Day 3: Response to Helsinki Keyword 'It'. Part 1... Definition.
We really enjoyed your work following Joseph Roach's book “It.”
'It' is a troublesome word, primarily because of its more common usage.
Alternative definition following from your post: "it: (pronoun) 1) used to refer to an animal or thing that has already been mentioned or that is being talked about now".
In Eritrea, the word 'it' can often refer to a target. In performance, 'it' can be the goal or the end result.
'It', again in performance, or to clarify 'political performance', can refer to that abstract space of understanding and efficaciousness. For example. The issue of female circumssion. 'It' can refer to the audience gaining access to a fuller understanding of the issue by reaching this abstract space. By reaching the target, the goal etc.
'It' can be an object or subject (even an ideology). It is important to clarify that this is an abstract concept. But an abstract concept that is mailable to the subject/object referred to. Like a chameleon, 'it' can change its skin colour. Though the bones, the structure, the building blocks, of the abstract 'it' is fixed, the flesh and blood and skin of that abstract concept can be molded accordingly, dependent on the subject/object referred to. 'It' can bring something past or future into the present. 'It' makes a subject or object immediate. Use of the word 'it' can affect and even perhaps manipulate the object or subject referred to by means of presnet circumstances, be they sociological, psychological, political, cultrual etc. So use of the word 'it' can taint the object/subject referred to.
Wednesday, September 24, 2008
AMS Group B(Helen, Joao, Jenna, Gargi) Definition (E-dentity) for TAM Group B
Keith Bennie's word:
'E-dentity', online identity, and digital identity were not found in any reputable dictionaries I consulted. These are the definitions I found that address the term I'm calling 'e-dentity'
Digital Identity: The electronic representation of a real-world entity. The term is usually taken to mean the online equivalent of an individual human being, which participates in electronic transactions on behalf of the person in question. However, a broader definition also assigns digital identities to organizations, companies, and even individual electronic devices.
Digital Identity: refers to the aspect of digital technology that is concerned with the mediation of people's experience of their own identity and the identity of other people and things. Digital identity also has another common usage as the digital representation of a set of claims made by one digital subject about itself or another digital subject.
Online Identity: is a social identity that network users establish in online communities. Although some people prefer to use their real names online, most Internet users prefer to identify themselves by means of pseudonyms, which reveal varying
E-dentity is separating yourself into two : self and e-self,
how clear is the devide between them? where is the line drawn?
Can e-dentity be defined as a borrowed identety?
Social/ e-scocial?
'E-dentity', online identity, and digital identity were not found in any reputable dictionaries I consulted. These are the definitions I found that address the term I'm calling 'e-dentity'
Digital Identity: The electronic representation of a real-world entity. The term is usually taken to mean the online equivalent of an individual human being, which participates in electronic transactions on behalf of the person in question. However, a broader definition also assigns digital identities to organizations, companies, and even individual electronic devices.
Digital Identity: refers to the aspect of digital technology that is concerned with the mediation of people's experience of their own identity and the identity of other people and things. Digital identity also has another common usage as the digital representation of a set of claims made by one digital subject about itself or another digital subject.
Online Identity: is a social identity that network users establish in online communities. Although some people prefer to use their real names online, most Internet users prefer to identify themselves by means of pseudonyms, which reveal varying
E-dentity is separating yourself into two : self and e-self,
how clear is the devide between them? where is the line drawn?
Can e-dentity be defined as a borrowed identety?
Social/ e-scocial?
AMS Group C - DEFINITION Gule
For Tampere Group C
KEYWORD: GuleLanguage: Chichewa. A Malawian Language
1) In loose english translation this word means 'traditional dance'.
2) Gule refers to the combination of music (drumming, whistling etc.) song, dance and drama.
3) Unlike the separation in European performing arts disciplines, Gule in Malawian context sees the elements of music, dance and drama as inseparable. For example, during a dance, drama with identifiable characters and a clear narration becomes part of it.
Posted by: Lonneke, Mele, Catherine
Response to BEAUTY by Group A (Helsinki)
Let's have a look at the subjectivity of perception... Human beauty as it appears and is perceived...
Pleasing and impressive qualities of something, pleasing personal appearance, fine example,excellent aspect of something, beautiful woman- these are all ways to define beauty. Still, what seems that this definition lacks and what is important to note is that whether something is considered as 'beauty' highly depends on individual taste or preferences and is often culturally determined:
What factors influence a person's perception of beauty? How do cultural ideas and ideals of beauty change over time?
The following excerpt addresses the question above. It comes from the book About Faces, by Terry Landau (Anchor Books, 1989), p. 216.
To give beauty a face and capture that elusive and ever changing value that we understand as beauty, video artist Nancy Burson created two composites. ``The First Beauty Composite'' is a combination of the great beauties of the 1950s: Bette Davis, Audrey Hepburn, Grace Kelly, Sophia Loren, and Marilyn Monroe. ``The Second Beauty Composite'' is a combination of Jane Fonda, Jacqueline Bisset, Diane Keaton, Brooke Shields, and Meryl Streep. These videographic composite portraits capture and epitomize the differences in the ideal of the 1950s and that of the 1980s. Note, for example, the arched eyebrows and heavily made-up mouth of the fifties beauty versus the more ``generic'' natural look of the eighties.
The following excerpt addresses the question above. It comes from the book About Faces, by Terry Landau (Anchor Books, 1989), p. 216.
To give beauty a face and capture that elusive and ever changing value that we understand as beauty, video artist Nancy Burson created two composites. ``The First Beauty Composite'' is a combination of the great beauties of the 1950s: Bette Davis, Audrey Hepburn, Grace Kelly, Sophia Loren, and Marilyn Monroe. ``The Second Beauty Composite'' is a combination of Jane Fonda, Jacqueline Bisset, Diane Keaton, Brooke Shields, and Meryl Streep. These videographic composite portraits capture and epitomize the differences in the ideal of the 1950s and that of the 1980s. Note, for example, the arched eyebrows and heavily made-up mouth of the fifties beauty versus the more ``generic'' natural look of the eighties.
One might also observe that the 1980s face looks younger and, perhaps, less Western European.
STAFF POSTING PIRKKO COURSE KEYWORDS
These are my keywords:
/Curation/ as definition cannot be found in my dictionaries.
/Curate /(verb): select, organize, and look after the items in (a
collection or exhibition). Derivatives: /Curation/ (noun). Origin:
back-formation from /curator/.
/Curator /(noun): a keeper of a museum or other collection. Derivatives:
/curatorial/ (adjective). Origin: Latin from curare ‘take care of’.
/(Compact Oxford English Dictionary.)/
/Curator/: the person in charge of a museum, library, etc.
/Curacy/: the office work of a curate.
/(Longman Dictionary of Contemporary English.)/
/Kuraattori /(Finnish word): huoltaja, valvoja. [guardian,
superintendent.]* *Several historical, legislative and educational
meanings, but not concerning museums and libraries. (/Nykysuomen
sanakirja/ 1966.)
* *
*“Curation*: taken from visual arts practice, refers to a range of
activities including management, design, and documentation of exhibits,
performances, or other formal events. May involve website design,
production documentation, gallery exhibit Curation, or program notes or
critique.” (MAIPR)
/Curation/ as definition cannot be found in my dictionaries.
/Curate /(verb): select, organize, and look after the items in (a
collection or exhibition). Derivatives: /Curation/ (noun). Origin:
back-formation from /curator/.
/Curator /(noun): a keeper of a museum or other collection. Derivatives:
/curatorial/ (adjective). Origin: Latin from curare ‘take care of’.
/(Compact Oxford English Dictionary.)/
/Curator/: the person in charge of a museum, library, etc.
/Curacy/: the office work of a curate.
/(Longman Dictionary of Contemporary English.)/
/Kuraattori /(Finnish word): huoltaja, valvoja. [guardian,
superintendent.]* *Several historical, legislative and educational
meanings, but not concerning museums and libraries. (/Nykysuomen
sanakirja/ 1966.)
* *
*“Curation*: taken from visual arts practice, refers to a range of
activities including management, design, and documentation of exhibits,
performances, or other formal events. May involve website design,
production documentation, gallery exhibit Curation, or program notes or
critique.” (MAIPR)
Helsinki Group C - Tory, Ua, Hetta: Second Repsonse to Amsterdam Keyword 'Falhanco'
And now, a small tribute to the more positive side of failure (drawing a connection to yet another keyword, 'beauty'), as quoted from Walter Benjamin's writings in Franz Kakfa: On the Tenth Anniversary of His Death.
"To do justice to the figure of Kafka in its purity and peculiar beauty one must never lose sight of one thing: it is the purity and beauty of a failure. The circumstances of this are manifold. One is tempted to say: once he was certain of eventual failure, everything worked out for him en route as in a dream. There is nothing more memorable than the fervor with which Kafka emphasized his failure."
"To do justice to the figure of Kafka in its purity and peculiar beauty one must never lose sight of one thing: it is the purity and beauty of a failure. The circumstances of this are manifold. One is tempted to say: once he was certain of eventual failure, everything worked out for him en route as in a dream. There is nothing more memorable than the fervor with which Kafka emphasized his failure."
Helsinki Group C - Tory, Ua, Hetta: Combined Response to Amsterdam Keywords 'Falhanco' and 'Ta-Da'.
We are intrigued by how 'Falhanco' and 'Ta-Da' as keywords, overlap in so many more ways than simply being listed next to each other on the blog.
Falhanco: "the act or effect of failing...mistake, something done wrongly that should not have been done."
Ta-Da: "exclamation; an imitation of a fanfare, used typically to call attention to an impressive entrance or a dramatic announcement...embrace and celebrate your mistakes, and then move on...the healing power of humour."
It is in the space between these two terms, where we find insight into the fascinating struggle of the positive versus the negative outlook of error and failure. For us, these words begged the question, are there some mistakes that have been made, that we simply can never entirely embrace and move on from? Can humour heal all wounds?
If we were to push the boundaries of the word 'falhanco', and look to some of the greatest examples of when humanity perhaps, failed itself, what would it look like juxtaposed with images of fanfare, celebration, and good old fashioned 'clowning around'?
Have we been, or are we ever able to make light of issues and incidents that have affected and devastated us transnationally? Even if one culture or sub-culture may eventually deem subject matter 'safe' for humourous reflection, is this mutual with all parties involved? In cases wherein one culture has been invaded or dominated by another, what strategies can the dominated culture use to first heal themselves, and then use humour to subvert the power of their dominators?
From the point of view of the dominator: is it ever appropriate or are there any frames wherein it is possible to joke about these scenarios?
The following images imbue the term 'clowning around' with different, and rather provactative shades of meaning, drawing parallels between the spectacle of circus, and the specatacle of destruction and disgust.
Falhanco: "the act or effect of failing...mistake, something done wrongly that should not have been done."
Ta-Da: "exclamation; an imitation of a fanfare, used typically to call attention to an impressive entrance or a dramatic announcement...embrace and celebrate your mistakes, and then move on...the healing power of humour."
It is in the space between these two terms, where we find insight into the fascinating struggle of the positive versus the negative outlook of error and failure. For us, these words begged the question, are there some mistakes that have been made, that we simply can never entirely embrace and move on from? Can humour heal all wounds?
If we were to push the boundaries of the word 'falhanco', and look to some of the greatest examples of when humanity perhaps, failed itself, what would it look like juxtaposed with images of fanfare, celebration, and good old fashioned 'clowning around'?
Have we been, or are we ever able to make light of issues and incidents that have affected and devastated us transnationally? Even if one culture or sub-culture may eventually deem subject matter 'safe' for humourous reflection, is this mutual with all parties involved? In cases wherein one culture has been invaded or dominated by another, what strategies can the dominated culture use to first heal themselves, and then use humour to subvert the power of their dominators?
From the point of view of the dominator: is it ever appropriate or are there any frames wherein it is possible to joke about these scenarios?
The following images imbue the term 'clowning around' with different, and rather provactative shades of meaning, drawing parallels between the spectacle of circus, and the specatacle of destruction and disgust.
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