User:Ssstephen/grs/20231005
tricky issues
im shattered
im frustrated
im super interested in exploring
talking to aglaia (always talking to aglaia)
review of the theatre
economic lens, creative lens, interpersonal lens, other lenses? Maybe I'll end up using one of these more but I also like the idea of giving different viewpoints of the same things.
graphic designer, musician, different disciplines, what connections and relationships are there? starting with thick description but maybe specific lenses. the piece that is produced, the object performance. the theoretical part: the material metaphors as experiments.
constraints: write a sentence per minute while doing something, remember a rehearsal and write one paragraph. different perspectives: the event, the affect, the materials, the relations
its all labour?
why are you here stephen?
what are you doing?
what is the category of graphic design? where is it closed? where can it be bridged or opened?
Today's Outcome: outline for thesis
1) Take the first 30 mins to write a sketch outline of no more than 300 words.
Template for thesis outline:
What do you WANT to write? [What will the text be about? (thesis). What do you want to explore?
Be clear about HOW you want to tell your story.]
Outline three key issues you want to explore.
Please think of only 3 key issues.
...
...
...
Once you identify these you can begin your chapter outline (build on the 3 key issues by asking what research questions these lead to? Why is this key point important to you?).
2) After sketching out what you want to write and 3 key issues, build on the sketch outline You will now have a frame for your text:
Intro (what is this text about)
key issue 1 = chapter 1
key issue 2 = chapter 2
key issue 3 = chapter 3
conclusion
This may change- but it is a start, and it provides material for discussion later today.
this is out lying
practices of connection, sharing, and being-in-common breed a kind of transformation in those involved in the production of a collective space / practice / mode of sociality / movement / resistance. This transformation and change is porous, maessy, and hard to quantify or evaluate, but it is a crucial aspect of these forms of sociality.
Paige Sarlin, Vulnerable Accumulation
In the end, every movement of unlearning the world and reference has to bear the transition of fantasy, desire, and material exchange no longer governed by possession. We write out of where we write from.
Lauren Berlant, On The Inconvenience of Other People
The opinion of the sea. o o o o.
… has anyone ever asked you the question: why are you here stephen? they asked me and I'm starting to form a bit of an opinion on the matter. It's slow but it's certainly forming. But i will fight to keep it amorphous this time, unstratified, well tilled. I will dig around in it actively and play with it. But in the mess and confusion it's ok to identify or describe. Not like Linnaeus but like lying in the grass making stories from the clouds. That one looks like the grids have been taken away. That one looks like a poem, it says; consciously, with love, caring and careful. That one around the sun looks like a green lion. That one looks wait where did it go, it's completely escaped not even a cloud anymore. And now we're lying where the clouds were, dissolved, falling, flying. There's an irony in a blacksmith who wants to give up control. And the shaman trying to do the same. Meanwhile their brother the prince has never been able to control them. The trick is to remove the viewpoint of cybernetics entirely. Where will this tool flow to? What is this strange new dance, I kinda like it? Do you want to play a game with us? Oh I like your picture can you teach me how to draw like that? I'm trying to work out a way to make graphic design without and that can escape from and that imagines otherwise. I don't really like some of this would it be ok if I made a fork? Do you have coffee here? If I made a pot would anyone have some? Is this practice sustainable? Can we make it be somehow, it might be a bit less stressful then? What happens if I plug this in here? It's about integration and combining parts that were previously defined as separate. Everything is going to be fine, that's why its called refining. Eventually if you smash up all the shards enough they will flow like sand. Have you ever been to Murvagh beach the sand is so fine …
I want to write about the compartmentalisations I find intra- and inter- personally in my life, in particular as they relate to the "profession" / "practice" / "field" / "whatever" of 🤐, the 🤐er. I want to write about my examinations of these and my explorations of ways to cross apparent categories and boundaries. I want to dissolve and reintegrate. The text is about the discipline and potential to be undisciplined, or transdisciplinary but that's not as exciting. It is about living life within particular working conditions, a point or points in social economic and cultural webs, becoming aware of this location and exploring new imaginaries of relating practices and people. How I want to tell my story is through autoethnographic documentation, reflection, academic reference and positioning, description of new connections I am making that may or may not be technological/tool-based, imaginative ravings.
Outline three key issues you want to explore.
- What is a 🤐er and what is the act of 🤐? (reflexive mode, contextual, multiple lenses. What compartments and boundaries exist, why are they there what do they do, what do they prevent). I would like this to be based on various modes of describing, examining and understanding. It is not about one practice but the reality of being more as a person than one practice. An example that a life doesnt fit into categories neatly. Being aware of my white gmt male position also and the privileges that allow me to flow between these categories and occupy this much space.
- What can a 🤐 be and what can the act of 🤐 be? (imaginative and description of practice: tools and breaking boundaries of disciplines, destructuring my self) Again it is not about this one category. From the observations in the first question and the growing awareness that will hopefully come from this, making tools and work that cross structural boundaries. It is an anticapitalist action as it is about disclosing what has been enclosed. As a human this is my time and my space. Again I'm aware not everyone has the freedom to do this and I would like to draw attention to that.
- Where else can these categories be opened and shattered and bridged and dissolved? (imaginative and description of practice: interpersonal and collaborative, destructuring society). Some of the boundaries are interpersonal rather than within or solvable by one person. I think structural issues will appear in the research of the first issue about division of labour as well as class stratification of society. Similar to the second part I hope I can find ways to bridge or break or seep through the walls.
I dont really like that it all refers to "🤐", the whole point is to break this label. byeeee.
listening to yalou and luni talk about this
writing style of floating and emerging fits with the goal of the maker and topic. good intro. surreal, dreamy transcendy
the second part is more practical eg compartmentalisation
need more information. some of the words are confusing: amorphous,
categories and boundaries need more specific information: what are the emojis? the smiley as graphic designer, but could these symbols be explained like the legend on a map. or if you dont want to be so concrete then add a longer introduction. you can mention or bridge to this language without defining exactly. a small explanation card. what do words symbols elements mean in this context.
more examples needed. what categories? what could be possible? more in depth and more information over all.
who asked "why are you here stephen?" no no one has asked us that!
its fun to look at all the questions. what is cybernetics? these questions are very specific, but also general? I feel like these were the questions that went through the makers mind, they are personalised.
"Eventually if you smash up all the shards enough they will flow like sand. Have you ever been to Murvagh beach the sand is so fine" is nice. it feels like a stream of consciousness.
I want to know more about the personal connection to design and graphic design, its not in the first part or the second so much but in the three issues it seems important. what is the motivation. how did the maker get to this point of questioning.
The third question is broad but good.
I dont really like that it all refers to "🤐", the whole point is to break this label. byeeee. Is also important, and takes the power away from the symbol or explains it.
why was this specific emoji used? Will it be in the final text, will it be replaced by another symbol?
Allowing other questions in?
an active reading