3dollarfineart-blog

[3dollarfineart-blog]

Freud, Andre Breton, Max Ernst

Dora Maar

Preliminary photograph for 29 rue d'Astorg 1936  (Of the Dadaist and Surrealist Movement)

-Similarities between Dada/ Surrealist work with that of Joel Peter Witkin- implication of similar provocations.

Andre Breton- Poet, Leader of Surrealism Movement- Said he could imagine a time when high and low, the real and the imagined, life and death, were no longer seen as contradictions ‘but to see surrealist paintings, we have to come here, to a museum of culture, where all of those distinctions are still fiercely insisted upon’- Julian Stallabrass (Revolution of the Mind, Surrealist Provocations: MAX ERNST, CELEBES)

Freud- Surrealism and Dadaism influenced by Freudian analysis being popularised in France- High culture is driven by unconscious sexual desire- Max Ernst reads Freud’s ‘The Interpretation of Dreams’ extensively. Max Ernst- After serving in ww1 decides culture disgraced itself in the war, in his nausea he seizes on Dada as a cultural response.

Dada- Avant Gard movement, one of most radical and negatory. Prepared to  discard culture or continue to use it in ways which amplify it’s uselessness and delusional nature. 

Max Ernst and George Bataille have similar provocations: to face all elements of humanity we have forced in to a position of base material.

https://www.youtube.com/watch?v=5H39e_iYZqE

‘Manifeste de Surrealisme’ Andre Bretton 1929

[3dollarfineart-blog]

Georges Bataille’s ‘Eroticism, Death and Sensuality’1962

Research on Georges Bataille’s Eroticism and thoughts in relevance to cultural text so far:

(All references in Foreword)

‘The human spirit is pretty to the most astounding impulses’

‘Man goes constantly in fear of himself. His erotic urges terrify him’,

‘The saints turn from the voluptuary in alarm; she does not know that his unacknowledgable passions and her own are really one’

(These ‘astounding impulses’ being ‘Base Matter’- ‘knowledge, reason, tool use, humanity etc. is dependant on the ignominious base matter...’-G.Bataille on ‘The Big Toe’)

Seeks the ‘cohesion’ of the human spirit’s ascetic voluptuous and potentialities and to find where they converge beyond mutual exclusivity.

‘I do not think that man has much chance of throwing light on the things that terrify him before he has dominated them...not that he should hope for a world in which there would be no cause for fear, where eroticism and death would be on the level of mechanical process. But man can surmount the things that frighten him and face them squarely’- pg.7

Attempt to dominate female sexuality*, a scapegoating of fear to accept own sexuality (does the distortion of body and psychological abuse of mind in fashion industry as well as body dysmorphia leading to disfigurement act as a complete reflection of a failed attempt to handle fear of own eroticism and base matter present in every cell?)

J.P.W doesn’t wish to solve anything, but is causing inward reflection and revealing base matter and our flaws in regarding/ handling it...

no ‘depreciation’ (See Emmanuel Berl book referenced) where there was no objective ‘high’ (hierarchy in general) in the first place with which to depreciate from- merely a delusional dialectic, which in itself leads to fall out, destruction and oppression*, In fact the theory/method of Bataille leads to less damage, violence and ‘depreciation’ since there is no delusion (though the process of breaking the delusion is incredibly hard- perhaps the disgusted and disturbed reaction to Witkin’s work is proof of this delusion, McQueen brings the attention to it’s relevance in fashion industry-the discourse shows itself in every cell) of grandeur separated from the low, with which to fall from.

-note interception with themes of death

[3dollarfineart-blog]

Research: Base Materialism, Eroticism, Surrealism, Dadaism

Documentary- 

https://www.youtube.com/watch?v=uLL9A0Dhisk&t=1868s

Essay-

‘Base Materialism and Gnosticism in Visions of Excess’- Georges Bataille

‘Georges Bataille’s Base Materialism’- Benjamin Noys

Notes on documentary and its relevance. 

Theorists mentioned:

Freud

Max Ernst

Andre Breton

Georges Bataille

Benjamin Noys

Emmanuel Berl

Relevant Theory:

Eroticism

Base Materialism

Dadaism/Nihilism

Marxism

‘‘Base matter is external and foreign to human aspirations, and it refuses to allow itself to be reduced to the great ontological machines resulting from these aspirations’’Georges Bataille 

‘This shows the process whereby the high or ideal denies its dependance on base matter by contorting it as disgusting and vile. In fact, ‘the big toe is the most human part of the human body...by making it possible for us to stand upright...the big toe cannot be eliminated by the high because high depends on it’- Benjamin Noys on the ‘The Big Toe’- analogy by Georges Bataille. 

Argument that high culture forces low culture in to a ‘base matter position’, denying it’s dependancy and existence. By the very existence and necessity of base matter/ low culture, it remains exterior to the opposition at the same time as being within both high and low- destabilising the hierarchy of high and low.

‘It is a force for destruction rather than a dialectical operator’- Benjamin Noys

The contamination of high culture or high society this produces is systematically denied by the ideal which splits off base mayor as whatever is ‘disgusting, vile, sub-human��. 

The hierarchical dialectic of Materialism (e.g.Marxism) began to auto-cannibalise: the dialectic depended on a base matter which would not stay fixed within a dialectical schema...within revealing materialism  as a ‘way of depreciation’ (Emanuel Berl-- The Death of Bourgeois Throught, The Death of Bourgeois Morality 1929) and therefore doing away with it Bataille concentrates on ‘Base Matter’- ‘Luxury, mourning, war, cults, the construction of sumptuary monuments, games, spectacles, art, prefers sexual activity (i.e. deflected from genital finality)’ (1985, p.118, 1997, p.169) 

 All present themes within the work of Joel Peter Witkin

‘these excessive forces’

[3dollarfineart-blog]

[3dollarfineart-blog]

Task: Take notes on Journal Article relevant to chosen cultural text, note why it is relevant. (see text 1 in earlier post)

‘Nostalgia: Content, Triggers, Functions’ (2006)

By Wildschut Tim, Constantine Sedikides, Jamie Arndt and Clay Routeledge

Journal of personality and social psychology

Issue 5, pg. 975-993

Greek words for return and suffering are nostos and algos, the literal meaning of nostalgia, then is suffering caused by the yearning to return to one’s place of origin.

Nostalgia originally introduces by Swiss physician Johannes Hoffer, conceptualized nostalgia as a medical or neurological disease, psychological and physiological symptoms (sensation of smothering, anorexia, irregular heartbeat) displayed by Swiss mercenaries.

JJ. Scheuchzer (1732) contemporary of Hoffer believed this was caused by the sharp change in atmospheric pressure causing excessive body pressurization which drove blood from the heart to the brain.

View of nostalgia as a neurological affliction persisted through the 17th and 18th centuries

By early 19th century it shifted to a form of melancholia or depression (Mcann 1941; Rosen 1975) - still considered a psychological disorder for much of the 20th century

‘Immigrant psychosis’; ‘Compulsive disorder’ (Frost 1938 pg801; Fodor 1950 pg25)

‘Regressive manifestation closely related to the issue of loss, grief, incomplete mourning, and, finally, depression’ (Castelnuovo-Tedesco 1980 pg110)

Nostalgia has long been equated with homesickness, though in latter 20th century it was shown nostalgia had acquired a separate conceptual status- Davis 1979 Study of college student opinion on definition of homesickness and nostalgia:

shows words such as ‘warm’, ‘old times’, ‘childhood’ and ‘yearning’ are associated far more commonly with nostalgia than homesickness

The new oxford dictionary defines homesick as ‘experiencing a longing for one’s home dwelling in a period of absence from it’ and nostalgia as ‘a sentimental longing for the past’

Empirical research on nostalgia remains ‘scarce’ and ‘largely confined’, to the field of advertising and consumer psychology (Holak & Havlena, 1998; Schlinger & Holbrook 2003)

Focus on market success of certain consumer goods

Research in this tradition demonstrated how product styles (of music, motion pictures, automobiles) that were popular during one’s youth influence the individual’s life long preferences.

Is millennial nostalgic imagery as in cultural text 1 becoming popular because we are only now old enough to experience nostalgic imagery of youth)

Main Questions:

1) What is the context of nostalgic experience?

2) What are the triggers of nostalgia?

3) Psychological functions of nostalgia, if any?

Studies 1+2 explained in this article…

Content question:

Paper focuses of a personally experienced past- prima facie, self relevant emotion.

Self is a salient protagonist in the nostalgic experience (Sedikides, Wildschut, Baden, 2004)

As opposed to ‘Organizational nostalgia’ (Gabriel, 1993) or ‘Historical nostalgia’ (Stern, 1992)

-This could be experienced in the fetishization of old nostalgic items.

Redemption VS contamination in nostalgic experience

In cultural text 1 we see REDEMPTION sequence, though mixed in it being a response to pessimism of the present.

Not all past evokes nostalgia

Davis, 1977, noted that in those cases where the nostalgic experience contains negative elements, these ‘hurts, annoyances, disappointments, and irritations...are filtered forgivingly through an ‘it was all for the best’ attitude’ pg418

Or, I think selective memory/ systematic bias

Relevant to this point, McAdams and colleagues- 2001- identify 2 narrative patterns or strategies people use to give their life stories meaning and coherence- response to nihilistic/ existential dread.

Redemption sequence, Contamination sequence.

Nostalgia is more typically characterized by the former, can the latter be nostalgia? Yes…

McAdamas, 2001, fins psychological well-being was positively correlated with redemption sequences and negatively correlated with contamination sequences

Nostalgia can have positive effect, negative effect, and mixed (concept of well-lived past soothes existential pain of present faced in present)

‘Wistful pleasure, a joy tinged with sadness’ Weman, 1977, pg.393

The PAST IS A CONCEPTUAL SPACE

EGO – Salience of self:

Study 1 analysis of stories finds the self figured more frequently in a major role than in any of the three other roles (I.E. sole actor, minor role or outside observer)

The finding that self rarely figured as outside observer/ sole actor reinforces the idea that nostalgia has important social factors-

In the case of cultural text 1 it is bringing a community of young people together

see examples of various sequences for greater understanding of them

see properties of desirable and undesirable features of nostalgia in study 2

‘These findings shows that nostalgia is not an esoteric phenomenon but rather a stand in the fabric of everyday life’- on the high frequency of nostalgic experience: 80% once a week, 42% 3 or 4 times a week.

Studies 3+4: triggers of nostalgic experience?

My idea of millennial pessimism being the platform for the nostalgic imagery in media is supported here:

‘occurs in the context or present fears, discontents, anxieties, and uncertainties’ (Davis, pg34, 1979)

Study 1+2 ‘offers insight in to function...capacity to generate positive affect, bolster social bonds and increase positive self regard’.

[3dollarfineart-blog]

Theorist Lecture Assignment: Michel Foucault

‘Towards a Foucauldian Methodology in the Study of Autism: Issues of Archaeology, Genealogy, and Subjectification’ Authors: Eva Vakirtzi, Phil Bayliss First published: 14 January 2013

Notes:                                                           4/1/2017

1-Increase in diagnosis of autism parallels increase in research, syndrome becomes ‘trend’ within ‘psychiatric and developmental conditions of childhood’

-Discursive tech and media surrounding seem to anticipate development of ‘apparatus’ built around and for condition, from this premise:

-proposal of new approach to autism studies treating condition in Foucauldian terms: comprehend autistic subjectivity and the autistic person as individual agent having unique interests, wishes, characteristics etc.- following Foucault’s methodology of archaeology, genealogy and modes of subjectification.

2-Rise in popular representations of autism resulting from awareness/trend, in form of autobiographies, fiction, films, performing arts, homogenise commonly known characteristics as ‘Savant yet locked away’.

-Educational context/continuum: educational interventions for autistic students e.g. TEACCH, PECS, Makaton, Social Stories- target development of social, cognitive and basic educational skills + facilitation of communication. Within these technologies and interventions ‘the autistic child as an entity is barely present’.

-Douglas Biklen (2005, p.37, cited in Murray, 2008): ‘Metaphor operates as reality’- child lost in metaphor along with subjectivity. Child becomes set of symptoms which are subject to the study of those in pathological and psychological sciences, who have complete control in definition and treatment, which is treated as completely applicable. 

-Pathology doesn’t have to be ignored in application of ‘Paideia’, a form of teaching appreciating freedom, repeat, equality, self development. In neglect of Paideia, those with autistic spectrum disorder and asperges syndrome are marginalised, agency disappeared within ‘autism apparatus’ and ‘educational targets’, they are ‘passive bodies’ 

-’restraining subjectivity in the name of the ‘abnormal’

3-Traditional medical/psychological approach to impairment and disability:

-Medical model’s view is that impairment is caused by the physical entities that exist in the world, defines disability as an interpretations of physical differences by discourse invested by social and political power.  (UPIAS 1976, Oliver 1990, cited in Goodley 2001)... disability is the restriction of activity of those with physical impairments by social organisation. 

-this logic implies disability could be eradicated if treatments and cures are developed by illness/ impairment- ignoring socio-cultural factors that may have turned this impairment into disability and therefore heightened impairment in eyes of medical/psychological power: lose agency and humanity in becoming an object of study, to be ‘treated’...

-child is defined by diagnosis; behaviour is viewed as symptomatic; limits expectations of them; expression filtered through diagnosis, causing homogenisation of all autistic children regardless of differences in behaviour (it all stems from ‘autism’, which becomes them)...

-’by homogenising pathogenic factors of autistic person we no longer consider them as a self determined agent or consider the role that other agents play on the creation of the autistic subjectivity’

-Direct reference to Foucauldian theorist’ opinion: Constitution of ‘madness’ as a illness at the end of the 18th century ‘broke the dialogue’ between reason and insanity.

 (1989, Rose, cited in Goodley 2007)- ‘Assuming a naturalised understanding of learning difficulties breaks dialogue and leaves this psychological problem as ‘the object of intervention by practitioners of the pst-complex where individuals and there individual bio-problems are the subjects and objects of study’

-Main stream medical model’s rigid framework ‘determines the autistic person’s identity by referring to their idiosyncratic expression and underlying mental impairment...ignoring the socio-cultural factors that may have turned this impairment in to disability’. (the very ‘treating’ of said impairment being one of those socio-cultural factors)

4-personal response is agreement however I feel concern that the popularisation of this approach would eventually lead to ignorance of the autistic spectrum and in ignorance of regular recognisable pathological patterns (if homogenisation is mutually exclusive with this), intervention and facility would fall apart entirely due to the immense difficulty of systemising an individualistic approach to the assisting of development of autistic children in society, it is likely the powers in control of such a framework, would reject information that would materialise this task. 

[3dollarfineart-blog]

Sanitarium And Voss                                                                 1/1/2017

The second cultural text I have chosen to provide a rationale for is a photo taken from the VOSS 2001 Alexander McQueen Show. The installation featured in the photo is heavily inspired by the photo ‘Sanitarium’, by artist Joel Peter Witkin, therefore I will be analyzing the photo in the context of both his intentions and those of Alexander McQueen, I will also include ‘Sanitarium’ as reference.

‘The tubes indicate the transfer of fluids running from the monkey’s mouth and genitialia to the human. The wings are bird wings, and the mask is an old rubber mask turned inside out. I was reading some esoteric literature at the time about breathing in fumes and how such a sensation affects us. We cannot see such sensations, but I wanted to indicate them…I put this very large woman who reminded me of the full bodied women in Malliol’s or Llachaise’s work, in a languid pose. There is for me in this situation a strange, terrible sense of being forced to view the events in rooms of asylums or places of torture. But most importantly, it is a depiction of an egoless being, a shaman in existence here and beyond’.

This quote helps to contextualize and explain the original intentions of Witkins and is therefore crucial to understanding why Alexander McQueen chose this piece to draw influence from, and what it represents in the new context of a fashion show directed by a world famous designer.

The eye is instantly drawn to this ‘egoless’ masked woman, laid in a classical pose, the slim upright models in the background and surrounding mirrors drawing the attention inward; she is the key symbol. The use of an objectified and dehumanized woman, is part of a consistent theme in Witkin’s work of an excess of femininity, or rather an obsession with the overtly feminine. This paired with the distortion of her face and surroundings indicative of deviance, torture and trauma, suggests a fear of women and the female form, juxta posing the soft body reminiscent of a fertility idol. This in turn could symbolize the societal discomfort with the female body and sexuality, as if it is ‘deviant’,  historically and presently. The tubes, masks, distortion and sexual overtness are reminiscent of circus and fetishization. As the audience in both a fine art and fashion context, we feel that ‘we are seeing something we shouldn’t be,’ it causes us to look inwards, as if this morbidity is a reflection; we question our own human morbidity, deviance and voyeurism.

Furthermore, the dominant nature of this ‘Shaman’, In the photo, indicates power, perhaps pushing us to question the symbol of the ‘size’ of the female body and it’s fluctuations in presenting power and wealth or weakness and poverty throughout time. Despite all the above messages being both relevant in a fashion industry and art culture, I feel this discourse is at the heart of ‘Sanitarium’s’ influence on Alexander Mcqueen.

In Alexander Mcqueen’s installation, image is turned in to performance. Therefore, we have a confusing reaction of both feeling we are looking in on something dark and of another person’s mind as well as knowing this has been orchestrated and directed especially for us; this is a performance. This makes the experience of self reflection and eerie victorian imagery less traumatic, we are surrounded by the comfort of commercialism, which is obviously preferable for a fashion show. The use of draping fabrics, moths and a divan chair also suggest we are meant to find this installation/ image poetic and beautiful, not simply disturbing.

The Journalist and in this instance model, Michelle Olley from this image, is quoted as saying: ‘My body is going to be so at odds with the fashion sparrows and bony old crow-people in the audience…I am what most of them fear most-fat’. Taken in to this new ‘fashion’ context, sanitarium is a reflection of discomfort, idolization and fetishization in the fashion industry, media involved in publishing this show, and those in the audience.

A word used by the brand and press to describe the scenery is ‘asylum’. This is brought about by the sterile, clean shapes, muted colours and victorian-esque tubular contraptions. Pared with the romantic and fragile set up of the main installation, this suggests the romanticizing and fetishizing of self destruction and mental illness; this figure willingly breathes in the supposed fumes from the tubes, in a position of relaxation, simultaneously appearing trapped in this glass box, looked in on as an ‘other’ to be examined. The unusual size of the woman in the context of high fashion and given the model being quoted as feeling she stands out due to her size, suggests this was an active decision. It also implies the illnesses in question are directly related to the self destruction of the female form e.g. bulimia, anorexia, body dysmorphia. 

Furthermore, an aspect of this image inspired by Sanitarium, added by McQueen would be the live moths, a symbol of nature, perhaps to enforce the theme of the ‘fertility idol’, and the rejection of this form in the fashion industry.

This is a comment directed on a personal level with the audience. They are captivated by their own mirrored reflection. They are ‘seeing while being seen’, causing them to analyze their very own act of seeing; this image/ installation it captures, are meant to stimulate introspection.

It is also important to note, that all models in view in this photo are white, the victorian style indicative again,  of a highly white-washed period of history in record. This implies a conformity to the norms of western ideals and idolization. As in the previous cultural text I analysed, this can be taken as a purposeful irony, meant to stir self reflection and assessment of its context or is entirely non-self aware, my analysis incorrect. 

However, given the sensitive, disturbing nature of the art of Joel Peter Witkin, whom Alexander McQueen is inspired by in this instance, I feel it is unlikely he is not aware of the potential for symbolism in this ‘performance’.

http://www.vogue.com/fashion-shows/spring-2001-ready-to-wear/alexander-mcqueen

https://vossehf.wordpress.com/about/voss/

https://hayleyhazeykins2.wordpress.com/2015/05/31/joel-peter-witkin-and-alexander-mcqueen/

http://www.dazeddigital.com/fashion/article/26031/1/if-you-like-mcqueen-s-ss01-voss-you-ll-like-joel-peter-witkin

https://bon.se/blogs/vnivrs/the-stages-of-alexander-mcqueen-ss-2001-voss/

[3dollarfineart-blog]

Esoteric, Ego and Excess             31/12/16

The first cultural text I have chosen to provide a rationale for is a screen cap from a music video of the song ‘Hurt’ by Swedish rapper ‘Yung lean’, however, this rationale could be taken as a comment on the whole music video as imagery is consistent.

What is apparent at first glance is the nostalgic and flashy imagery formulating the overall aesthetic; a concentration of selective personal and cultural nostalgia contrasting modern western culture, bringing about a cohesive style.

The excess of youthful references creates the impression of the ‘millennial ego’; nostalgic childhood ephemera such as Pokemon, poor graphics on pc gaming (over saturation and pixelation), Japanese kitsch branding, commercial imagery and retro computer software, in itself symbolizes the millennial label of being the generation of excess and internet.

The low-fi, DIY aesthetic implies a youthful lack of experience and freedom, suggesting (along with all the millennial symbolisms) that this video is aimed to attract an adolescent audience who can relate to the messages within the video and feel validated and drawn to this artist as a result.

The modern western elements consist of idolization, idealization, obsession of the powerful/rich white man and ego in general. The artist is a white, binary man, sporting diamond grills, expensive streetwear brands (such as BAPE and Polo Ralph Lauren) and presenting himself in a way reminiscent of gang culture, this appropriation of afro-american rap culture can either be taken as ironic or serious but either way it makes it clear this media is aimed at an audience of adolescents, most likely male considering the complete lack of female representation and themes of money/power.

This pared with the western childhood ephemera, may be a comment on the Americanization and pollution of youth by pop culture, the suggestion being heightened by the parody in the video; the artist appears to almost be a caricature of a wholly American, culture-appropriating ‘hip hop’ white man.

These themes of excess and idolization are also apparent in the composition and intensity of the colours used which are reminiscent of religious iconography. ‘Yung Lean’ is the centralized idol, set against a colourful background consisting of gold, red and blue, colours traditionally representing wisdom, prosperity/wealth and power in christian iconographic artwork. The light behind the artist forming this central, glowing silhouette, is also indicative of a saintly portrait. In this case, the image and ego of this man is being sold by suggesting he is a figure and personality to be worshipped and sought after.

The religious imagery also suggests idealization and worship of childhood in general; the nostalgic ephemera like the featuring Pokemon card, Sega Mmegadrive and consoles, appear like fetish items, being part of this shrine of millennial kitsch.

Furthermore, as the audience ‘watch someone watch’ this video of Yung Lean on their own screen, we become aware of the active consumption of media and worship of this character of ‘Yung Lean’ by this egoless character in the video. We can then insert ourselves in to the character of this person who merely appears as a shadow in the mirror of the bedroom, holding up the Pokemon card, again perhaps to make us aware of the process of our own idol worship and ego. The visual comparison of the card and the ‘idol artist’, in itself turns Yung Lean in to a nostalgic fetish item before he is even a part of the past. Like the points discussed above, this could either suggest a positive approval of excessive consumerism and pop culture in youth or in the flamboyancy and outrageousness of the symbolisms and imagery, be completely ironic and stating the opposite. The opposite statement being the distortion of childhood simplicity by the eventual movement in to capitalist society as we grow older, demonstrated by the cultural contrast of a ‘Gameboy’ and a ‘Billionaire Boys’ Club’ T shirt perhaps this ‘loss’ is what defines the sense of nostalgia within the video.

On the other hand, the esoteric nature of this image and its over all attractive stylized aesthetic, the video’s popularity online and in the ‘hiphop community’, imply it is targeted at a specific clique and therefore plays in to capitalist culture. This would make the messages in this image hypocritical in and of themselves, reducing the likelihood that the artist takes himself so seriously as to be criticizing idol worship and consumerism in his music videos with irony. Rather, it would appear he is playing in to it, whilst being humorously self aware of this fact.

Skye Turner

https://www.youtube.com/watch?v=stgrSjynPKs

http://adhoc.fm/post/yung-lean/

http://pigeonsandplanes.com/in-depth/2014/09/10-reasons-you-should-take-yung-lean-seriously/436898

[3dollarfineart-blog]

Glossary

Brian O’Doherty- ‘Notes On The Gallery Space’ pp.13-34

Sacramental: relating to or constituting a sacrament or the sacraments.

Avante-Garde: ew and experimental ideas and methods in art, music, or literature.

Vicissitude: a change of circumstances or fortune, typically one that is unwelcome or unpleasant/ alternation between opposite or contrasting things.

Cartesian Paradox: ‘Descartes decides to doubt everything possible, as he believes that he can be certain of nothing. However, this leads to the paradox that he is then certain that he can't be certain of anything, and so it seems he can be certain of something after all’.

Equivocal: open to more than one interpretation; ambiguous.

Temporal: relating to worldly as opposed to spiritual affairs; secular/ relating to time.

Impressionism: a literary or artistic style that seeks to capture a feeling or experience rather than to achieve accurate depiction/ a style or movement in painting originating in France in the 1860s, characterized by a concern with depicting the visual impression of the moment, especially in terms of the shifting effect of light and colour.

Tropism: the turning of all or part of an organism in a particular direction in response to an external stimulus.

Topological: is concerned with the properties of space that are preserved under continuous deformations, such as stretching and bending, but not tearing or gluing.

Balkanise: divide (a region or body) into smaller mutually hostile states or groups.

Colour Field: a style of American abstract painting prominent from the late 1940s to the 1960s which features large expanses of unmodulated colour covering the greater part of the canvas. Barnett Newman and Mark Rothko were considered its chief exponents.

Recalcitrant: having an obstinately uncooperative attitude towards authority or discipline.

Procrustean: (especially of a framework or system) enforcing uniformity or conformity without regard to natural variation or individuality.

Lebensraum: the territory which a state or nation believes is needed for its natural development.

[3dollarfineart-blog]

‘Teaching - Introduction; Teaching 1- Critical Thinking’ pg 1-11, Hooks. B. Evidence Evaluation:

Hooks is writing with an emotive and passionate voice; her aim is not to persuade with statistics or hard evidence, she relies on her own anecdotal evidence, or puts trust in shared experience with the reader. Her repeated use of depressing words such as ‘sadly’ brings out a response in us which causes us to ignore whether her statements are actually true. For example: ‘Sadly, these children stop enjoying the process of thinking and start fearing the thinking mind’. Hooks also uses vague quantifiers such as ‘most children in our nation learn to suppress the memory of thinking as a passionate, pleasurable activity’. These are statements read as fact, given false weight with words that make you believe the writer has hard evidence, but are simply withholding it. All the evidence she gives in the form of quotation are from well known academics. Though they are reliable, and accurate quotations, they provide very little evidence as to whether critical thinking is actively successful; the noted academics all benefit from the notion that critical thinking is a relevant topic. On the other hand, in the context of defining critical thinking, this form of evidence is ideal. The heart of her argument is summarized by the ending ‘critical thinking empowers us’. She offers herself as proof of this, along with her teachers who would ‘choose to educate for the practice of freedom,’ this is solid evidence in itself, as to be able to teach and write, has knowledge not already provided you with freedom and power? The use of W.E.B DuBois was effective in supporting the idea of the ‘spirit’ and education being the ‘surest’ route to freedom, because it is a quote from someone directly involved in the struggle of the time. Although, the essay holds a tone of preaching, and pop-psychology/philosophy, due to the use of words implying strength such as ‘power’, ‘hold’, ‘passion’, ‘dream’, ‘fight’, pared with a lot of opinion and moral questioning. This makes the evidence naturally very biased towards ‘critical thinking’, as the essay is trying to ‘sell it’, and Hooks wants to sell her book on the subject. That being said, the sensitivity of the issues Bell Hooks covers in the essay, removes concern that her writing is insincere.

Task 1.