Group items tagged

I posted this image of Toni Morrision to add to our group collection that is to reside in this Google doc. I think this photograph is so beautiful. I was not able to add this image to my "posse" collection. I assume this is because it is part of a special exhibit. The exhibit is called The Black List Project.

For her family, this portrait might be a token of respect to the memory of her. At the same time, for the Egyption woman, it would be her other self prepared in advance for her future-death.

This is a different history of the dot-coms than I have heard before. Interesting.

Wikipedia: "A meme is a popular neologism for the term cultural trait; that is, a learned thought, feeling, or behavior..."

Webster's: "A meme is a cultural item that is transmitted by repitition in a manner analoguous to the biological transmission of genes"

I've been interested in how Google can function as a model for nonprofit arts associations. I am curious how this is / isn't re-envisioning consumerism. The third paragraph in this section lays out some possibilities to translate into nonprofit arts.

The floating layers of sticky note commentary seems to disrupt the grid rule, and the authority of the Web page. I think the "floating sticky note" changes the architecture of participation. kkb

That's really interesting Karen, it does step out of the document grid. Although I think Focault would argue that it's just another type of grid, one vertically layered perhaps? Certainly the power structure is evident in sticky notes in having defined authorship. I've been thinking today that the way to undermine this power system might be in the editing of each others work. By defying authorship the unseen power grid breaks down into bands of content that competes for attention, but isn't attributable to an individual. In this way perhaps the egos tie to it's output is undermined, and creates a truly collaborative document which is difficult to percieve as an individual. Perhaps the grid becomes the prosthetic by which we percieve the collaboration?

Haraway brings up a Foucauldian critique in her article Situating Locations, and more recent feminist theory does too (Ellsworth for example) in that the power grid between players always exists but it is in the recognizing and exposing the location of power that agency and co-existence of difference is possible. Annonymous collaborations can yield irresponsibility to one another. Allucquère Rosanne Stone/Sandy Stone tried such experiments in 3D worlds. Here's a link to a lecture I heard her speak regarding this issue when I was in Finland in the new media program: http://lumen2.uiah.fi/gamesandstorytelling/Sandy_Stone.html The issues you raise with the grid and text with Foucault quotes concerning social gridlocked, power, authority, ownership, collaboration, agency--are so important to consider, especially as educators who need to understand one's operating theory of knowledge and what it means to be human to be cognizant of what and how one is teaching.

Spivak (1988) critiques both Foucault and Deleuze in her article Can the Subaltern Speak? She notes the "failure of Deleuze and Guattari to consider the relations between desire, power and subjectivity" (p. 68). Regarding Foucault she faults his lack of recognizing that his theory of ideology is steeped "in its own material production of institutionality" (p. 68). Spivak argues that desire and subject are connected, a unity, and there is a need for theories of subject formation in two senses of representation (darstellung/rhetoric as persuasion & vertretung/rhetoric as trope)-and that "the production of theory is also a practice" (p. 70). She suggests "the possibility of collectivity itself is persistently foreclosed through the manipulation of female agency" (p. 78). It is this issue of agency being foreclosed by institutionalized systems (for example, with binary logic of computer databases) that has troubled theories of collective identity whether that identity is "teachers," "students," "women," or any socially formed category. Audre Lorde's question of whether the master's house can be only be changed with the master's tools is relevant to thinking about what we can do with the grid systems of a clockwork world, and how we go about subject formation, activism or mobilization for changing specific systems of oppression in referencing back to the concern of agency, voice, and authority.

Introducing Opera Face Gestures for Controlling Your Browser http://brendaclews.blogspot.com/2009/04/introducing-opera-face-gestures-for.html

Lindsay, my first publication was about chairs. I have been collecting images of chairs in various context for almost 20 years. Keifer-Boyd, K. (1992). Deep-seated culture: Understanding sitting. Journal of Social Theory in Art Education, 12, 73-99.

Really that's Crazy. There is something about them that fascinates me. I had an assignment in a 3D art class to make a chair. I'll post a picture of it. The only guideline was that our professor had to be supported by it. Mine was Spaghetti and Meatballs!

I revisit chairs in my first chapter on mindsets in Engaging Visual Culture, my co-authored book with Jane Maitland-Gholon published by Davis Publications in 2007. One time I had 600 freshman engineer students draw chairs and then 300 out one side of the auditorium and 300 out the other side to join together by organizing themselves according to their chair drawings.There was more to it but that's how I started with a presentation on creativity.

Hi Jennifer, Your link doesn't contain your id, so I cannot see your collection

Hi Lindsay, I like your collections. It gives me a feeling of collecting chair at home and a sense of comfort with chairs.

I enjoy the concept of this site. It is a fun way for visitors to be creative and add their own interpretation of how they can twist and change this idea of creating a sign for this lost frog. It could be used as a great introduction project or as examples of how a simple concept can be turned into so many different perspectives and images. I like how some people created their own images, while other remixed popular media images to fit the overall goal of the site!

I like the concept of this site too. When I look at all of the frogs placed in different contexts, it makes me want to join in. Knobel and Lankshear (2008) claim that the appeal of a site like this is "to express solidarity and affinity." Perhaps one would be a sense of belonging by contributing to a project like this. The main image on the index page of this site looks like it was drawn by a child. Do you think that this site was put up by a youngster? Another question for the group - As a teacher/facillitator would you incporporate a project like this in your art classroom or educational context? Does participating in a project like this have any real educational benefit for the student? What might a student learn from creating and contributing? Is this Web 2.0 pedagogy? P.S. Don't miss Ashley's Frog on our remix Google doc!

I like this site too. Haven't found out how to participate, but would love to. I actually think this is like a Net art project. Don't really think this is put up by a child. I think Participating in this project would allow students to be involved in a collaboration, but also allows their imagination and creativity. Also understanding meaning changes in different context. An interesting way to learn visual culture.