A space to discover what the Source Arts have to offer and teach. As a Source Artist I will post and explore the conceptual and development process of the Cultural Fusion art series and the socially purposeful art movement. My primary interest is in advancing art based research to illuminate new opportunities and valuable insights.
Showing posts with label cultural fusion art as philosophy. Show all posts
Showing posts with label cultural fusion art as philosophy. Show all posts
Sometimes in life things happen, that though they interrupt our plans, can not be dismissed as mere distractions. My Grandfather fell ill suddenly and died a few weeks later. That was a couple of weeks ago and though I push on...try to catch up on all the things I let slide - I can't imagine that I will ever recover.
I will just learn to live with what is.
In the last six years I have learned more about loss than I ever wanted to and the biggest lesson has been what a gift it is to love and be loved in return. Its as if part of what held me up is missing...and I have to figure out how to maintain my posture. That it eventually happens is a miracle.
I share this not just to vent my grief, but to let you know why the most recent issue of Context magazine has been delayed. There have been several projects that are being delayed because plans had to change.
Sometimes, life happens and plans just don't seem that important.
So much attention has been given to social media - monetizing it to justify the time and attention investment...and meaningfulness of networking.
The sustainability of the work has been an obvious consideration from the start and in that nailing down a simple to understand service serving a market that is growing was not as easy as I initially expected.
On one Side: Helping Luxury Service Providers advance relationships with women who want responsible luxury goods/services. Product - Podcast production with strategy - I produce purposeful conversations and create an engaging context for sharing them.
On the other side: I provide value to my social network by selecting people and their brands to be featured or introduced to a new market.
For obvious reasons I am interested in both all this personally and as sign posts of social evolution. I love exploring these ideas and will continue to do so, but unless I am only interested in conversing with myself I have had to do a better job of connecting with others.
The concept for Context Magazine is an experiment in Magazine as Interactive Art and exploring the potential of social media as part of an inclusive value creation infrastructure. The artworks are Art-i-facts in an Art Based research series about inclusion, social responsibility and women supporting each others highest expression...especially finding mediums work to engage more change agents across typical demographic divides.
For quite some time in the research aspects of Art Based inquiry I struggled to find a media that inspired me, allowed me to bring those ideas together and was accessible to the people I wanted to engage. I think we are making similar use of social media to move ideas forward and so I am curious about what our inquiries have in common.
Big ah-ha was realizing the magazine as a conceptual vehicle facilitates bringing together groups that are sometimes socially conditioned to resist each other.
Plenty of idealism boiled down to a conversation about using flip-page magazine channels as alternative distribution to replace the function and eliminate the barriers of the gallery. Very much the way that other artists are exploring how to use the internet and social media to disseminate public art...I am interested in defining Art Based Solutions as part of a model for community change.
In Context Magazine I want to embrace the opportunity to develop accessible collaborative artworks that help the business agenda and the BIG dreams...allow women to feel inspired and supported by sharing stories of the journey that give our lives Context.
The Free eCourse builds on helping people make better strategy decisions by learning to better understand the context of their problems and Solutions. I am really happy about this progress in being able to show how this Art Based Solution emerged.
I recently started play Empire Avenue and shortly before that I was re-visiting post-it note tabs in Michael Heim's "The Metaphysics of Virtual Reality". I was having a conversation with someone about selecting an Index because my indecisiveness on that had kept me from claiming a profile on Empire for awhile. We had just finished talking about Cultural Fusion Art as Philosophy, when I mentioned the book - that's when the documentary in my next post was shared with me.
Our conversation provided more support for contextualizing the validity of the work (Cultural Fusion Art as Philosophy) but isolating components for specific conversations is another matter.
As art it is inspired by what I have shared previously in this blog and written about in other documents - as an alternative to protest art: development of a socio-technical infrastructure that achieves the public and market objectives described at the commencement of the series. The basis of my work as an art movement based on research, discovery, creation/development uses collaboration to achieve results toward the goals of public and private sector. This is the source of the Community Change Model developed. Before reducing outcomes to practical results like increasing customer retention or creating more economic opportunities for more people, the bigger context for the enterprise is seen as part of the socio-technical infrastructure and its design/refinement.
There are different Art:Work projects associated with various components. Different kinds of art lend themselves to specific types of objectives, but there is also an impressive amount of overlap. The concept map showing that reduces some of the complexity by focusing on organizing for action planning includes some attached sample material - will be shared exclusively with my subscribers (Sign-Up is FREE, see subscription box on the right @webantiphon.com).
This concept map is a vital part of understanding how the this work in Art Based research can benefit your specific goals and objectives. For the right businesses and collaborating partners this can mean simply maximizing marketing investments, to increase visibility, sales and brand value...or this can be the move that helps increase your enterprise's capacity for innovation.
And to help put the value of this kind of endeavor to develop a more evolved concept IT infrastructure into perspective I share with you this excerpt from pages 38-39 in Heim's "The Metaphysics of Virtual Reality":
"...In contrast with literate cultures of the past, we face an enormous volume of stored information. Our ancestors face the task of slowly learning from experience, of gleaning from life whatever they could discover. They then tried to amplify whatever they could confirm. They learned how to pass along an expanding knowledge base. They stored knowledge impersonally in writing and eventually learned to automate knowledge so that it could become information.
Today our task seems to be the reverse of that of our ancestors...Our task is to hold onto the anchor of our own experience to find meaning in the sea of information...
Hypertext helps us navigate the tide of information. In skipping through hypertexts, we undergo a felt acceleration of time..."
Today is a good day so I am not feeling like the woman in the picture above at the moment, but I have been there. Being a change agent is part choice and part obsession. The commitment has been a choice for me, but the drive to part of leading change has been a life long obsession - it is a core part of who I am. I honestly can't say I know how to be anything other than who/what I am and I wouldn't be happy being otherwise.
Now having said that, let me confess something to you - it can be exhausting, not just for me but for people around me. That's because I eat, sleep and breath Art Based research (Cultural Fusion Art as Philosophy) and Community Change Management. I talk about it, I read about it, I dream about it...
But life work balance is something we all have to pay attention to if we want to avoid burn out. Before I embraced this reality, I experienced burn out when I was working as a community development consultant. The main reason was that my obsession was tainted by persistent frustration. For me the solution was to break free of the community development box, although I am still very much concerned with community development I found that sphere as a sector to be very resistant to change because of its entanglement with politics.
Coming back to my first true love, art was healing for me. Developing Cultural Fusion as an A/r/tographic model for community change answered a call from my soul - it expresses my deepest calling to serve and create. It puts me pack in touch with the way of being that I find is most conducive to supporting those interested in and willing to change.
Re-Thinking the Way We Think About Social Impacts
People who know me are aware that I have been exploring linkages between CRM (customer relationship management) Strategy and CSR (corporate social responsibility) programs for a number of years. Mostly I have met with a good deal of frustration but I’ve come to far to give up now, so when I find enlightening or encouraging news it helps put the wind back in my sails. Lately my attention has been on programs to assist survivors of violence but I also remain engaged in crime prevention and reducing recidivism of ex-offenders.
Recently I was introduced to Social Impact Bonds and it is definitely an encouraging step in the right direction. The paper I am going to link you to shows how the model can be applied to reducing recidivism and government spending. What is inspiring here is the financial investment model – certainly helps address parts of the problem, risk management for socially motivated investments. What they’ve done right….There is no doubt that employment and community support are huge issues in reducing recidivism. In addition to the model discussed in that paper, there is also a need and space for broader understanding based on open research (such as Art Based research) and event sponsorship funding models are worth considering as a less restrictive alternative. Is there an opportunity here for new approaches that tackle multiple dimensions of the problem to be explored and developed? I find that what is missing is support of innovation whereby there is space for discovery and open participation of those impacted. Read the rest of this post here
This Christmas season has me wondering about the disconnect between expressed ideals and the created reality. Even as I observe this in myself I see how it frames the questions of interest...and the work it inspires in this series. [converging research interests - Cultural Fusion Art as Philosophy:evolution of oral traditions, art based research: cultural vocabulary, A/r/tographic community change research model, Prallaxic Praxis:Touchstones Learning, Public Art a Public Service in development of open source solutions]
Living History and Pubic Protest Art
My Aunt and Uncle were among those who showed up to protest the gala event attended by director to whom my questions about the Fairfield County Museum were addressed in my comment post at the end of this blog entry. Reports I heard said the protest attendance was a bit higher at around 250 no need to split hairs over that. Protesters using and gala attendees alike were using theatrical cultural references to demonstrate political revelation in public performance.
Picture below includes director of Fairfield County Museum mentioned in conclusion of this post.
"Inside the hall, 200-odd guests, all white and some in period costume, gathered on Tuesday to see a re-enactment of the signing of the secession document. When it was over, they instinctively joined the cast in singing the anthem of the South, Dixie, before dinner and dancing.
Outside, a racially mixed crowd of about 100 held electric candles aloft at dusk to begin a protest march through downtown Charleston, singing the songs of Selma and Montgomery, including We Shall Overcome. Each camp thus indulged in their forms of theatre before taking to their beds."
..."The South lost the war but they really won it, because they continue to say the war was not about slavery, which is not true of course," argued Blain Roberts, an assistant professor of history at California State University, who attended the Secession Gala to conduct research for a book. "They won the memory of the war, at least."
But the United States is only at the beginning of a four-year stretch of events to commemorate the Civil War, which will peak with the anniversary in November 2013 of Abraham Lincoln's Gettysburg Address."
Identifying sources in Cultural Vocabulary
Of the articles I found about the specific even that provide the emotional energy culmination for this post - It would be this one from a New Zealand news site that seems to best express the heart of the matter while conveying specifics of conflict and finally, why it is relevant today.
"I am a proud American and I wouldn't want our country to go through that again," Bill Norris, 60, a maker of banking machinery and gala guest, said. Yet, he wonders, what if the Confederacy had won?
"A part of me does regret it didn't happen," he said. "I believe at some point in dividing the country. We would be better able to govern ourselves in smaller groups. Why should New Yorkers be able to influence government in South Carolina?"
Defining Multiple Contexts
While I do not argue the need for the American Civil War to be acknowledged as part of our national history, I do find some predominate interpretations to be problematic. I find it hard to ignore the obvious question when people want to celebrate the confederacy. What would it mean for the nation today IF the Federal government had not preserved the union? Is it possible to make it a side issue a core principle and reality being denied by the confederacy was the freedom of my ancestors - the right to belong to themselves. As a matter of function of the humanities to serve the public, the history museum as a resource for the commons, must be acknowledged as an institutional authority where programmatic successes are concerned.
Since a predominate intention of this work is to use these ideas and feelings to advance the art work as inquiry and discovery I continue to use this blog to talk to you about its progress.
The piece shown to the left is a mixed media painting "The apple doesn't fall far from the tree."
"The dancing was interrupted only once when a plastic oak tree draped with fake Spanish moss toppled over after being sideswiped by a damsel who had briefly forgotten how impractical those old-fashioned skirts were.
Givens found all the questions about slavery pesky. "We are not celebrating that and this is not malicious," he said. "It's about honouring our forefathers for their tenacity. It's about the bravery and courage of our ancestors.
"Can you not be selective about what you are nostalgic about?"
On hand to galvanise the protesters was a local clergyman, the Rev Nelson Rivers. "If Japanese Americans chose to celebrate Pearl Harbour this way it would be outrageous and would not be allowed to occur and that is what is happening here tonight," he said into a megaphone.
Tangee Rice, 57, an African American woman, drove 190km to the march and was wearing the same hat her grandfather had worn marching with Martin Luther King. "The Confederacy is not something to celebrate," she said. "It's just not right." About those re-enacting the start of the Civil War, she said: "They still haven't grown out of it, and it's really sad."
Understanding the contexts of questions and conclusions has pushed me to hold ProjectForgive.org in view. I want to side step the issue of blame without giving up the opportunity to present questions about how what is relates to what has been.
I was not happy when Webb Introduced Bill to Establish Civil War Sesquicentennial Commission but at the same time that I contemplate the political revelations, I ponder the apple as a persistent image with cultural significance. This piece marks precisely, an element in the cultural vocabulary that my work has been exploring with inclusion of feminist art inquiry.
Most who attended the recent ball as part of these "festivities" reenacting the state's secession ball in Charleston, S.C. are clearly marking a different set of touchstones in association with the Civil War and its southern legacy from those conjured by "The apple doesn't fall far from the tree".
Feminist art undertones
Issues of race and gender have commanded attention as part of articulating identity and deciphering national identity in a global tribe. Images that came to me when working on Surviving the South piece are reemerging in another work in process. I am preparing to cut or rip this one, still untitled, into pieces that will be applied to a found object with a sense of history - looking back, but redefined in this new context.
In response to an editorial piece by the director of the Fairfield County Museum, who has inspired other works in this series going back to "what is peace?" genesis of ProjecForgive.org , that was published in The State newspaper website I posted the following comment:
Can we agree that a terrorist is a radical who employs terror as a political weapon; usually organizes with other terrorists in small cells? In the context of the civil war - that seems to fit the confederates.
The bottom line is that many are calling for us to celebrate Domestic Terrorism. Was Lincoln's response that different from Bush's response to contemporary terrorism? It seems that the national policy has been pretty consistent in dealing with that kind of activity, so I repeat the question being asked by many who have not posted here - "what is there to celebrate?" A terrorist is a terrorist. Whether born here or elsewhere, actions define a life and that is the legacy they leave for their descendants...as well as, in many cases, wealth built on the backs of slaves.
I also know Pelham and wonder how as a fellow student of history the obvious can be so grievously overlooked? But that also helps to explain a great deal about why things are as they are - and would ask you to consider the role of the history museum in being a place to continue dialogues about histories lessons versus enshrining the south's past with its corresponding prevalent mindsets. For example, The Oral History Project and similar exhibitions at the museum in Fairfield was an encouraging step in the right direction of increasing inclusion and the diversity of perspectives on history - very good for opening dialogues that could move the community forward. Instead, such projects have been shut down and gotten menial support at best - while fund-raising to preserve more destructive elements of our historical past have gotten full attention and considerably more funding support.
The rationale for what the confederates did - and those who think it is something worthy of celebration is every bit as logical as our modern day terrorist and their supporters.
I wonder if there will be a call for non-accusatory remembrances of September 11th in a couple hundred years? Will there be a call for the descents of those victims to be understanding of the rationalization for the terrorists crimes? How does that attack that lasted a single day compare with this one that lasted four years?
Perhaps a more constructive way of acknowledging this part of history would be to focus on Forgiveness - where to forgive is to give up hope of a better past. If anyone is interested in continuing THIS dialogue I invite you to contact me and join me in ProjectForgive.org I am in the process of developing art and events focused on bringing people together to explore the reality and context of Forgiveness - it is the healing salve we need to strengthen our communities and families. Perhaps this time of recognition for the civil war could be a chance to explore its legacy and maybe - just maybe we can increase the peace.
Someone else mentioned a candle light vigil, which is a good place to start because each person can remember who they choose and honor lives lost - I'd be up for that...
I was all excited about posting this update, but then I realized the flash drive with the photo I wanted use is MIA. OMG!!! I am just hoping and praying that one of the dogs doesn't find it before I do.
I didn't plan to turn this blog into my confession but....
While I am committed to advancing peace with my work, especially via Cultural Fusion, I see as part of that process that I have face my own contradictions. When my father died I was was charged with making the calls to his friends. One fellow, he said they were best friends - stands out in my memory because I had to bite my tongue. I still wonder exactly why he said what he said to me just before I ended the call.
"You know your Daddy and I agreed about a lot of things. One of them was that each race should stick to their own. Whites should marry whites and blacks marry blacks."
I didn't ask him why he was telling me this, but I wondered if my Dad had talked to him about me and my husband. Had my father told him how he felt about not being invited to our wedding?
Again I am reminded of how I was inspired to do the TimeLine...the seed of inspiration was found in my heart reaction to the fact that it took twenty-one years for our surviving parents to meet. And although this was not a matter of distance or anything that might make sense, within certain circles of the family, people like to pretend this means nothing and it just happened that way. Only when I started working on this piece did I finally get honest with myself about how I really felt about it all. At the end of the day I believe it is all connected and this will help me become a better person and a better artist.
Evolution in Feminist Art
Working on my feminist art essay over the weekend I realized why the TimeLine installation has struck deep resonating chord that harkens back to the start of Cultural Fusion. That is because it points again to the project and question "what is peace?" that officially got Cultural Fusion Art as Philosophy underway.
In working on the essay I was reminded of how the expected dialogue about the divides is like a dog chasing its tail. A great deal of energy is conserved for better use by realizing the source of the tail in motion which is being chased.
My friend and co-founder in Cultural Fusion reminded me of something quite significant about resistance. That resistance is the fuel for change. For example, by resisting the status quo of the day the Civil Rights Movement was able to encourage change within the system it was resisting.
I see the same issue arising in my contemplation about feminism and feminist art in contrast to black feminist and humanitarianism. While realizing that the feminist movements most noticeable contribution to the south has been legal and policy changes on domestic violence and violence against women, it was the civil rights, diversity and affirmative action policies that had/have the most significant impact on the lives of women of color.
I believe that is because of these underlying realities that resulted in most feminist art's failure to speak to audiences of marginalized people not systemically embraced by mainstream feminism. In addition, the dominate culture of the south has not been conducive to the messages espoused in the most accessible feminist art. One reason is that it contradicts many of the patriarchal assumptions that prevail in the bible-belt.
The breakthrough afforded by the TimeLine project has been that my understanding of proximity of ideas in a given space has taken on an unexpected depth. In this piece I am exploring, among other things, how I can personally co-exist with people I support and those I not only disagree with but actively resist.
While on my trip in S.C. a couple of weeks ago I was confronted again with exchanging pleasantries with people I know are active supporters of the old confederacy and carrying its legacy forward. To my mind these people are terrorists and terrorist supporters but that thinking does not help me in my mission of peace building.
With "what is peace?" I began defining the foundation of Cultural Fusion as an art series. Rather than labeling as right or wrong - through TimeLine I am endeavoring to engage increasing numbers of people in contributing to my understanding of the connection between personal and public history. It is my hope that the piece and the interactivity that takes shape will help more of us to understand how the personal creates the public and how the way one life is lived impacts others. History cast a shadow on the present and creates the foundation for the future. If we don't make sense of our history then we carry that confusion, anger, hatred, and denial into the future. Peace through Art is definitely a possibility for the individual but how do we expand that to include the world?
That is part of the history, the history of love, peace and progress - to be included in the TimeLine art piece....noting that it does not exist in isolation.
I will be inviting a few of my friends to join the TimeLine Group to begin contributing events in the next week or so, if you would like to be invited as well please let me know.
Painting above is another from the most recent series. The poem below is one I wrote as part of an art based research dialogue on educational reform. The painting came first but is about the broader scope of interest to me as it has been expressed in cfAaP House of Cards diagram and installation concept..but as the thread connecting the frames shows some systemic elements link all the others. One of the major challenges is that most people are overwhelmed by the big picture but "solutions" made without this level of understanding often do more harm than good...and by the time that is obvious the damage is done. What is the alternative?
Warning: The Tower is Haunted
Ghosts of the plantations and overseers
loom and creak until
replaced
by Research Studios and the vision of Source Artists
With the dismantling of community mental health system and the erosion of personal support networks new alternatives must be devised. Currently I am working cf House of Cards series with that forming a recurring imagery/concept to be confronted. In contrast to the typical approach of assuming only bureaucratic systems can explore and solve these challenges, Cultural Fusion is interested in addressing them in the context of self organization, freedom, personalization, social media/technology, ecology, economics and social evolution via art based research.
The results are multilateral solutions, an art series, that combine visual art (performance, media/software, recycled materials, installations, sculpture, paintings) as well as music and audio. That while operating as art, and community intervention – are also operating as business solutions that promote innovation in economic development.
This is an excerpt explaining our collaborative Cultural Fusion Art as Philosophy series as a demonstration of the SoulFood model I have been developing as a Source Artist.
While it advances the idea of “Self Referencing Creativity” it has been inspired by key scholarship in the areas of community mental health. As art imbued with this layered integration it seeks to pioneer new approaches to project/product development and management that promote a culture of peace. While at the business or economic level this is best understood from the perspective meaningful marketing, CRM Strategy and Global Social Responsibility; at the personal - community level it is chiefly as an expressive therapy approach to community intervention/prevention strategy.
This work is distinguished by its policy of Radical Inclusion - integrating mental health, arts and culture, history, economic development, and personal development that goes to the roots of several issues including: domestic violence, poverty, crime, depression, a host of “at risk behaviors”, etc. Rather than seeking to exclude needs, each person is allowed the time to identify and distinguish real needs from perceived ones. Resources and “intangible assets” are valued above lacks or deficits.
One of the primary benefits of this approach is its attention to integrity – starting with the integrity and transparency of the SoulFood:Ingredients included in any given project recipe. Here in this paper attention is on the community mental health model and theories that were the basis of the early inquiry into this work.
In beginning to approach community economic renewal my instinct was to go to the weakest links first – homeless, those needing mental health services, neglected seniors, those living in economic poverty, and the disenfranchised (included the previously incarcerated). The point of Radical Inclusion is that the needs of all sides seeking inclusive expression need to be brought to the table and integrated into the Recipe.
Client engagement is critical, and this is the basis of using interactive high art concepts with multiple components that also operate on the level of a project-based expressive therapy approach as opposed to traditional cognitive therapy to deliver community mental health intervention/prevention programs.
Primary experience, which exists apart from language, is described by language (a representation, or secondary experience). Language is that secondary experience created by verbalizing primary experiences. Verbal psychotherapy, then, is a procedure for the verbal processing of verbal descriptions of events. According to discourse theory, language constructs its own reality rather than corresponding to it.
Among those practitioners who use them for the purpose of representation, action methods generally are regarded as more vivid and memorable and having more impact than verbal methods. Action methods simultaneously engage cognition, affect, and behavior and better engage those clients who process information predominantly in visual and kinesthetic modes. When used as interventions, action methods provide novel ways of altering habitual patterns of thinking, feeling, and behaving.
According to some psychological theories, formative experiences that occurred at a preverbal stage of development can be accessed only by nonverbal methods. Also, there is evidence that traumatic experiences are stored or encoded differently from non-traumatic ones, suggesting that experiential therapies may have the potential to shift traumatic experience in cases in which verbal ones cannot.
“The map is not the territory.” Action methods get clients to venture into the territory of experience, enriching those clients who have come to rely solely on the maps of verbalization. Experiencing these methods provides both a way of discovery in terms other than verbal ones and material that can be juxtaposed with verbally encoded representations. In sum, action methods put verbalizations to the test of experience.
Although psychotherapy will continue to be a verbally mediated process, the inclusion of action methods appears to promote significant clinical change in relatively short periods of time, making them particularly valuable in brief therapy and with populations not very responsive to talk-only therapy.
Why use an empowerment-based model? Empowerment may be defined as a process through which people become strong enough to participate within, share in the control of, and influence events and institutions affecting their lives; in part, empowerment implies that people gain particular skills, knowledge, and sufficient power to influence their lives and the lives of those they care about (Torre, 1985). The process of empowerment is ongoing and involves changes in three dimensions of one’s self: personal, interpersonal, and sociopolitical participation.
The personal (self-perception) dimension involves attitudes, values, and beliefs about self-awareness, self-acceptance, belief in self, self-esteem, and the feeling that one has rights. The interpersonal dimension involves acquisition of knowledge and skills, assertiveness, setting limits on giving, asking for help, problem solving, accessing resources, critical thinking to participate and work with others in networks and systems of mutual aid and education in order to enhance the world they live in. The political dimension involves participation by joining appropriate social organizations, giving back by helping others, making a contribution, voting, writing letters, teach others what is learned, and taking control in generalized areas of one’s life are specific skills that will be cultivated during participation in this fully implemented program.
The underlying assumption of empowerment practice is that clients are generally disempowered through membership in devalued and oppressed groups; that the system of governmental policies and services is a barrier to achieving desired goals; and that learned powerlessness is an attribute of many clients (Albert and Green, 2002). Therefore, practical empowerment attends to power issues and promotes the creation and discovery of personal and group empowerment among clients. Affirmational Psychology a later model I learned of that contributed to the work and let to a few major project collaborations.
It is my hope that in sharing this document that others who have similar interests....working in related areas will contact me. I have finally had a breakthrough in visually connecting this series as it evolves and organizing the huge amount of content I have already generated. In conclusion a few links to key pages in the Development Workspace: Cultural Fusion Futurist This is one of the primary projects - an installation called cf House of Cards Installation i Defining Installation for SoulFood context
How can change come if everyone only keeps doing what has been done, with most attention going to how to manage - aka resist change?
Rupert Sheldrake with his work on Morphic Resonance has suggested that biological evolution is connected to habitual patterns of behavior.
In the hypothesis of formative causation, discussed in detail in my (Rupert Sheldrake's) books A NEW SCIENCE OF LIFE and THE PRESENCE OF THE PAST, I propose that memory is inherent in nature. Most of the so-called laws of nature are more like habits.
My interest in evolutionary habits arose when I was engaged in research in developmental biology, and was reinforced by reading Charles Darwin, for whom the habits of organisms were of central importance. As Francis Huxley has pointed out, Darwin’s most famous book could more appropriately have been entitled The Origin of Habits.
That seems to suggest that growth depends on radical departures from those conditioned patterns and management systems intended to maintain them. However movement in the "right" direction can not be assured, but likelihood might increase if action was taken towards healing-wholeness rather than based on merely defensive reaction. Could this be the key to understanding conscious evolution of humanity in the context of daily existence and its challenges?
Sharing rather than competition....collaboration based on understanding and value of contrast - this is the value of the cooking metaphor. The reason the Stone Soup story reverberates in my psyche like a mantra.
Pieces that seem unconnected, in reality converge and fuse to show new possibilities. This piece was inspired by Tom's post about intellectual property.
One of SICU's collaboration partners is File-Reg International Ltd. The company presents an online registration service to prove copyright worldwide with registration servers on different continents.
In many cases, and in most countries, you automatically acquire Copyright when you create your work. But how can you prove it existed at that moment?
Register at File-Reg and we can provide that proof!
Victims of Copyright violation or data theft find haven here!
Are you a victim of data theft, Copyright violation or plagiarism - and can prove it? then it may be possible for you to register all your future work free of charge until 2010.
Judicial Proof
Registrations can be used as proof in a court of law. Further registration with a lawyer, solicitor or notary is not necessary. The registration system prevents fraud since it is not possible to change or recreate a registered file or document. Registered files can provide proof of development and strengthen application for a patent.
1.) REGISTER WORK WITH OR WITHOUT SOFTWARE! 2.) DOWNLOAD FREE: Non-Disclosure Agreement and other legal docs 3.) FREE TRIAL: Login now and try free for two weeks
Register online now!
Take a look at the most reasonable prices as well!
From my reply to the above post at SICU Group in SICU ART:
I actually found the philosophy behind the company founder and the service to be inspiring. I have been using it for a few months now and have registered at least a dozen files and concepts so far. I found it easy to use with no learning curve. It started for me a line of inquiry of SoulFood:Ingredient(s) and recipes as intellectual property. I began working on this idea of recipes as the basis of algorithms to be registered and that is what this video is about...and represents documentation of the starting place of this line of inquiry. I would have used the company's logo but I don't have permission for anything like that - but I would love the chance to continue evolving this work in connection with a logo or marketing strategy for file-reg.com. We'll see what happens next because this is only a starting place....
I enjoy the lines of demarcation I find myself compelled to create and then curious about what happens if I selectively wipe them away....
I wanted to share this with you as it is a way to participate in the Cultural Fusion Experience and help promote your project, organization, etc. Also because I am using this as a way to scout for collaborators for the Cultural Fusion Tour....we can discuss that later if that is of interest to you. Of course, anyone else that is interested is also welcomed to contact me.
After much discussion about the branding of Cultural Fusion, Cherrie of Global Gia Marketing had a brainstorm session this past weekend and she came up with the concept.
I point this out because it could be a great way to start promoting various artists, events, and communities/organizations that are or will be participating.
Could you help introduce this opportunity to the artist community where you are? My thinking is you could have a few or several artist shoot their clips in your national art museum or similar with their work in the background (2D work, performances, etc) or as part of the reading itself.
What do you think?
If you are interested, or know anyone who is please join me at the Cultural Fusion Group Network because I will be using the group to coordinate this endeavor to make things easier (manageable).
There are those conversations that for some mysterious reason come at the just the right time to help crystallize an idea or lesson.
Imagine, a 20 year desire takes center stage and I felt compelled to make my mark as an installation artist, rather than confining myself to my previous explorations that rarely ventured beyond the land of canvas or paper. I felt drawn to software and digital art although I knew virtually nothing about the tools of the trade.
Gradually it started to dawn on me that if I announced this intention that I was opening the door to let whoever wanted to pay attention witness my growth process as an artist. When I realized and accepted what I was setting out to do, I had not even learned to use Photoshop. Since then I have made playing with various tools to work out ideas part of the process art concept.....
Recently I had a conversation that helped me understand you don't let what you don't have stop you from doing what you need to do. If I waited for someone else to see the value in what I have been working on then there would be nothing to communicate it now. I had to start in order to increase the potential for the goal to be realized.
Last week Dawn was discussing fear in her blog. Later as an aside she explained the reason for shining the light to clear them out.
Today I had one of those conversations that allowed me to see more fully the fears I had overcome to pursue Cultural Fusion…and what the phrases, "art as philosophy" and "art with purpose" mean for me.
Tonight I have had a deepening of my experience and understanding of why process art as a core component of the installations I have been developing.
Process artists were involved in issues attendant to the body, random occurrences, improvisation, and the liberating qualities of nontraditional materials such as wax, felt, and latex. Using these, they created eccentric forms in erratic or irregular arrangements produced by actions such as cutting, hanging, and dropping, or organic processes such as growth, condensation, freezing, or decomposition.
What they refer to as random occurrences I see as synchronicity when they advance the work to become part of the process. In this multilateral framework these are points of Source:Convergence. Where most work has been concerned with growth in context of plants or base perspectives, this one is concerned with growth in consciousness, self awareness and personal fulfillment on the individuals and collective/community levels.
Process art
U.S. and Europe, mid-1960s Process art emphasizes the “process” of making art (rather than any predetermined composition or plan) and the concepts of change and transience….
Their interest in process and the properties of materials as determining factors has precedents in the Abstract Expressionists’ use of unconventional methods such as dripping and staining. In a ground-breaking essay and exhibition in 1968, Morris posited the notion of “anti-form” as a basis for making art works in terms of process and time rather than as static and enduring icons, which he associated with “object-type” art. Morris stressed this new art’s de-emphasis of order through nonrigid materials, pioneered by Claes Oldenburg, and the manipulation of those materials through the processes of gravity, stacking, piling, and hanging.
Where formal discussions of process art is concerned with "properties of materials" and expanding the understanding of "unconventional methods".
The adaption of Process Art to a context that is possible of engaging larger communities rather than ascribed as a luxury of the few.
Taken several steps further SoulFood as framework for the Source Artist Process-internal. Attention has been paid to the survey of the ingredients .
This is most definitely research into the metaphysics of art applied to real life challenges.
1. Personal growth through art as process 2. Transparent model for the above as part of sustainability and community renewal 3. Research and Development into implementations of open economies as part of the above 4. Helps define intangible assets and economies that can leverage opportunities previously mentioned 5. Concept for works of art that are interconnected expressions of the above
There are not many places that support large files, so I have really come to appreciate what makes Youtube the top video sharing site.
Originally, I had planned to only share these videos internally with the core team I have been working with, but I changed my mind. One of the reasons I decided to share them although it doesn't perfectly reflect my vision is that this series is largely inspired by my own issues with perfectionism....breaking an old pattern to learn about self-acceptance. This is major issue in creating peace, as the lack of it in the world is a reflection of the same lack in each of us as individuals.
If we can not accept ourselves then we can accept someone else and this leads to the need to be judgmental, blame, and even punish others.
The opportunity to be loss makes it worth the risk for my ego to share this imperfect video and I see that if I didn't I would miss the chance to be the first or one of the first to chart this new territory.
In addition, this is how space is made for other people to join in. This There has to be room for others to join and express the best of themselves and that means they need to see the change their contribution makes in really clear ways. If I waited until I covered all the pieces myself or just hired professional firms then the chance to engage people at the grassroots level in the most meaningful ways would be loss.
That is fundamental to the concept, expressed ideally in "stone soup" story.
In this case, I show up with an idea and a pot--- Ron was the first to pay attention, which led to everyone else that followed having something to pay attention or contribute to - intangible assets (knowledge, talent, etc.) or physical resources (money, technology, etc.) expressed in the SoulFood model as the vegetables, meat, spices and that is how the meals (aka projects) come to be....we then can document with these videos and artworks that Cultural Fusion process and see how it take shape in a way that to me seems more honest than if it was just written as an article, paper, etc in retrospect.
So that is what I have learned and has led to this little series I am playing with now. For paid client projects I would hire a team but at the moment this serves it purpose and is not intended to represent a finished product.
I have long been an advocate for end user led innovation, especially in IT. Recently I have been pondering connections between our failed check and balances in U.S. political arena. I generally don't get into politics here but because we have only traveled further down this road I feel I have an obligation to at least put some questions and information forward. It is hard for me to believe that Americans don't care, and it seems that those outside the States may be completely unaware of what is happening.
Also, with my interest in social capital this has been a primary instance that I have been paying attention to for a number of years. For several years, I have asserted that this decline in social capital would have economic consequences and I feel the market crash is an indicator of this.
Cultural Fusion has emerged from my interest in finding an alternative to Protest Art because as an artist we have an responsibility/choice to comment on the times we live in as we see/experience them.....and even better, Cultural Fusion intends to be part of solutions. Obviously, I like to keep things as positive and proactive as possible and this is no exception.
Key questions I have are:
Did the Gonzales firings in the Dept. of Justice thwart investigations into voter fraud or irregularities?
Why did Kerry concede the election when he knew that not doing so would have supported checks and balances working to investigate questionable results?
Why are the people shut out of the process of selecting voting machines and operating software?
Given that these issues have gone largely unaddressed what is the point of the Presidential campaign where no one pays attention to such a fundamental usurping of political credibility?
Will ignoring this problem yield results similar to what we have seen on Wall Street?
AND what does that mean for you?
The series of video projects I am working on now are not blatantly political but the ideas I am exploring them have evolved in this context (at least in part). However, the video art projects are less concerned with rehashing the problem(s) as much as it is presenting a context for solutions....not by focusing on the symptoms but going to the heart of the matter which really isn't so much about politics as it is the status quo in general. In that paradigm the underlying deficit in social capital - and the personal expression of that reality in the lives of millions of individuals merit attention that can perceive the broader context.
For up to the minute info on this issue see Black Box Voting If you have not seen it already, please watch and share this video
This is an Art:Work under construction. I decided to do it three or four segments that will be brought together in the space. Each segment will be a central part of creating spaces, framing them if you will, inside that larger venue space.
So here is the beginning minus most of the music/sound. If you have suggestions, feel free to post links to audio in the comments.
In addition to the issues of place and affection that sparked this piece for me, it is being shaped by my work in Art as Interface.
One of the striking findings I have had during this development process is the issue of Radical Inclusion in relation to technology. And perhaps the most surprising thing has been the connection this has to my work in the area of Relationships and Connection.
Sitting outside enjoying the morning with my animal companions including a few visiting birds, my attention was fixed on my decision to re-visit a software I had actually forgotten about until I stumbled upon in a folder. The funny thing was this captured my attention when I was actually pondering something I thought was completely unrelated....the recent death of my father.
You see, I am in process of updating my Clarity: Relationship Valuation Analysis software. Originally, it sold for around $50 but version 2.2 is going to be distributed for free! I am approaching this as my official move into the realm of software art as I do have other plans for it that include making it available to as many people as possible who can benefit AND using it in an art installation and performance pieces I have been developing with Desmond and Ron. Yes, I am going to be giving it away. Why? Well that I will share with you in my Source Artist blog shortly. I was working on the revision until around 2am this morning because it is clear to me the program, and its supporting services can be a great service to others. What are the supportive services? The personal coaching via podcasts, teleconferences, and hotline services (phone and online) AND some special retreats we're developing for Jamaica. We will work out a way for anyone who need these services to access them, so stay tuned. I will not post the access numbers in public, so those who are interested will need to contact us to get subscription info which includes those access numbers.
You can contact me through this site or any of my others if you do not have my personal email address and I will reply ASAP. For now, however, we have provided these services to only a personal network of friends but now it is being offered to you.
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