User:Inge Hoonte/Thesis Research

Museum of Jurassic Technology

(Via Amy)
Mr. Wilson's cabinet of wonder, Pronged Ants, Horned Humans, Mice on Toast, and Other Marvels of Jurassic Technology, Lawrence Weschler - from googlebooks: "Pronged ants, horned humans, a landscape carved on a fruit pit--some of the displays in David Wilson's Museum of Jurassic Technology are hoaxes. But which ones? As he guides readers through an intellectual hall of mirrors, Lawrence Weschler revisits the 16th-century "wonder cabinets" that were the first museums and compels readers to examine the imaginative origins of both art and science. Illustrations."

Museums and Memory, Susan A. Crane, Stanford University press 2000
Geoffrey Sonnabend: Memory is an illusion. Just a human fabrication to deal with fleeting life and irretrieveability of moments and events. Memories are artificial constructions built on experiences that we attempt to make live again by infusions of imaginations. He questions all memory: "there is only experience and its decay," rendering short term memory as the decay of an experience. He was obsessed with how experiences decayed. He created the Model of Obliscence (model of forgetting), in which shapes and forms represent the various attributes that contribute to the process of forgetting. Basically, the Cone of Obliscence intersects the Plane of Experience, which is always in motion. Their intersection is called the Spelean Disc.

The Cult of Remembrance - Paula Findlen

Performance

[http://www.bull-jean.com/ Theater adaptation from the novel by Sharon Bridgforth. Set in the 1920s, rural Southern US. Stories about love, stories about women loving women. The Dallas-based actress Q-Roc Ragsdale plays all male and female roles in this play, and also produced the video shorts in which other parts of the play come to life. Author Bridgforth called her book a 'performance novel,' and she writes in the jazz aesthetic.

Researching this through their communally published book Experiments in a Jazz Aesthetic.

• the Austin Project (tAP) -> creative research and practice, initiated by Omi Osun Joni L. Jones: a place where she was pushed to unearth the moldy, dank places of fear, and to fully be. "I realize now that these places of fear were born of the rejection I had come to think of as the expected response to my very existence." Meetings, writing workshops, performances, creative flow.

1. Anna Deavere Smith initiated the Institute on the Arts and Civic Dialogue at Harvard University, 1997: Enhance discourse, support creation, engage diverse audience, use the arts as middle ground in debates that are frequently divided along strict lines.)

jazz practice (pretty much a straight quote from Jones' chapter on tAP) evolved in a manifesto for tAP:

• Be present. Bring your full self, feel exactly what you feel right now.
• Breathe. Take life fully into the body.
• Listen. Deep listening.
• Improvise. Spontaneous creation requires courage and dexterity. The skills of listening and being present are essential.
• Simultaneous truths. Jazz aesthetics rely on the ability to imagine more than one event, sound, or idea at a time. This is competition, synthesis, chaos. The work encourages layering of images, ideas, sound, experience. POLYPHONY AND MULTIVOCALITY ARE MANDATORY.
• Collaboration. Working with others insists on individual clarity and humility. It rests on the belief that individuals learn themselves more fully in interaction with others, and that there is virtue in collective power. Choral work enhances vibrancy.
• Virtuosity. It is an individual's responsibility to bring forth her specific and idiosyncratic self into the world. The vocalizations, the gestures, the thinking, and the beauty are honed through repeated experiences that support solo gifts and the development of a personal voice.
• Body-centered. Jazz aesthetics recognize the body as a site of knowledge. Cellular learning is linked to emotional and intellectual learning. Memory and daily living are lodged in the muscles, and must be restructured to ensure the radical reality of joy and health. Shifting these visceral knowledge systems generates social change. Experience is passed on, person to person.
• Metamorphosis. Repeated practice of these principles changes spirit and thinking and behavior and knowledge. This is the basis for the formation of a just, humane community.

Katherine McKittrick: geographies of domination.

Pedagogical Strategy within tAP: we learn by doing and creating, we model strength, courage and innovation for each other. Mostly working with women of color. One or two white women also attending, have to earn the privilege to be there, unlike their daily white privilege elsewhere. Other way around, women of color would be stimulated and empowered by their presence.

Habit of Freedom: activism on a daily basis. Very much aimed at how do you apply what you learn and practice at tAP, everywhere. Joanna Brooks:
[File:feeling.png]

Cern: art&science residency

(Sidetracked with Amy in mind)
A laboratory of the imagination. Currently, there are three ways to combine art & science:

• art as a communicator of science
• science as a means of art production
• science as art

And more subtly:

• art and science in a fluid interchange: oscillations between sameness and differences. Both are driven by curiosity, discovery, the aspiration for knowledge of the world or oneself. But they express themselves in different ways: the arts through the body and mind, often driven by the exploration of the ego, contradictions and the sheer messiness of life; science through equations, directed, collaborative research and experimentation that works in a progressive, linear fashion. As Dr Michael Doser, the experimental physicist on Cern's cultural board for the arts, says: “What I find wonderful about working with artists is that they are just as fascinated by side routes and diversions as they are by the direction in which they are going. This is what makes artistic work really different from scientific work.”

Mariko Mori: A space for connection: "Drawing upon the Buddhist principle that all forms of life in the universe are interconnected, Wave UFO seamlessly united actual individual physical experience with Mori's singular vision of a cosmic dream world. Within the tranquil interior of the work, Mori sent participants, three at a time, on an aesthetic voyage that sought to connect three individuals to each other and to the world at large. "