The Following Piece” in which a Private Investigator followed Vito Acconci around the streets of New York for one day and documented his activities, or a recent video where I asked my father, a biologist to draw still lifes of fruits and vegetables sourced from some of the first United States Plant Patents. Another recent video has more subtly addressed these issues surrounding representation and imagination, it is a montage of photographs sourced from the internet of flamingos, the soundtrack is taken from a youtube video of a scuba diver exploring an underwater terrain. Overlaid on top of some of the images of the flamingos is a schema-like black illustration, they are in a way maps to read something, but what they read is always situationally specific, for this work they break down certain flamingo images into segments, or chart the image but what the charting does is open to interpretation. In the video I was attempting to create a space that couldn’t resolve itself, but in doing so became generative or producing because of its irresolvable nature. However, all of the elements in the video are somehow representations of travel, perhaps even the exotic such a a flamingo which many of us know thorugh representations of that thing versus witnessing the actual creature. We learn so much through representations and in a way these representations just don't stand in for the actual thing but can live and breath as well. Last year I made a series of maps that were made up of bits and pieces of actual maps, they were silhouettes and produced on the computer so the cuts became seamless, these impossible places for me became instead psychic portraits of association and disassociation of 2 dimensional geographic locations. This type of psychic-spatial geography was alluded to in titles such as: "The only China I've ever been to is on Canal Street and East Broadway" or "The only Crab I’ve ever held is a lygia clark sculpture."</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The terrain I plan to sketch out over the course of the thesis will have to do with an elaboration of my ideas concerning the space of interzone. What is it? What could it be? Where could it exist? For me the interzone is a place of becoming, it is temporary and morphing, in a way much like a living organism. The territory is articulated, but doesn’t necessarily have to resolve itself. The space seems to be a processual space, not sedimentary, but in flux. Some of my past projects have been explorations of documents or images of the past that I attempt to reify or re-explore through taking those things and putting them back into an operative space, through processes such as speech and action. I hope my works in this way maintain a certain ‘operative’ or ‘processual’ quality. The space of the interzone for me is a lived space and in this way maintains a certain autonomy, the interzone inherently means ‘multitextual.’ Within the multitext there is not a single author, but multiple. It is not claimed, or owned but negotiated. Authors exist, but I’m not sure if owners do. So I see this thesis operating as a series of parts that create a whole, but autonomous as parts as well, distinct but related. I sympathize a lot with Susan Hiller’s definition of her practice as ‘Paraconceptual.’ Dr. Alexandra Kokoli describes it thusly: “the prefix 'para' -symbolizes the force of contamination through a proximity so great that it threatens the soundness of all boundaries.” Also Hiller often uses un-artistic methodologies, such as the scientific, for things other than scientific ends, absurd categorizations. In my practice this has been explored in works such as “The Following Piece” in which a Private Investigator followed Vito Acconci around the streets of New York for one day and documented his activities, or a recent video where I asked my father, a biologist to draw still lifes of fruits and vegetables sourced from some of the first United States Plant Patents. Another recent video has more subtly addressed these issues surrounding representation and imagination, it is a montage of photographs sourced from the internet of flamingos, the soundtrack is taken from a youtube video of a scuba diver exploring an underwater terrain. Overlaid on top of some of the images of the flamingos is a schema-like black illustration, they are in a way maps to read something, but what they read is always situationally specific, for this work they break down certain flamingo images into segments, or chart the image but what the charting does is open to interpretation. In the video I was attempting to create a space that couldn’t resolve itself, but in doing so became generative or producing because of its irresolvable nature. However, all of the elements in the video are somehow representations of travel, perhaps even the exotic such a a flamingo which many of us know thorugh representations of that thing versus witnessing the actual creature. We learn so much through representations and in a way these representations just don't stand in for the actual thing but can live and breath as well. Last year I made a series of maps that were made up of bits and pieces of actual maps, they were silhouettes and produced on the computer so the cuts became seamless, these impossible places for me became instead psychic portraits of association and disassociation of 2 dimensional geographic locations. This type of psychic-spatial geography was alluded to in titles such as: "The only China I've ever been to is on Canal Street and East Broadway" or "The only Crab I’ve ever held is a lygia clark sculpture."</div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">*Alexandra M. Kokali, 'Susan Hiller's Paraconceptualism,' in Technologies of Intuition, ed. Jennifer Fisher, (Toronto: XYZ Books,2006),119-139.</ins></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">*Alexandra M. Kokali, 'Susan Hiller's Paraconceptualism,' in Technologies of Intuition, ed. Jennifer Fisher, (Toronto: XYZ Books,2006),119-139.</del></div></td><td colspan="2" class="diff-side-added"></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Uncategorized notes and Meanderings, an attempt at re-structuring:</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">''</ins>Uncategorized notes and Meanderings, an attempt at re-structuring:<ins style="font-weight: bold; text-decoration: none;">''</ins></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Note: All words in bold are topics I plan to discuss and elaborate on in the thesis.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Note: All words in <ins style="font-weight: bold; text-decoration: none;">'''</ins>bold<ins style="font-weight: bold; text-decoration: none;">''' </ins>are topics I plan to discuss and elaborate on in the thesis.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>“Brief Description:</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>“Brief Description:</div></td></tr>
</table>Kevin