where is the resistance and how breakig out of a pattern
reintroducing risk and doubts, falling apart , messyness and failure
Reflect on it performer
not getting it not getting it ina different way
zuihitzu
embodyment
resistance visable
way that I am working
COST Action: Artistic Intelligences Workgroup: Collective Intelligences
Working on (collective) tagging tagging of different media (images/sound/video)
for multimedia collections/archives/databases
How can we expect clear guidelines for students in a free form as the essay? How do you teach this free form without restricting the end- form?
Hi, I'm Emily Huurdeman. I'm an artist, researcher and educator.
I'd say on average I'm about 55% artist, 25% researcher and 20% educator.
There is a 3% car mechanic in me and a 2% sommelier. Although yesterday I felt about 35% educator and next Friday I'll feel about 80% car mechanic.
These modes are always and constantly in flux with each other as they are probably for you
I am part my grand aunt, part my grandmother, part adopted pit bull mum and part high school dropout.
Historically the essay starts with Montagnas bundle of free books a size. He never truly finished his 107 writings. He kept changing, adding, adapting, assaying.
In the essay you use fragmented theory anecdotes, quotes, thoughts, emotions, observations to investigate a topic, combining very personal and autobiographical fragments with intellectual insight.
The topics range vastley, for instance on anger, on vanity, on friendship, on smells, on cicero, sceneca and plutarc.
In this research I will investigate if the essay can get out of its solitude practice and become a collective process. It will also investigate if the essay can get out of its definition struggles and become a performative vessel for transdisciplinary artistic research practices.
Not focusing on the end form, but on the process of assaying, utilizing the iterative and critical force of the essay form jumps to posing many different sources and perspectives.
For this I am develloping a method/tool/workshop in collaboration
Please join our SAR SIG research group:
As part of the Special Insterest Group (SIG) Artist Pedagogy
--Note to self, Montagna, philosopher, writer, translator, politician, lawyer, winemaker-- The essay includes a personal theoretical and artistic perspectives when investigating a topic.
These can be:
- primary exeriences
- secondary expereinces (someone else close to you)
For instance
- diary entry
- dreams
- memory (Anecdotes / situations / experienes)
- emotions / feelings
1: Subject - Experiential ways of knowing
How did I personally experience the topic in the past?
How do I personally experience the topic currently?
2: Object - Sensorial ways of knowing
How does the topic sound? (form = audio)
How does the topic feel? (form = object tactility/material)
How does the topic look? (form = visual)
How does the topic move? (form = performative/video)
How does the topic tast/smell? (form = sent/smell reference)
These can be:
- Recordings
- video
- drawings
- pictures / images
- objects
For instance:
- songs / compositions
- archive material
- artworks
10 min. Introduction - who is here?
15 min. Workshopping On bruises - silence
10 min. Workshopping On bruises - what is missing?
10 min. Sharing + clustering
10 min. feedback
Knowledge fragments
Yellow paper: Experential ways of knowing
Post-it yellow: Rational ways of knowing
Digital data: e.huurdeman@fontys.nl
Referencing:
* = anonymous
name = only exposed to the group
source = public reference (on the back)
You can use different knowledge perspectives:
- historical perspective
- economical perspective
- etymological perspective
- political perspective
- material research perspective
- Law etc.
Different sources:
- news/media articles
- academic papers/books
- dictonary/etymological definitions
