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Drawing and the 21st Century Brain Milieu
Transcript of Drawing and the 21st Century Brain Milieu
The 21st century understanding of the way the brain works is fundamentally different than the deep seeded Enlightenment notions our culture take for granted. The Eighteenth Century Brain
1. Conscious (we know what we think),
2. literal (Mirror of Nature) able to fit an objective world precisely, with logic of the mind able to fit the logic of the world),
3. logical (consistent with the properties of classical logic),
4. universal (the same for everyone),
5. unemotional (free of passions),
6. disembodied (free of the body, and independent of perception and action),
7. value neutral (the same reason applies regardless of your values) and
8. serves self-interest (serving one’s purposes and interests, we are rational self interested decision makers)
“This theory of reason has been shown to be false in every particular, but it persists” The Twenty-first-Century Brain / Contemporary Cognitive Science
1. “most reason is unconscious” 98% of thinking your brain does you are not aware of (insight of Sigmund Freud – Andrea Rock) This conception of unconsciousness means we don’t ‘know’ what we think & language requires unconscious thought –
2. *embodied (‘mirror neurons’; There is neither pure top-down rationality nor pure bottom-up empirical action, but rather pragmatic interaction between these two processes, which un-intuitively are not located in any one location, but each distributed through brain, body, and world),
3. emotional (reason is emotional),
4. empathetic (interactions in the real world effect and affect us…),
5. metaphorical (‘the conduit metaphor’: metaphor is conceptually – the matter of thought – with language secondary), and
6. only partly universal (human structure and – *language structures) The 21 century Mind Combating the Cartesian world view The task of the drawing instructor is to teacher pupils to draw. This mission has been successfully accomplished in a number of ways. I am not proposing that there is a right or wrong way in which to instruct drawing. Rather I am proposing we begin to use the language and understanding of a 21st-century concept of the brain instead of perpetuating the false assumptions in drawing discourse (from the Enlightenment) Our conceptual system is grounded in, neurally makes use of, and is crucially shaped by our perceptual and motor systems… Because concepts and reason both derive from, and make use of, the sensorimotor system, the mind is not separate from or independent of the body 2. Much like the draftsperson is altering the world onto their piece of paper, the brain, through the process endowed by evolution draws a picture of reality that is altered from the sensory information first ‘rendered’ – the brain is a draftsperson... 2. the 'Embodied Mind' or the '21st Century Brain Milieu' Let's talk of a system that transforms all the social organisms into a work of art, in which the entire process of work is included... something in which the principle of production and consumption takes on a form of quality. It's a Gigantic project.
–Joseph Beuys "Paragraphs on Conceptual Art", Artforum, June 1967.
My objects are to be seen as stimulants for the transformation of the
idea of sculpture, or of art in general. They should provoke thoughts
about what sculpture can be and how the concept of sculpting can be
extended to the invisible materials used by everyone.
Thinking Forms – how we mould our thoughts or
Spoken Forms – how we shape our thoughts into words or
SOCIAL SCULPTURE – how we mould or shape the world
in which we live: Sculpture is an evolutionary process;
everyone is an artist.
That is why the nature of my sculpture is not fixed and finished.
Processes continue in most of them: chemical reactions,
fermentations, color changes, decay, drying up. Everything is in
a state of change.
-Joseph Beuys, Life Course/Work Course 1979
It has been repeatedly intimated that there is a difference between the art product (statue, painting or whatever), and the work of art. The first is physical and potential; the latter is active and experienced.
-J. Dewey Art as Experience 1934
Art as Experience In conceptual art the idea or concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art. I recall that from the beginning the question of the trace was connected with a certain notion of labour, of doing and that what I called pragrammatology tried to link pragmatism and grammatology.
-Jacques Derrida The moment your perception becomes knowledge imparting is not the same moment at which you were simply aware [of the object]. That original moment has always already gone by by the time you feel you know the object is before you. It is as if your attention has to shift from simply being aware to being aware that you are aware. These two experiences can never be simultaneous. Différance is neither a word nor a concept.
In it, however, we shall see the juncture – rather than the summation – of what has been most decisively inscribed in the thought of what is conveniently called our ‘epoch’: the difference of forces in Nietzsche, Saussure’s principle of semiological difference, differing as the possibility of [neurone] facilitation (clearing a path), impression and delayed effect in Freud, difference as the irreducibility of the trace of the other in Levinas, and the ontic-ontological difference in Heidegger. The true work of art is not the object that sits in a museum nor the performance captured on film or disc. Rather, it is the experience occasioned by the production or the experience of appreciating objects and performances. For the artist, those two forms of experiencing are one. Another way of thinking about these interchanges with art objects that result in enduring changes in both the experience and the experienced is to label them educative. They are so, Dewey would say, because of their liberating effect on future experiences. Dewey's definition (of the work of art as experience) is logically inadequate (since he tries to define aesthetic experience and regard it as indefinable). 0. Subject/object; Mind/body; Art object/Viewer are all 'rethought' (non-binary thinking)
1. As long as we remain immersed in a situation, we cannot fully describe it.
2. Any experience in 'itself' becomes 'undefinable' without a 'body' - an embodied mind.
3. We are both altered and are altering our environment (immer schon/ always already) Educational Philosophy Cultivating the Philosophical Imagination Conceptual Art Derridian texts Kunstkammer Critical Pedagogy Addressing the Gilles Deleuze
Michel Foucault Examining Critical Pedagogy with Teachers, Students, & Administrators (2011) Word of Mouth: Wittgenstein's Language Game The Habermas Machine Foucault: Course of Discourse Being Blue...being blew away... Heidegger's hammer Confucius: Tune in - The Transmitter Derrida has office hours Graphie + on the way to… mark… Embodied Consciousness and Human Nature The Philosophical as Artistic imagination Society of Control Joseph
The term philosophical imagination describes an enlarged concept of what is typically labeled moral imagination. This term is used by many thinkers, such as Martha Nussbaum [See Nussbaum, 'Love’s Knowledge']
Simply put, philosophical imagination focuses on thinking about philosophical ideas within other forms of text, such as novels, film, music, art, etc., in order to develop knowledge of concepts while imagining their use. This simultaneous developmental trajectory of the concepts experienced in theory and practice serves to enlarge the field of possibility for student learning. Das Wort “Sprachspeil” soll heir hervorheben , daß das Sprechen der Sprache ein Teil ist einer Tätigkeit, oder, einer Lebensform. [Here the term “language-game” is meant to bring into prominence the fact that the speaking of language is part of an activity, or of a life-form.] The central concept to be learned in this conceptual arts-based participatory simulation is the idea that words and definitions depend upon the interaction of people to give them meaning. Words in-themselves cannot mean anything without their use. Thus, like the chess analogy in Ludwig Wittgenstein’s Philosophical Investigations, the piece named ‘king’ only means ‘king’ within the enacted rules of the game Participatory Simulations In 1960 Jerome Bruner claimed “any subject can be taught effectively in some intellectually honest form to any child at any stage of development.” A half century later, the success of educational implementations known as participatory simulations—a family of designed experiences also including augmented reality, virtual worlds, and computational tools—is demonstrating that Bruner’s controversial proclamation may have been right on the mark. Philosophers, themselves, often present their own work in a vividly experiential manner—consider Plato’s allegories, Lewis Carroll’s logic puzzles, Kierkegaard’s parables, and Sartre’s plays. To read their work is to enact a performance—to partake in an event—that engages one’s sensibilities for inquiry, curiosity, and play. To simply read about their work, however, is to miss these performances and the opportunities they provide for deepening and enriching one’s philosophical imagination. As Martha Nussbaum argues, to divorce the philosophical content from its original form is to preclude the visceral experience otherwise provided by literary forms such as Plato’s dialogues, Epictetus’ Aphorisms, Nietzsche’s novella, Emerson’s journals, and Voltaire’s wit Foucault’s card game is designed to experientially parallel and support parrhesiastic free-speech during group discussions on philosophical issues (although arts discussions or science topics will work as well). Before the class discussion, students are dealt three random cards that they are allowed to play at any time of their choosing. Each card functions to open up a particular idea, insight, or position in the discussion to further consideration and evaluation. Thus, the cards punctuate the discussion with moments of risk and indeterminacy (as opposed to merely generating codified and predictable responses) by opening up discussants’ arguments for explicit deliberation. Engaging in parrhesiastic speech This participatory experience reveals the paradox in which the limits of language and the simultaneous requisite for using language in mediating experience and expressing ideas is evoked and joins the philosophical imagination of the students. Participatory simulations serve as opportunities for participants to cultivate their philosophical imaginations. Use of participatory simulations offers another supporting and non-exclusive way of presenting the ideas found in primary texts to ‘readers’ and ‘participants’ who may find third-person encounters of texts to be a mode of presentation of ideas that is not conducive to learning for reasons explored by educational psychologists (i.e. Bruner). The links between conceptual art, philosophical concepts, and game design present art education a vast opportunity for creative initiatives in student learning. This lecture presents three exemplary examples that relate philosophical concepts through conceptual art to students. Due to the active nature of these works of art, students do not just learn philosophical concepts, they literally perform these concepts; thus, engaging each at an experiential level. Each piece rewards replay as students are challenged to design their own solutions to philosophically-rich and enduring problems (such as the difficulty of language to express experiences). Discussing the role of conceptual art in transforming otherwise abstract philosophical concepts into accessible experiences will serve as the focus of teaching these three games as a best practice within Arts Based Research (ABR). Further, this practice envisions art as a participatory simulation; an experience constituted by puzzlement, other participants, and self-reflection as one investigates philosophical mysteries. Art, viewed as an experience, activates creative possibilities with regards to student learning. I have developed experiences that are designed to parallel difficult art and philosophical concepts. These activities are conceptually art based and involve participatory action to evoke an experience that mirrors complex ideas (such as: the sublime, intersubjectivity, language games, and différance). Each experience requires participants to transform and generate novel forms of discourse. By doing so participants learn and practice these complex philosophical concepts while fashioning their own creative responses to them. These experiences explore ongoing research into conceptual art as Arts Based Research (ABR) by depicting theoretical foundations along with analytic practices for (a) using conceptual art as transformative and creative discourse and (b) assessing the significance participants attribute to this discourse in their own self-development and conceptual understanding. This book attempts to create a true space for dialogue by empowering those in various positions of the schooling system to speak in their own voices. Through each teacher’s, student’s, administrator’s, and community member’s own words we begin to construct a conversation that allows each educational stakeholder to communicate respectfully his/her/their goals and ideals for education. This communicative engagement will hopefully allow multiple voices to construct an educational dialogue collaboratively founded on speaking “with” rather than speaking “to” one another. It is this dialogical process that we feel provokes a critical pedagogy. The editors understand critical pedagogy, generally speaking, as teaching that is reflective toward the maximization of social justice, as best practiced and identified by the practitioners themselves. It is the intent of the editors to begin a new conversation toward an emergent definition of critical pedagogy rather than explore one placed on schools from the ivory tower. Producing a critical pedagogy from the ground up, through dialogue and conversations is the guiding principle and backbone of this book. 2. the 'spectre' of conceptual art ('de-objectification/materialization' of art) “Any experience is structured like a network of traces, which return to something other than themselves. In other words, there is no present which is not constituted without reference to another time, another present. The present-trace. It traces and is traced.”
-J. Derrida (unpublished interview) “Such a play, then – différance – is no longer simply a concept, but the possibility of conceptuality, of the conceptual system and process in general.” The result of différance & the trace points us to how Derrida addresses many things. For example in his thoughts about justice and law he remarks: “Justice remains, is yet, to come à venir, it has an, it is à venir, the very dimension of events irreducibly to come (à venir).”
-J. Derrida – ‘Force of Law1992
[The ghost] -reality is constituted by traces, not words, difference, not meaning, and writing, not spontaneous spoken words.
The play of différance between the written and spoken is loaded on the side of those things which produce immediate and present effects in Western philosophy: the voice of the living man, rather than his dead inscription; the full presence of his mind and ideas, rather than a book to be interpreted; firm, ideal meanings, rather than memory and the future. “To thematize or order Derrida on the pretence or misguided (however well intentioned) belief that one has to start somewhere with Derrida is to believe in the idea of the finite or containable, schematic representation of ‘Jacques Derrida’, ‘’the work or thought of Derrida’, ‘deconstruction’, and so on. Such phrases imply that there is an organic whole, so many species belonging through genetic relationship to a genus, whether that genus is identified as ‘deconstruction’ or ‘Derrida’. Such thinking is what Derrida describes as logocentric.” - Julian Wolfreys The Adventure of French Philosophy (Alain Badiou) 2005
'The Moment of French Philosophy' The writer writes in a language and in a logic whose proper system, laws and life his discourse by definition cannot dominate absolutely. He uses them only by letting himself, after a fashion and up to a point, be governed by the system. And the reading must always aim at a certain relationship, unperceived by the writer, between what he commands and what he uses…a signifying structure that critical reading should produce.
- Jacques Derrida (1997, p. 158)
1. Links to Jacques Derrida and the 'un-decidability' of experience (Derrida's trace, and the work of art 'to come')
2. Links to ideas of 'embodied experience' (science and experience)
3. Links to educative imperatives tied to the use of concpetual art practice for art and its education (kunstkammer) Art goes conceptual Who are Artists without Objects? Sol Lewitt - Wall Drawing [directions] #232 Person Drawing Sol LeWitt's Directions Barnes Collection - Aesthetic arrangment Picasso Studio 1956 For Dewey the work of art is Picasso drawing, the action, the experience of the situation. In addition the 'work of art' for the future viewer is not found in the object(s), but in the 'interaction' with them - with their interactive 'embodied experience.' Future Implications: (Artists without Objects) 1. The Cartesain Worldview of the Mind (from the Enlightenment)
2. 21st Century Philosophical & Scientific Understanding of the Mind A Paradigm Shift Cartesianism in Drawing Instruction Subjective vs. Objective Drawing Initial Conclusions: From Embodied experience to conceptual art Joseph Kosuth 1. Rather that 'retreating to the mind' (pure-subjectivity a la Jürgen Habermas) Conceptual art leverages embodied experiences
2. 'Conceptuality' is an experience, therefore the work of art is in/an experience [the idea or concept is in 'transaction' with the 'object'-subject] which does not privilege the artist or object (of art)
3. Art experiences provoke 'artistic & philosophical imagination' making them function in a critical, social, and communicative role - revealing the complexity of everyday life... Research Claims for Conceptual Art after Beuys: 1. Social Sculptor
2. Critical Educator
3. An Artist without Objects Beuys is interested in relationships as art Beuys sees the artist's role to 'sculpt' thinking and seeing the world The work of art is the experience of generation and transformation Joseph Beuys is an artist without objects; the work of art is, like Dewey, relational (role of experience is key – experiences generates the art work), and educative (the possibility of change in one's Being and being is presented – transformation of being & Being). Examining the Beuysian Spark for my The work of art as critical social theory Why Derrida? Being and Being - the ontic - ontological “There would be no difference without Heidegger’s articulation of the relation between beings (Dasein) and Being (the ontic-ontological difference).” – Jacques Derrida Derrida's program Describing Trace: Dewey's Future and Derrida's Trace: The play of Différance as embodied experience 1. Because experience is structured this way it is undecidable - always in a movement towards the future - always in 'play' 2. Because experience requires/ is the body, the physicality of the organism causes a 'process' delay, a trace of experience, is our experience. Representation within Dewey's and Derrida's matrix 1. The difference between an experience and its representation is key
2. The/an object of art alone cannot be the 'work of art' "This dream of the autonomous work of art - an abstract idea that responds only to its own internal criteria rather than to an external referent in what is commonly called 'nature' - has often been understood as the signature of modernism." - Jonathan Fineberg "Art Since 1940" 3. Not only are we representations to ourselves (in experience), but even in Dewey's terms the 'products of art' as representations of the 'work of art' -[which is a representation of experience... (trace)[ - is in the economy of 'phenomenological existence' Derrida's work describes... This is precisely the case... This results in thinking human nature and the human subject are: rational, self-interested & competatively-structured creatures. 1. Humans are empathetic, emotional-reasoning, cooperative beings. 'Rethinks' the work of art through
John Dewey, Joseph Beuys and Jacques Derrida. A Tuning... Marcel Duchamp: Artists without Objects:
A Foundational Inquiry into Conceptual Art with
John Dewey, Joseph Beuys, and Jacques Derrida à la Søren Kierkegaard philosophically grounding the 'conceptual mode' of art experience and production. -From the notes of M. Duchamp 1913 (from Francis Naumann - Marcel Duchamp: The Art of Making Art in the Age of Mechanical Reproduction 1999, p. 74.) Can one make works which are not works of ‘art’? Ultimately, it [the Readymade] should not be looked at… It’s not the visual aspect of the Readymade that matters, it’s simply the fact that it exists.… Visuality is no longer a question: the Readymade is no longer visible, so to speak. It is completely 'gray matter.' It is no longer retinal.
-Marcel Duchamp in “Marcel Duchamp Speaks," BBC - Third Program, October 1959 P.W. Jackson, remarks on John Dewey’s definition for the 'work of art,'
in John Dewey and the Lessons of Art , p.5 Sol LeWitt advanced the notion that separates the creation of a work from its execution
Joseph Kosuth, 'One and Three Chairs' (1965) Two Caveat's: Stuckist demo outside White Cube Gallery, Hoxton Square, London,with coffin marking the death of conceptual art, 25 July 2002. 1. The Death of conceptual art 2. The Spectre of Conceptual art Sol Lewitt Joseph Kosuth Sol Lewitt Joseph Kosuth Kosuth discarded the conventional art object in favour of a documented critical inquiry into the artist's social, philosophical, and psychological status -Sol LeWitt: Paragraphs on Conceptual Art, in Artforum, June 1967 ...a transformation of art from being formally constituted as an object, to be working conceptually with materiality. By this I mean that instead of understanding dematerialization as a negation or dismissal of materiality as such, it can be comprehended as an extensive and fundamental rethinking of the multiplicity of materiality beyond its connection to the entity of the object. Conceptualizing Materiality – art from the dematerialization of the object to the condition of immateriality http://umintermediai501.blogspot.com/2008/01/conceptualizing-materiality-art-from.html Conceptual art is: -Jacob Lillemose [After Dewey...] ...by trying to 'de-objectify' art (dematerialization), ironically the conceptual art movement may have made the question of 'materiality' in Art, -the question- for 'Art'... Artists without Objects Kristopher Holland Philosophy of Education Indiana University Ph.D. Canidate Art Education In short, the idea of a fundamental ontological divide between mind and body – along with the accompanying dichotomies of cognition/emotion, fact/value, knowledge/imagination, and thought/feeling – is so deeply embedded in our Western ways of thinking that we find it almost impossible to avoid framing our understanding of mind and thought dualistically. In its broadest division, drawing can be classified as either subjective or objective. Subjective drawing emphasizes the artist’s emotions; objective drawing, on the other hand, conveys information, not feelings. Subjective drawings can be expressive and intuitive; objective drawings are more rational and logical. Kristopher Holland Dewey's Notion of experience Collapse of 'subject-object' paradigm in philosophy and psychology From Rationalism & Empiricism to Pragmatism Dewey rejects the rationalist position because it fails to take into account the role of the senses and the natural functioning, or the biology, of a human and the natural world Dewey rejects the classic empirical position because it characterizes the subject as an ‘empty vessel’ that ‘inactively’ receives information about the world Dewey's Pragmatism William James (1842-1910), Edmund Husserl (1859-1938), and Henri Bergson (1859-1941) were all interested in re-conceiving of philosophy beyond the mind-body split Erasing the subject-object distinction See* 'The Reflex Arc Concept in Psychology' 1896 Dewey applied the then current biological advances in evolutionary theory The center of knowledge is no longer the mind or the objective world, it is the interaction, or as Dewey terms it, the 'transaction' between mind and matter. From Pragmatic experience to aesthetic experience... Dewey's Pragmatic Lessons for
the Experience of art -Mark Johnson, 'The Meaning of the Body: Aesthetics of Human Understanding' 2008 -Lakoff & Johnson, Philosophy in the Flesh 1999, 555. Le Roi est mort, vive le Roi The King is dead. Long live the King Conceptual Art is Dead, Long Live Conceptual Art A Critique of Dewey's Definition of Art -Richard Shusterman, Pragmatist Aesthetics: Living Beauty, Rethinking Art 2000 -We are 'embodied' in all situations; we cannot leave our bodies to describe the universe. The Embodied Mind... -Philip W. Jackson, remarks on Dewey’s definition for the work of art, in John Dewey and the Lessons of Art, 1998, p.6 It is not experience which is experienced, but nature – stones, plants, animal, diseases, health, temperature, electricity, and so on. Things interacting in certain ways are experience; they are what is experienced. -John Dewey, Experience and Nature, 1925, p.4 ...[For Dewey] there is no being outside event and event always includes human activity. Inquiry is part of reality and changes reality. -Phil Francis Carspecken and Xuehui Xie, Philosophy, Learning and the Mathematics Curriculum: Dialectical Materialism and Pragmatism Related to Chinese and U.S. Mathematics Curriculums, 2008, 5. You no longer just 'see' a work of art, as emdobied experience informs us we have a full range of somatic responces. -These points are echoed and summarized in a similar fashion in Lakoff & Johnson's Philosophy in the Flesh 1999. 'Homo economicus' or 'Economic Man' -George Lakoff, The Political Mind: A Cognitive Scientist's Guide to Your Brain and Its Politics, 2009, p. 5 Drawing within the 21st Century Paradigm -These points are echoed and summarized in a similar fashion in Lakoff & Johnson's Philosophy in the Flesh 1999. [See the work of Antonio Damasio] [*See Jeremy Rifkin for a 'popular' treatment of this idea] [*See George Lakoff] [*See Jacques Derrida for philosophical version of this] [*See Andy Clark, Lawrence Shpiro, Anthony Chemero, Francisco Varela, Evan Thompson, Elanor Rosch, John Dewey] 1. Understanding, philosophically & scientifically what constitutes experience is key to the conception of the work of art.
2. Secondarily, the concept of experience posited here (the pragmatic-embodied experience) connects to understanding how one can say ‘Artists without Objects’ or allude to the insight John Dewey and embodied science is telling us:
3. Namely: works of art as experience(d) affect us, and we in turn affect ‘it’ [as experience] (which activates the rich detail of a 'philosophy of everyday life' in all its materiality, somatic responses, and memory)
4. And for educational purposes, thinking of ‘art as experience’ can be transformative and generative. Connections to 'Artists without Objects' With all due respect to Sol LeWitt, it is not that simple… With Joseph Beuys, the execution of the work of conceptual art becomes not merely a part of the 'machine,' but questions the very status of concept before experience (object). As Participatory Simulation What we take to be true about the world is not then born of the pictures in our minds, but of relationships. Understandings of the world are achieved through coordination’s among persons – negotiations, agreements, comparing views, and so on. From this standpoint, relationships stand prior to all that is intelligible. Nothing exists for us as an intelligible world of objects and persons until there are relationships. This suggests that any words, phrases or sentences that are perfectly sensible to us now could, under certain conditions of relationships, be reduced to nonsense. From Beuys work of art
to Derridian Text -Kenneth Gergen An Invitation to Social Construction 2009 K Holland, Right to Obsession, 2001 It has been repeatedly intimated that there is a difference between the art product (statue, painting or whatever), and the work of art. The first is physical and potential; the latter is active and experienced.
-J. Dewey Art as Experience 1934
Derrida: Artists without Objects Derrida’s theory of writing was, after all, here in America turned into a theory of reading. It is returning to Derrida’s grammatology, his theory of writing, that is the work of art as experience (a la Dewey) is generated.
For Derrida, the reader (of the work) is ‘producing’ the structure of the representation (signifying structures) at the same time they are 'absorbing' it (like pragmatice experience)
But the authorship of the work of art is deconstructed, in play, undeterminable, - ‘the reader writes’ the language in the performative act of experience –i.e. ‘reading’ is actually writing (experience) – the work of art is not an object, it is the experience of it as 'writing' in Derrida's terms. It is in this sense that artists work without objects, just as we are all caught up in, ‘entangled in’ everyday life as embodied experience. Final Thoughts... We are all in a sense artists without objects if we think of our minds as sculpting (Beuys) or writing (Derrida) the traces of the real world's infinite movement, and representing this to ourselves and others... with insights from Dewey, Beuys, and Derrida... 1. How is the concept of experience related to the concept of art? 1a. Can this research point to new theorizing within the 'spectre of conceptual art' milieu? Dewey sees experience in both an ontological and epistemological sense Being (existence) and being ('beings' -things) [ontic-ontological] & knowing Pragmatism is: a situation when knowledge and action are entangled - an action orientation toward future in which the senses and reason are combined to action or ‘transaction’ – knowledge is in action –is active – not found in either subjects or objects in the universe – but the relational moment between the two… Embodied experiences are 'educative' in a general sense *See documentary 'THE ART OF THE STEAL' (connects to Derrida...) Articulating ‘Embodied Mind’ Through a re-conceptualization of drawing instruction Transformative & Generative Discourse Beuys gives us complexity - reconfigures conceptual art to fit a notion of experience - what it is, and how we articulate it... J Beuys, Unterrichtstafel aus dem Büro für Direkte Demokratie
(Blackboard from the Office for Direct Democracy), 1971 [with D. Phelps] Highlight the Tension Between
Experience - Concept Philosophers, themselves, often present their own work in a vividly experiential manner—consider Plato’s allegories, Lewis Carroll’s logic puzzles, Kierkegaard’s parables, and Sartre’s plays. To read their work is to enact a performance—to partake in an event—that engages one’s sensibilities for inquiry, curiosity, and play. Artistic-philosophical imaginative with Joseph Beuys [related to Wittgenstein's Language Game] If as has been said the work of art is relational (role of experience is key), and educative (the possibility of change in one's Being and being is presented), then Derrida’s work on experience and text is an interesting turn in the discussion. Full Disclosure... "Scrupulous" A Warning... Logocentrism 2. Artists without objects evokes the 'play' of experience.
(I do not mean artist don't use objects, but artists work 'beyond objects'...) 2a. The work of art is 'indefinable' as either an object alone, or subjective interpretation... which corresponds to Dewey, Beuys, and Derrida's insights Betti & Sale, Drawing: A Contemporary Approach 2008, p.10 Artists without Objects 'Rethinks' the work of art through
John Dewey, Joseph Beuys and Jacques Derrida.
after Dewey, Beuys, and Derrida... 1. How is the concept of experience related to the concept of art?
Conceptual art is:
...a transformation of art from being formally constituted as an object, to be working conceptually with materiality. By this I mean that instead of understanding dematerialization as a negation or dismissal of materiality as such, it can be comprehended as an extensive and fundamental rethinking of the multiplicity of materiality beyond its connection to the entity of the object. -Jacob Lillemose
Conceptualizing Materiality – art from the dematerialization of the object to the condition of immateriality
The concept of justice, the subject, etc., everything within a framework or notions of trace and différance are à venir - to come. We understand with Derrida that the subject is ‘to come’. The self, or subject as a notion cannot be crystallized and made into a foundation for any system. For it is always, radically, ‘to come’.
As such the work of art, within embodied experience, social milieu's, and structured in the economy of the trace & différance is à venir - to come. -Jacques Derrida in Speech and Phenomena 1968 – Jason Powell, Derrida's Biographer 2008 -Phil F. Carspecken, Critical Ethnography, 1999 Object Exercise... J. Derrida - Différance in Speech and Phenomena 1968, pg 140 (*See Maryanne Wolf - Proust & the Squid) 1. End the binary of concept and existence (mind/body) – concept is living – part of existence (a pragmatic move)
2. Philosophy in everyday life (art and society) – out of the academy – (ironic considering its place in U.S)
3. Knowledge is practice (abandon Kant’s distinction b/w theoretical and practical knowledge)
4. Philosophy directly in political arena – political intervention
5. Question of the subject – abandoning 18th century & reflexive model for the 21st Century Embodied Mind
6. To create a new style of philosophical exposition – to compete with literature & art - or as 18th century philosophy-writer Voltaire put it: 'the question of the style of philosophy is a philosophical question…' Drawing and the 21st Century Brain Milieu The Drawing Milieu Brain Research / Mind Guessing Embodied Drawing Drawing & the 21st Century Brain Milieu Three lines of flight... What is the Drawing Milieu Today?
What is the Milieu in Brain Research / Mind 'Guessing' Giving Art Ed.?
Is an Embodied Drawing Pedagogy Imaginable? Is there a Drawing Milieu? Rethinking the Place of Drawing in
Concept & Curriculum Today Is Foundational v. Anti-foundational
Positionality Still a Debate? Jacques Derrida & Joseph Beuys Drawing is Blindness Joseph Beuys Thinking is Form... The act of drawing is thinking, we draw the world out of its wholeness... The brain –is always 'making sense' - not interested in camera like reality
Coherence and contrast are stressed, often at the experience of accuracy –
Top-down processing –how our brain interferes our actual sensations
Two paths – fast (prefrontal cortex) – slow (visual cortex) -
the slow information arrives 50 milliseconds after the fast information –
Experience is always a trace of itself (Derrida)
We see everything twice – the ‘top’ of the brain decides what the ‘bottom’ sees –
the information is ‘rendered’ (My word)
Form is imposed onto the formless rubble of the V1 (Beuys) Embodied Experience Parallel Descriptions John Dewey Antonio Damasio Wholeness of experience Embodied Mediation Homeostasis Transactional Adjustment Mind William James 'Maps' of body / self Modes of Experience Cognition (thinking) - Aesthetic -etc. 'The Self Comes to Mind' Feedback loops 'efficiency' Subjectivity is an event Embodied Drawing Pedagogy? The Convergence of Discourse... Learning to draw in this context is different How do these milieu's influence drawing instruction? 1. We must reflect on contemporary art and philosophical
practices in thinking of drawing instruction 2. Drawing (esp. Observational) is not what it seems How can we imagine drawing instruction as embodied? (The Value to Art Ed.) *Drawing is not an act done in isolation from the embodied situation - it is not just done with sight...