The desire for greater visibility and the production of more and more is like a mirror that reflects only itself, in which we can see less and less. This has something to do with the infinite reproducibility of images promised by the digital revolution. And it also has something to do with self-service surveillance – the industrialisation and privatisation of surveillance that leads to it being outsourced to the population to be under surveillance, so that it surveils itself and itself pays for its surveillance. This amounts to the state privatising and outsourcing the policing of the population, so that it polices itself and itself pays to police itself. There’s nothing immaterial about this, nothing virtual. The users pay and the police and the surveillance are just another service.
with the right to silence and invisibility the right to enter silence and invisibility and disappear.
You can kind of make out that heÔÇÖs holding something and you can hear this sound. Then you realize heÔÇÖs sucking the eyeballs out of a fish. And his son had caught rainbow trout in the river and is eating the lips and eyes off of the face of the fishes at 5 oÔÇÖclock in the morning. (Heath Ledger on Ang Lee)
Even today, some tribes in Africa have professional dancers, whose sole purpose is to dance at different festivities, while the tribe cares about all their needs, and the only thing they need to do is to develop their dancing abilities.
With the transition to sedentary lifestyle, farming and cattle breeding, magic and sorcery are replaced by religious rites and acts of worship, and with the development of awareness of human dependability on good and bad weather conditions, comes the dualism of good and bad gods and clearly structured ritual practices. The thesis that Old Egypt is a birth place of western dance is correct.
ENDORSEMENT of jan jagodzinski and Jason Wallin’s Arts-Based Research: A Critique and a Proposal
Approaching the creative impulse in the arts from the philosophical perspectives
of Deleuze + Guattari, jagodzinski and Wallin make a compelling argument for
blurring the boundaries of arts-based research in the field of art education. The
authors contend that the radical ideas of leading scholars in the field are not radical
enough due to their reliance on existing research ontologies and those that end in
epistemological representations. In contrast, they propose arts-based research as
the event of ontological immanence, an incipient, machinic process of becoming-
research through arts practice that enables seeing and thinking in irreducible ways
while resisting normalization and subsumption under existing modes of address. As
such, arts practice, as research-in-the making, constitutes a betrayal of prevailing
cultural assumptions, according to the authors, an interminable renouncement of
normalized research representations in favor of the contingent problematic that
emerges during arts practice.
- Charles R. Garoian, Professor of Art Education, Penn State University,
author of The Prosthetic Pedagogy of Art.