26 de noviembre de 2022
23 de noviembre de 2022
Epistemology (/ɪˌpɪstəˈmɒlədʒi/ (
listen); from Ancient Greek ἐπιστήμη (epistḗmē) 'knowledge', and -logy), or the theory of knowledge, is the branch of philosophy concerned with knowledge. Epistemology is considered a major subfield of philosophy, along with other major subfields such as ethics, logic, and metaphysics.[1]
Epistemologists study the nature, origin, and scope of knowledge, epistemic justification, the rationality of belief, and various related issues. Debates in epistemology are generally clustered around four core areas:
- The philosophical analysis of the nature of knowledge and the conditions required for a belief to constitute knowledge, such as truth and justification
- Potential sources of knowledge and justified belief, such as perception, reason, memory, and testimony
- The structure of a body of knowledge or justified belief, including whether all justified beliefs must be derived from justified foundational beliefs or whether justification requires only a coherent set of beliefs
- Philosophical skepticism, which questions the possibility of knowledge, and related problems, such as whether skepticism poses a threat to our ordinary knowledge claims and whether it is possible to refute skeptical arguments
In these debates and others, epistemology aims to answer questions such as "What do we know?", "What does it mean to say that we know something?", "What makes justified beliefs justified?", and "How do we know that we know?".
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In metaphysics, ontology is the philosophical study of being, as well as related concepts such as existence, becoming, and reality.
Ontology addresses questions of how entities are grouped into categories and which of these entities exist on the most fundamental level. Ontologists often try to determine what the categories or highest kinds are and how they form a system of categories that encompasses classification of all entities. Commonly proposed categories include substances, properties, relations, states of affairs and events. These categories are characterized by fundamental ontological concepts, including particularity and universality, abstractness and concreteness, or possibility and necessity. Of special interest is the concept of ontological dependence, which determines whether the entities of a category exist on the most fundamental level. Disagreements within ontology are often about whether entities belonging to a certain category exist and, if so, how they are related to other entities.
When used as a countable noun, the words ontology and ontologies refer not to the science of being but to theories within the science of being. Ontological theories can be divided into various types according to their theoretical commitments. Monocategorical ontologies hold that there is only one basic category, but polycategorical ontologies rejected this view. Hierarchical ontologies assert that some entities exist on a more fundamental level and that other entities depend on them. Flat ontologies, on the other hand, deny such a privileged status to any entity.
21 de noviembre de 2022
Iconography, as a branch of art history, studies the identification, description and interpretation of the content of images: the subjects depicted, the particular compositions and details used to do so, and other elements that are distinct from artistic style. The word iconography comes from the Greek εἰκών ("image") and γράφειν ("to write" or to draw). [WRITING IMAGES]
In art history, "an iconography" may also mean a particular depiction of a subject in terms of the content of the image, such as the number of figures used, their placing and gestures. The term is also used in many academic fields other than art history, for example semiotics and media studies, and in general usage, for the content of images, the typical depiction in images of a subject, and related senses. Sometimes distinctions have been made between iconology and iconography, although the definitions, and so the distinction made, varies. When referring to movies, genres are immediately recognizable through their iconography, motifs that become associated with a specific genre through repetition.
27 de octubre de 2022
Action research is a philosophy and methodology of research generally applied in the social sciences. It seeks transformative change through the simultaneous process of taking action and doing research, which are linked together by critical reflection. Kurt Lewin, then a professor a MIT, first coined the term "action research" in 1944. In his 1946 paper "Action Research and Minority Problems" he described action research as "a comparative research on the conditions and effects of various forms of social action and research leading to social action" that uses "a spiral of steps, each of which is composed of a circle of planning, action and fact-finding about the result of the action".
24 de octubre de 2022
ultimate form of practice:
Autoethnography is a research method that uses personal experience (“auto”) to describe and interpret (“graphy”) cultural texts, experiences, beliefs, and practices (“ethno”).
Autoethnographers believe that personal experience is infused with political/cultural norms and expectations, and they engage in rigorous selfreflection—typically referred to as “reflexivity”—in order to identify and interrogate the intersections between the self and social life. Fundamentally, autoethnographers aim to show “people in the process of figuring out what to do, how to live, and the meaning of their struggles” (Bochner & Ellis, 2006, p. 111).
TONY E. ADAMS, CAROLYN ELLIS & STACY HOLMAN JONES
autoethnography autotheory
My dissertation riffs on my third comprehensive exam paper, where I explored anthropological texts that push the boundaries of ethnographic form. What I called “offbeat” at that time is what I am now inclined to refer to as a strain of autotheory. Autotheory is “a term that has emerged to describe contemporary works of literature, art, and art writing that integrate autobiography and other explicitly subjective and embodied modes with discourses of philosophy and theory in ways that transgress genre conventions and disciplinary boundaries” (Lauren Fournier). Books that fall into this category include Maggie Nelson’s The Arnonauts, Paul B. Preciado’s Testo Junkie, Chris Kraus’s I Love Dick, and works by Kathy Acker, Christina Sharpe and Dionne Brand, Bhanu Kapil and Theresa Hak Kyung Cha, and Ann Cvetkovich. All share in common a kind of post-memoir-meets-high-theory creative nonfiction style of life writing.
To date, one of the most comprehensive takes on autotheory is by Lauren Fournier, who argues that it can be “traced through much of feminist performance art, body art, and conceptual art practices as well as intersectional feminist writings by women of colour like Gloria E. Anzaldúa, Cherríe Moraga, and Audre Lorde.” As a reflexive and critical practice, artists, writers, art critics, and just about anyone in a creative field today, might be well served by it; however, one might also argue that as a mode of “personal criticism” (Nancy K. Miller 1991), autotheory is already embedded as a practice in much of the notable and trailblazing creative pursuits of the last 20–30 years. Indeed, elements of poststructural, affective, queer, and performative thought can be detected in works that, in bridging the personal and the political, might be described as examples of autotheory—which leads me to anthropology: if at all, where do the semi-autobiographical, highly reflexive, and theoretical ethnographies of Elizabeth Povinelli, Vincent Crapanzano, Kathleen Stewart, and others, fit in? And what is the difference between autotheory and autoethnography?
Fournier’s research positions autotheory as feminist practice in art, writing, and criticism. But one of the most exciting aspects of autotheory is arguably its broad methodological potential in other areas, particularly in fields, such as anthropology, where writing is the central mode of analysis. I look forward to reading the forthcoming edited collection Writing Anthropology from Duke University Press, as it seems to promise an updated version of James Clifford and George E. Marcus’s Writing Culture, an influential text widely regarded as having marked the discipline’s reflexive turn in the mid 80s. The new volume from Duke U Press boasts an impressive list of contributors, and includes none other than Lauren Berlant and Kathleen Stewart. I would say this book is long overdue and I’ll be eagerly perusing it for signs of autotheory once I have my copy.
To be cont’d: Autotheory vs Autoethnography
“Reed-Danahay (1997) suggests that autoethnography has a double sense, “referring either to the ethnography of one’s own group or to autobiographical writing that has ethnographic interest” (p. 2). She notes that this dichotomy is in fact transcended because these two approaches are related, breaking down the distinctions between autobiography and ethnography as well as questioning the self/society split and the boundary between the objective and subjective. Referencing Goldschmidt, Reed-Danahay (2009) notes, “in a sense, all ethnography, is self-ethnography” (p. 29) because ethnographers write reflexively and use autobiography in their work. That is, the autoethnographer needs the dual/multiple and shifting identities of a boundary-crosser to enable the researcher to transcend the everyday in rewriting the self in the social world. As one who has experienced cultural displacement and multiple views of the world, Reed-Danahay’s view encourages me to believe autoethnography is suitable for this project. Holman Jones (2005) asserts autoethnography is a powerful tool for social, political and cultural change by bringing to life crises that engender rage that needs resolution, adding: “Rage is not enough…[the] challenge – to me, to you – is to move from rage to progressive political action, to theory and method that connect politics, pedagogy, and ethics to action in the world” (p. 767).” (Peters, 6)
Peters, J. E. (2019). A Feminist Post-transsexual Autoethnography. London: Routledge, https://doi-org.libaccess.lib.mcmaster.ca/10.4324/9781351212359
https://resonantedge.wordpress.com/contact/
24 de octubre de 2022
22 de octubre de 2022
Archetype
The concept of an archetype appears in areas relating to behavior, historical psychology, and literary analysis.
An archetype can be any of the following:
- a statement, pattern of behavior, prototype, "first" form, or a main model that other statements, patterns of behavior, and objects copy, emulate, or "merge" into. Informal synonyms frequently used for this definition include "standard example", "basic example", and the longer-form "archetypal example"; mathematical archetypes often appear as "canonical examples".
- the Platonic concept of pure form, believed to embody the fundamental characteristics of a thing.
- a collectively-inherited unconscious idea, a pattern of thought, image, etc., that is universally present, in individual psyches, as in Jungian psychology
- a constantly-recurring symbol or motif in literature, painting, or mythology. This definition refers to the recurrence of characters or ideas sharing similar traits throughout various, seemingly unrelated cases in classic storytelling, media, etc. This usage of the term draws from both comparative anthropology and from Jungian archetypal theory.
21 de octubre de 2022
19 de octubre de 2022
15 de octubre de 2022
5 de octubre de 2022
27 de agosto de 2022
Beca Lipscombe is a fashion, textile and graphic designer, who lives and works in Edinburgh and is the first half of Atelier EB.
Lucy McKenzie works with different mediums from painting to installation and creates environments with references in eclectic sources: from propaganda murals in Eastern Europe to the iconography of the Cold War, 1980s pop music or industrial typography.
Atelier EB: Passer-by
Lucy Mckenzie & Beca Lipscombe
Lucy Mckenzie & Beca Lipscombe
2019, English
Atelier E.B: Jasperwear
Lucy Mckenzie & Beca Lipscombe
2018, English
Beca Lipscombe, Lucie Mckenzie & Catriona Duffy
2016, English
ATELIER E.B: OST END GIRLS
2012, English
THE INVENTORS OF TRADITION
BECA LIPSCOMBE AND LUCY MCKENZIE
2011, English
Town-Gown Conflict
Verena Dengler, Lucile Desamory, Caitlin Keogh, pelican avenue, Beca Lipscombe, Lucy McKenzie and Elizabeth Radcliffe
2011, English
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13 de mayo de 2022
**labelling and categorizing for artist artwork**
https://elischolar.library.yale.edu/cgi/viewcontent.cgi?article=1002&context=yul_staff
https://xfrcollective.wordpress.com/resources/
https://artiststudioarchives.org/resources-2/workshop-handouts/
https://www.danceusa.org/archiving-preservation-artists-legacy-toolkit
https://www.joanmitchellfoundation.org/uploads/pdf/CALL-Workbook-Dec2013.pdf
https://www.gyst-ink.com/artwork-inventory
**death and estate inventory deed**
https://dvv.fi/en/death-and-estate-inventory#:~:text=When%20a%20person%20passes%20away,needed%20at%20the%20estate%20inventory.
https://www.google.com/search?q=things+you+need+to+sort+out+before+you+die&rlz=1C1CHBF_en-GBGB751GB751&oq=things+you+need+to+sort+out+before+you+die&aqs=chrome..69i57j33i160j33i22i29i30l3.5728j0j7&sourceid=chrome&ie=UTF-8
https://www.legalzoom.com/articles/estate-planning-11-things-to-do-before-you-die
https://www.macmillan.org.uk/_images/sorting-things-out-end-of-life_tcm9-351824.pdf
https://simplysquaredaway.com/10-important-documents/
https://www.thebillfold.com/2017/10/a-checklist-before-dying/
https://www.forbes.com/sites/deborahljacobs/2012/10/12/six-things-to-do-before-you-die/
https://www.scoopwhoop.com/inothernews/do-before-you-die/
https://www.thejournal.ie/readme/death-cleaning-advice-3847236-Feb2018/
https://lifehacker.com/one-day-youre-going-to-die-heres-how-to-prepare-for-i-5992722
12 de mayo de 2022
The New Face of Provenance Research
https://blogs.getty.edu/iris/the-new-face-of-provenance-research/
https://www.lootedart.com/T33G3L424541_print%3BY
*provenance of an artwork*
https://www.aaa.si.edu/collection-features/a-guide-to-provenance-research-at-the-archives-of-american-art/methodologies-and-resources-jacques-seligmann
https://www.christies.com/features/8-things-you-can-learn-from-the-back-of-a-painting-10293-1.aspx
https://www.christies.com/features/8-things-you-can-learn-from-the-back-of-a-painting-10293-1.aspx
https://www.artworkarchive.com/blog/unconventional-provenance-documenting-art-ownership-in-the-21st-century
