tag:blogger.com,1999:blog-57126655714042760902024-03-05T22:07:46.996-08:00..."the anthropology of domestic space can become a native research paradise illustrating the exotic in the familiar"zamanehttp://www.blogger.com/profile/15317209591844876963noreply@blogger.comBlogger172125tag:blogger.com,1999:blog-5712665571404276090.post-33275544172735585532014-05-18T02:16:00.002-07:002014-05-18T02:16:37.998-07:00<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";"><b>The
Study of the Cultural Through Personal <o:p></o:p></b></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";"><b>3.1 A brief glimpse into my earlier practice </b><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">In my
2007 video work Default/Defo, I recorded the voices of my relatives while
searching for different accents in their way of speaking. I was looking for
traces of the place they grew up in and the way they inhabit a default language
in their accents and how their specific ways of voicing the words alter the
sound of a language. The title of the piece comes from the idea of considering
a “default” language and the accent as defo (the Turkish word for “flaw”) which
someone leaves on that language. In the video, my image appears on the screen,
dubbing the speech of my relatives. The audience saw my image, while they heard
the voices of my close family from the speakers. I was speaking over their
voices in my own accent, at my own pace and with my own idiosyncrasies. My
voice was heard from the earphones provided. Thus, at first sight the audience
saw my image and the sound of others and once they put the earphones on they
would hear me dubbing. All these familiar voices gathered, all the traces and
places met on the image of myself, producing “a form of self- portraiture ...
in which the self is bound up with its familial other” (Renov, 2004,
p.xiii). <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">This
work marked a shift in the way I work. Around the time I was working on this
piece, I started documenting what was happening around me with a video camera,
sound recorder and photo camera, I was using pictures from my family albums, as
well as photographs I found in second-hand book shops. Although my work did not
necessarily rely on documentary language; collecting, documenting and recording
had become an important part of my practice at the time. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">It was
the first time my image had appeared in my work and it was also the first time
my close others had made an appearance in my work. Until then, I had refrained
from appearing in my own work and avoided any personal reference due to my
reservations about the traumatic, confessional presence of the artist’s self,
which I thought would create a certain sense of subjectivity at the site of
encounter. In his critique of the testimonial, “traumatic, confessional”
accounts appearing in the ethnographically informed art works, Hal Foster
raises his concerns about such a sense of subject (1996, p.180). Foster is very
much concerned with the sense of authority and authenticity that the self
imposes on the field of inquiry and on the field of cultural production. We see
his doubts being amplified further when his criticism is directed at the figure
of the ethnographer, a figure who writes about the subjects s/he is studying
from a distant, detached, privileged position in which the other is
objectified. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">In the
works where I introduced myself into the scene of my art practice, a concern
with the representation of the self emerged. While “self entails other; the
other refracts self” (Renov, 2004, p.xiii), I was wondering about how much does
my story belong to me and how much to the other, how much am I allowed to tell,
if my story touches the others’? The concepts of mahrem4 and personal distance
were at the centre of my earlier work. In that delicate area between self and
other, between a first person singular and what this singularity is entangled
in, I was concerned about where the lines of my story finish and others’
stories start. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">In the
video detefabulanarratur (it is your story that is being told) from 2008, there
was a reference to this dilemma that which was present in the title of the work
as well. In this video piece I introduced myself in a rather peculiar language
that adopted the structure of Turkish and vocabulary of Kurdish. The text I was
performing in the video read as “My name is Esra, I am 26 years old ...” and
followed the usual language in the first few pages of a foreign language book,
which teaches you how to introduce yourself to others, to give personal details
about your name, age, where you are from etc.
<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">Having
Kurdish family connections, yet not knowing any Kurdish, I looked up each word
to be used in writing this text in a Kurdish dictionary. On the screen, a close
up image of my mouth performing the text appears’ while English subtitles run
underneath the blurred image. The framing gives a sense of confessional
narrative to the scene, providing only an unidentifiable part of the whole
image. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">The text
I read makes no sense either in Kurdish or Turkish, although it was based on an
idiosyncratic translation project between the two languages. My performance of
this text demonstrates a failed exchange; a failed encounter between the two
languages. Only the subtitles in English, in that “universal” foreign language,
gave some clue about what I was saying. It was only through this distant
language, that my story was disclosed. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">In a
way, I performed an impossible encounter in this illegible self-representation
by leaving the audience on the outskirts of communication. My story was delayed
in the complicated exchange between a language that gave the structure to the
story and the words another of another language fleshing out this structure and
then a foreign language that subtitles this “made up” language. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">When I
showed this piece during a studio critique while I was doing my postgraduate
course in Turkey, it was criticised on the basis of its self-orientalism by my
studio mates. Contemporary art in Turkey from the 1990s onwards witnessed an
increase in the number of artists dealing with the sensitive issue of Turkish
identity from highly critical standpoints. These works by artists of mainly
Kurdish descent received attention in Western art markets and was widely
circulated, which generated a sense of suspicion in the contemporary art scene
in Turkey. Artists dealing with this delicate area were blamed for serving the
agendas of Western art institutions’ still orientalist interest in the suppressed
and marginalised identities. Artists were blamed for working with this mindset
“in order to find a place for him/herself in the art scene” of the West
(Fisher, 2004, p.236). The accusations of self-orientalism came out of these
conditions. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">This
criticism seemed to be turning into self-censorship at times. The
oversensitivity towards self-orientalism can result in disregarding any
possible dialogue the work may wish to trigger. Commodification of differences
is a possible risk, yet, the sensitivity around Orientalism (see Said, 1979)
seemed to turn into an intolerance, condemning every gesture too readily as
self-orientalism. Critical engagement needed to be supported, I believed,
rather than leaving these questions unexplored because of their risky
nature. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">How was
I supposed to position myself within this problematic site? Having found myself
stuck between self-orientalism, self-representation and self-censorship, I
wondered how I could position myself. While my personal story converges with
the stories of others, what are the responsibilities of telling one’s personal
story? <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">There
are no straightforward answers to these questions. The ground between the self
and other is a conflicted site which should be worked on continuously. It is
this problematic relationship, the dynamics present at the encounter which
began to shape my practice later on. In an attempt to unpack this dilemma which
I face in my art practice, in this chapter I examine this problematic position
of the self by studying the self as a source of knowledge, a tool of inquiry
and a medium of expression. I discuss the reflexive turn in the research
context, the idea of situated knowledge and self-knowledge as related ideas and
focus on autoethnography in particular, which welcomes the once unreliable and
undesirable presence of the self in the research context. I will then elaborate
on the implications of such an approach, the possibilities and problems it
poses for my practice. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";"><b>3.2
Self, as the medium of inquiry</b><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";"> Anthropologist Judith Okely asks rhetorically
whether there could be any “better medium” than the human being to study a
fellow human being: <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">In the
study of human being by another human being (and what better medium is there?),
the specificity and individuality of the observer are ever present and must
therefore be acknowledged, explored and put to creative use (1996, p.28). <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">For
Okely, this insight comes from working as an ethnographer in the field, which
relies on observations, and her very presence for the understanding of other
human beings and their culture. She recognises that the dynamics of the
encounter and what is made of the field by the observer is determined by the
“specificity and individuality of the observer” (Okely, 1996, p.28). <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">A medium
suggests (if we are to borrow a definition from the realm of art) a language
which has its own grammar, structure, its own conventions and history. The
material, and its physical limits, as well as the history of the medium
determine the possibilities of the medium. As a channel of communication, it
determines what is being communicated and expressed. The idea of the
researcher`s self, as the medium through which we understand others, means
accepting the limits of this medium which is conditioned by the historical and
cultural background of the self (i.e. ethnicity, nationality, gender, age,
education, occupation and personality). The connections between things, events
and actors are measured by this medium, the experience of the field is tainted by
the specificity of the researcher’s self. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">Fieldwork
experience relies on the researcher’s self to such an extent “that it is
impossible to reflect upon it fully by extracting that self” Okely elaborates
(1992, p.8). At the site of the encounter, there is not an all-analytical,
objective researcher dissecting the human condition into an understanding.
Observing, participating, attending to; these basic methods of fieldwork
require the full and active presence of the researcher, not just their purely
intellectual capacities. Research relies on “all of the anthropologist’s
resources; intellectual, physical, emotional, political, intuitive” that are
formed by “past embodied knowledge” (Okely, 1992, p.8). These factors affect
how the fieldworker engages with the field, how s/he observes, what catches her
attention, how she communicates with others and how she participates in daily
routines, and hence the whole fieldwork experience, which forms the currency of
ethnographic research. The encounter with the other is filtered through the
researcher’s attitude towards the world. As Clifford Geertz also suggests:
“sometimes we come from our own society, sometimes not, but wherever we are, we
are situated” (in Marcus, 2008, p.26) and this situatedness affects our observations. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";"><b>3.3 Reflexivity: the introduction of the
researcher’s self into the field </b><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">The
recognition of the human factor, the effect of the researcher’s self on the
research and on knowledge production, was not confined to the discipline of
ethnography. This acknowledgement was widely accepted across other social
disciplines, resulting in a reflexive turn in knowledge production. Reflexivity
openly questions the existence of a detached and objective observer and
advocates an attitude that acknowledges the marks of the researcher on the
research work produced (Alvesson and Skoldberg, 2009; Davies, 1998;
Etherington, 2004; Hertz, 1997). <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">As Kim
Etherington argues reflexivity “challenges us to be more fully conscious of our
own ideology, culture, and politics and that of our participants and our
audience” (2004, p.36). Etherington goes on to say that by unearthing the
research process reflexively, the “dynamic process of interaction within and
between ourselves and our participants and the data that inform decisions,
actions and interpretations at all stages of research” is made visible (ibid.
2004, p.36). Rosanna Hertz also suggests that reflexivity requires “constant
(and intensive) scrutiny of ‘what I know’ and ‘how I know it’” (1997,
pp.vii–viii). This is a relentless analysis, affecting the form of research
substantially. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">The
reflexive researcher is aware that the outcome of research is an interpretation
and translation of the field, s/he does not “simply report ‘facts’ or
‘truths’”(Hertz, 1997, pp.vii–viii). Such an approach to inquiry targets
“value-free scientism” Charlotte Aull Davies suggests (1998, p.178). By showing
how the researcher’s self is intermingled with the research in a series of
complex relationships, the belief in an objective, detached observer and the
“creation of true, objective knowledge, following a scientific method”
(Alvesson and Skoldberg, 2009, p.3) is called into question. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">Nevertheless,
Gillian Rose warns that to consider reflexivity as a means to make the research
process fully transparent would be a fallacy (1997, p.311). Against the claims
of “transparency” that finds a voice in Kim Etherington’s words: “Reflexivity in
research conversations and writing creates transparency” (2004, p.37), Rose
asserts that the dynamics governing the research cannot be totally captured.
The world is not a static object waiting for the analytical mind of the neutral
researcher to dissect it, nor could the researcher know her conditionings and
intentions determining her decisions fully. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">Rose
argues that we should take into account the limits of the “knowing subject” and
the fact that our research subjects, as well as our very own selves will always
escape us. Such an attitude is accepting of a more partial, non-finalising,
non-over generalising account, “avoiding the false neutrality and universality
of so much academic knowledge” (Rose, 1997, p.306). As subjects, we cannot know
fully the dynamics shaping us and our relationships with others. Thus the gaps
and failures must be stated, they must be embraced Rose argues. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";"><b>3.3.1 Self-knowledge as a resource for cultural
inquiry</b><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";"> As the researcher’s presence with all its
fallacies has begun to be recognised increasingly in research, personal stories
and knowledge have also been considered a possible means of studying culture.
Self-knowledge becomes “a central source of data … becoming another acceptable
scholarly basis for understanding social life and human behaviour” for social
research Rosanna Hertz suggests (1997, pp.ix–xii). The personal emerges as the
base for the theoretical, Nancy Miller argues, a valid “cultural material”, in
the inquiry into the social (1997, p.21). <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";"> This idea of “personal as theoretical”
resonates with the feminist coda of “the personal is political” that was
embraced in the art of 70s, when artists from the margins of society took the
lead on the stage of cultural production. This is when the presence of these
marginalised selves becomes a “crucial medium for resistance and counter
discourse” as Renov describes it, casting “doubt on the coherence and power of
an exclusive historiography” (2004, p.vi). In a similar move, the discipline of
anthropology has opened itself up to “different histories” as a challenge to
the idea that there is “a single ethnographic reality, only waiting for
anthropology to describe it” (MacDougal in Russell, 1999, p.12). The once erratic
personal source is now regarded as the source for knowledge, at a moment when
the limits of research have expanded a great deal thanks to post-colonial and
feminist epistemologies. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">This new
epistemology, “detailing concrete experience and multiple perspectives that
include participant’s voices and interpretations” is dramatically different
from an approach that privileges “theory generation, typicality, and
generalization” Carolyn Ellis argues (2004, p.29). Singular voices can disrupt
the conventional course of knowledge production in conventional ethnography,
which Catherine Russell describes as a process “by which individuals are
abstracted into general social patterns; individual subjects become
representative of cultural practices and even ‘human’ principles” (1999, p.5).
The voices embracing a reflexive attitude can offer “experimental
representations” as Rosanna Hertz suggests and “allow the author to push the
boundaries of prescribed ways of conducting social science” (1997, p.xii). <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";"><b>3.3.2 Autoethnography</b> </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">Autoethnography as a
reflexive approach recognises the self as a medium as well as a source of
inquiry, and relies largely on the researcher’s self-knowledge in the study of
the field. In autoethnography, the subject and object of study are
intermingled, their boundaries are blurred; “the subject and object of research
collapse into the body/thoughts/feelings of the (auto)ethnographer located in
his or her particular space and time” (Gannon, 2006, p.475). The
autoethnographer is situated in an in- between zone by being a researcher and
researched, the subject and object of inquiry simultaneously. She is the medium,
standing between these two states (the word “medium” suggests an intermediary
position, thus the medium speaks from this intermediate position), trespassing
on the boundaries of self and other constantly, making negotiating between the
two her relentless occupation. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">The
subject of autoethnography, as the term itself suggests is the ethnography of
one’s self. As Nicholas Holt says, these are “personal accounts where authors
draw on their own experiences to extend understanding of a particular discipline
or culture” (2003, p.2). Such study seeks to reach beyond an isolated self and
aims to achieve more than “a disclosure of the truths of an inner-self”
(Gannon, 2006, p.480). As an ethnography of a kind, autoethnography “has to
focus on what we have in common with others” Wolff-Michael Roth argues (2009,
p.4). Thus, autoethnography departs from the personal concerns and aspires to
reach to the knowledge of the other based on their shared ground. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">Thus in
autoethnography, the field of inquiry oscillates between personal and public,
cultural and individual selves. Ellis and Bochner argue that this back and
forth movement between cultural and personal, zooming in on the individual
subject and zooming out to the bigger picture, “refract and resist cultural
interpretations”, and abstract generalisations (in Alsop, 2002). An
autoethnographic approach studies the details. In comparison to the view from a
distance, where these details are sacrificed for a more generalised, abstract,
coherent approach, autoethnography aspires to capture the particularities,
multiplicities and conflicts in the field.
<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">Autoethnographic
inquiry relies on the intricate position of the self in-between. The “tensions,
resonances, transformations, resistances, and complicities” (Haraway, 1991,
p.195) that occur in the relationship between the “self” and the “other” become
the currency of research in this approach. Since we are “constructed and
stitched together imperfectly” (Haraway, 1991, p.192) this interdependent self
could give us insights about the wider framework it is entangled with. The
study of the self becomes a means to inquire into the relationships that
construct this self. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">3.4 The
self entangled with the other In my research process I turn my focus on these
stitches between me and the unfamiliar other. At the encounter I grasp the
limits of my habitual knowledge conditioned by my personal history, culture and
background. Charlotte Aull Davies argues that “the ways in which cultural
realities are constructed” become more visible at the encounter (1998, p.180).
She further states that the “autobiographical exploration of fieldwork” may
provide the clues to explore the “cultural realities” determining the dynamics
of the encounter (ibid.). <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">In my
clumsy dialogue with the “local rhythm” of the others, the “unconscious” rhythm
of my habitus becomes unsettled. Okely suggests that autobiographical details
are able to convey the cross-cultural work at the encounter (1992, p.2). In Anthropology
and Autobiography: Participatory Experience and Embodied Knowledge, she
advocates for the autobiographical accounts of fieldwork being made more
visible. Such a study would not only uncover the motivations and conditioning
of the researcher determining the research, but would also reveal what happens
at the encounter with the other. “The autobiography of the fieldworker
anthropologist” she suggests, “is neither in a cultural vacuum, nor confined to
the anthropologist’s own culture, but is instead placed in a cross-cultural
encounter” (1992, p.2). <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">Alfred
Schutz, remarks that “In the process of learning how to participate in the host
society, the newcomer gradually acquires an inside knowledge of it, which
supplants his or her previous ‘external knowledge’” about the culture she has
entered (Schutz in Hammersley and Atkinson, 1983, p.9). The newcomer, “blind
and deaf” (Ataman, 2009) to the new culture she has just entered, slowly
develops some sense of it over time. A sense that not only relies on
intellectual capacities but that finds its way “through all the senses, through
movement, through their bodies and whole being in a total practice”, as Okely
describes the presence of the fieldworker in the field (Okely, 1992, p.16) <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">Thus, an
embodied practice calling for all the faculties of the subject is at work, as
anthropologist Nigel Rapport contends. This extracurricular practice in the
field produces “local belonging”; through a sort of “crash course in what it
was pertinent to say, to whom, when” which enables him to be accepted by the
locals (Rapport, 1997, p.98). He suggests that what ethnography produces is not
only pure “academic abstraction”, work in the field also produces an “embodied
local practice” with direct influence on the researching subject (Rapport,
1997, p.98). Immersed in the lives of others, responding to the rhythms of
day-to-day experience, through living in that culture and following its daily
rhythms, the subject in the field of others comes to embody these
practices. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">The
practices of participation – which are some of the crucial modes of working in
the field using the participant-observation method – learning the local codes
and the acquisition of “inside knowledge” leave cracks in the continuity of the
self, slowly undoing old habits and replacing them with new ones. Engaging in
dialogue with others, through following the natural grain of the new setting
and its material and immaterial practices, I come to learn the appropriate ways
of responding to a world that is unfamiliar to me. There are many
conformations, negotiations, a lot of giving up on what one knows and one’s
values, at this crossroads. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">I want
to be fluent in the culture I currently dwell in. If not naive enough or
willing enough to go native, I want to develop an understanding of this new
dwelling of mine, gain some fluency, so that not every single everyday task
feels like a struggle. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman","serif";"><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">Unlike
an anthropologist who is in the field on a perhaps more profound mission, to
understand humankind; my newcomer’s aim is to feel less strange, less clumsy,
to get by in daily life, first and foremost. Overwhelmed with the impossibility
of figuring out the complex narrative of this strange place I am trying to
dwell in, my aim is about feeling and following the texture of this new setting
and its everyday rules. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">My primary
responses are still geared towards the daily rhythms of “back home”. Sometimes,
out of habit I still follow the routines and rituals of that now-distant place
with a knee-jerk reaction. The confrontation with the strange, unaccustomed
ways of the new creates a self-doubt. Dwelling in here means aligning with -
what Okely calls - the “unconscious rhythm” of this new locality (1992, p.17).
As she says, experience in the field of others means acquiring “a different
bodily memory ... as an adult in another culture”, which means the obligation
“to change or superimpose new experience upon past embodied knowledge and come
to terms with a changing self embodied in new contexts” (Okely, 1992,
p.16). <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";"><b>3.5
Artist as autoethnographer? </b><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">The
exploration of my experience of settling down in this unfamiliar culture and
the changes it creates on my horizon is what I am concerned with in my
practice. To this end, I focus on the practices shaping my immediate
environment; the field of mundane, everyday practices “where we make our worlds
and where our worlds make us” (Pink, 2012, p.5). Since within this evasive site
of experience I reveal and manifest myself.
In contrast to my earlier work, discussed previously in this chapter, in
the works I have done throughout this Phd my image and voice slowly disappear
from the scene to be replaced by a focus on the practices that surround and
shape this self. While I observe the changing everyday practices challenging
the accustomed ways I respond to things, the intangible forces ingrained in the
everyday practices become my focus in my art practice. Sarah Pink emphasises that the study of individual
practices can give us an insight into the wider field which the individual
inhabits. It is through paying attention to “the relationship between the
detail of everyday activities (the enacting of practice) and a wider society”
that a feeling for the texture interweaving the field with every individual
knot can be captured: <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">As
recent anthropological research demonstrates, attention to the detail of how
individuals learn, engage in, experience and know through practices enables us
to better understand the implications of the specificities of the performance
of practice for wider social issues (Pink, 2012, p.21). <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">The
focus on detail and the careful study of everyday practices resonates with the
autoethnographic sensitivity of looking at its subjects in close up. An
exploration of “individual performances ... how and why individuals modify and
re-create practices as they perform them” (Pink, 2012, p.21) constitutes the
concern and focus of such an approach. The study of “individual performances”
manifests “everyday tactics” that produce “unforeseeable sentences, partly
unreadable paths across a space” within the dominant forces at work in the
realm of the everyday (de Certau, 1984, p.xviii). De Certau’s understanding of
everyday tactics suggests the malleability of the prevalent language and the
“space of others”. These “unforeseeable sentences”, the different means of
uttering the dominant language form new “trajectories”. The study of these
individual practices is crucial, because “the consciousness and interpretations
of agents are an essential component of the full reality, of the social world”
(Wacquant, 1992, p.9) and because individuals transform the map with their
idiosyncratic performances on a daily basis. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">So,
where is my work located? How do I handle this slippery material of the everyday,
the practices ingrained in my daily life? As Stephen Johnstone argues, working
with the complex material of the everyday requires “an interdisciplinary
openness, a willingness to blur creatively the traditional research methods and
protocols of disciplines such as philosophy, anthropology and sociology” (2008,
p.15). The study of the evasive site of the everyday escapes any possible
systematic approach, it demands interdisciplinary, cross-disciplinary,
transdisciplinary strategies; in short it demands an inquiry troubling the
disciplinary boundaries of research. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">“So what
then, where is the work located?” asks Irit Rogoff herself, questioning her
position in the interdisciplinary field she is occupied with (2006). This
crucial question appears in her article “What is a Theorist?”, where Rogoff
discusses the converging paths of the artist and theorist. The role of the
artist cannot be contemplated without an exploration of what a theorist is, she
suggests; “these existences and practices” are deeply connected, “the old
boundaries between making and theorising, historicising and displaying,
criticising and affirming” has long gone (2006). Rogoff supports her argument by elaborating
on the task of theorist first; it is to be “undone by theory” (2006). Through
“critical analysis” the theorist first dissolves the field of study, the ground
that a particular problem, issue raises upon. “Analysis”, as the etymological
roots of the word also support, is an act of dissolving (Online Etymology
Dictionary). Yet the work of theorist does not stop there. The next step is to
“go beyond critical analysis into the possible imagining of an alternative
formulation” (Rogof, 2006). It is at this point that Rogoff locates the
critical work of the artistic practice. She argues that the “actual cultural
making” of the artist build itself upon that “‘disrupted-through-analysis’
cultural phenomenon” that theorist has left us with (Rogof, 2006). The artistic
imagination suggests “possible imagining of an alternative formulation” (ibid.)
that raise upon this dissolved ground.
Rogoff’s exploration on the intersecting paths of artist and theorist
demands us to reconsider the work of ethnographer and artist, the possibilities
the encounter between their distinctive approaches to the study of culture
could offer. By unpacking and then re-formulating the primary work that
ethnography is engaged with, anthropologist Tim Ingold addresses this issue. By
reminding us of other meanings of “graphy”, Ingold challenges the very
definition ethnography, which translates as “writing people, culture”. Ingold
elaborates on the gesture of drawing instead; another kind of “graphy” which
suggests a mode of observation working in synchrony with the moment. In this
approach we do not first observe, and then go on to describe, a world that has
already been made – that has already settled into final forms of which we can
give a full and objective account. Rather, we join with things in the very
processes of their formation and dissolution [italics my own] (2011, p.2). <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">In this
paragraph Ingold not simply understands the practice of “drawing” as a method
of observation used by the visual artist, but he actually describes a specific
practice of attending to the world that follows the lines of the world. With
this insight he draws the distinctive perceptions of art and ethnography to
each other and redefines ethnography. The movement inherent in such an
understanding of “graphy” (“formation and dissolution”) seems to display
parallels with the journey of the theorist/artist, as it is described by Irit
Rogoff, which proceeds through dissolving the ground one stands on to gather
this dissolved ground back again with the artistic work that expands our world
with the vigour of its imagination. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">3.6 The
self untangled: against representative claims <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">Rogoff
argues that it is essential to “unfit ourselves” and challenge the “subject
fixing and method valorising” attitudes in an inquiry that troubles the
disciplinary boundaries and works on its field through “making and theorising”
(2006). This idea of “unfit[ting] ourselves” take on a new significance within
an autoethnographic approach, which depends on the self as material and medium
of inquiry. The study of the field
through the “unreliable”, unfinalised and incoherent material of the self will
be “knowingly but defiantly open to a critique of being non- representative”
(Okely, 1992, p.12). Yet there is a tendency to perceive autoethnographic
accounts as more authentic, since autoethnographers seem to provide an
insider’s knowledge about the field they come from. Mary Louise Pratt’s
conceptualisation of autoethnography is an example of this line of thought
(Pratt, 1991). Pratt considers autoethnography more like counter-ethnography,
conducted by insiders as a reaction to the colonial gaze that previously
studied them. For Pratt, an autoethnography is “a text in which people
undertake to describe themselves in ways that engage with representations
others have made of them” under the colonial gaze (ibid., 1991, p.2). Such an
approach incarcerates autoethnographer into a representative duty and
misleadingly believes that an autoethnographic account provides authentic
truth. This attitude may have played a crucial role within the debates of
identity politics, but it is important to note its fallacies. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">In a
sense, such a representative role might produce a “symbolic house arrest”, in
the words of Nicholas Bourriaud, where “everyone is located, registered, nailed
to a locus of enunciation, locked into the tradition in which he or she was
born” (Bourriaud, 2009c, p.34). Speaking from within the contemporary art
context, Bourriaud criticises the tendency to approach an artwork through the
“condition”, “status”, or “origin” of the producing artist, “his or her
cultural, ethnic, or geographic roots” (2009c, p.34). <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">When
one’s background becomes a haunted image cast over whatever one produces, it
might curtail the particularities of individual voice. How much does the
adjective “Turkish” define what I do in this research and in my practice? Does
such a framework not limit my ability to shift between many identities, many
positions, many other genealogies and the stories I can follow? Can we imagine
fluent, mobile identities while we are stuck with such adjectives? <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">I am
struggling to adjust the tone and the place I am speaking (from? as? to?
towards? with?). Gayatri Spivak, the author of the influential essay “Can the
Subaltern Speak?” where she questions the possibility of the subaltern having a
voice of their own, raises a question about the possibility of speaking in the
singular: <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">I …
found myself constructing Gayatri Spivaks who “represented” various historical
and geographical cases. How to distinguish this from a request to speak of the
singularity of one’s life? (in Smith and Watson, 2010). <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">Spivak acknowledges
that the choice to “speak in the name of” is a crucial move for “political
mobilisation” today, however, she also points out that this position may lead
to a “distancing from oneself”: <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">The
moment I have to think of the ways in which I will speak as an Indian, or as a
feminist, the ways in which I will speak as a woman, what I am doing is trying
to generalize myself, make myself a representative, trying to distance myself
from some kind of inchoate speaking as such (in Guneva,1990, p.60). <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">Spivak’s
account gives an insight into the ticklish position of a subject who is put in
the position of speaking in the name of a larger community. She refuses to be
considered as a spokesperson, to be the voice of the under-represented,
unmarked, subaltern. Spivak goes on to say that, “there are many subject
positions, which one must inhabit; one is not just one thing” (1990,
p.60). <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">These
singular voices do not claim to offer us the “correct” version of the story,
but instead they suggest an “opening of multiple perspectives” Catherine
Russell argues (1999, p.11). The aim is to show the particularity, multiplicity
of the field instead of providing a more truthful account. “The aim of
situating academic knowledge is to produce non-overgeneralising knowledges that
learn from other kinds of knowledges” Gillian Rose adds (1997, p.316). <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">Moreover,
to expect an authentic truth from such an inquiry would imply a “fetishised
perfect subject of oppositional history, sometimes appearing in feminist theory
as the essentialised Third World Woman” (Haraway, 1991, p.193). In this lines,
Miwon Kwon, as an art critic tired of being expected to speak as a Korean,
about Korea and on Korean things expresses her concerns about the exoticising
attitude inherent in this attitude: I was equally conscious of the fact that as
much as the struggle of minority groups opened up critical spaces to challenge
the hierarchical and exclusionary social and institutional norms, the
foregrounding of cultural difference or national or racial identity could also
serve as a new kind of realism, novelty, and exoticism that were used by the
same dominant culture for its entertainment and renewal (Kwon, 2011, pp.200–1).
<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">The
dilemma that artists or other cultural actors are left with is to find a
language that can overcome this “symbolic house arrest”. In a similar way to
Kwon, novelist Elif Şafak expresses her trouble with being expected to “write
informative, poignant, and characteristic stories” about her culture, “unhappy
stories of unhappy Muslim women”, because she happens to be a “woman writer
from the Muslim world” (ibid., 2011). And what happens when she writes it
(given that she did actually write about “unhappy stories of unhappy Muslim
women” in her novel Honour)? <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">Being
in-between, insisting on staying in-between needs more room, fewer adjectives,
fewer definitions and more flexible positions (if not a total abandoning of
them). Or maybe, given their insistence on persisting, a provocative reworking,
reconfiguring of these frameworks. “There is nothing more difficult than this
back and forth between ways of living, speaking, thinking and feeling”
Christiane Kraft Alsop says, “there is nothing more risky than switching
between various identities and practices of estrangement”(2002). <o:p></o:p></span></div>
<div style="text-align: justify;">
</div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif";">In this
chapter, I have explored the intermediary position that autoethnographic
inquiry occupies between “self” and “other”, “cultural” and “personal” and the
possibilities this approach may offer for my inquiry on the in-between
character of my dwelling. In the following chapters I mainly focus on my art
practice, the process of my research located across the practices of art and
ethnography.</span></div>
zamanehttp://www.blogger.com/profile/15317209591844876963noreply@blogger.com0tag:blogger.com,1999:blog-5712665571404276090.post-7595031523082348082014-04-17T23:43:00.003-07:002014-04-17T23:46:03.359-07:00Journals: Unfolding the Process of Inquiry<h1 style="margin-left: 0cm; mso-list: none;">
</h1>
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<div class="MsoCaption">
<span style="line-height: 150%; text-align: justify;">On a page from one of my
notebooks dating back to autumn 2009, some half-erased writing reads “home is where
you …” and a little bit of “r” at the end. This is a provisional answer for the
underlying question that drives my inquiries. The partial sentence (“home is
where you ...”) on the page questions whereabouts of “home”. The precision of
that one line answer is disfigured at the end. A cup of coffee spilt on the
page and washed away my desires for a quick fix.</span><a href="https://www.blogger.com/null" name="_Toc367952683"></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB" style="line-height: 150%; mso-bidi-font-size: 12.0pt;">Underneath the partly erased
handwriting, a drawing surfaces vaguely in the background. The drawing is from
a time when I was waiting for my flight to Edinburgh at the airport in Istanbul
and the writing is from a later day. I can tell the exact date of the drawing
and I remember the location very well. It was the time I was setting off for
Edinburgh and waiting for departure, sitting across those chairs I have drawn
in my journal. The drawing belongs to that moment, it is an observation from
the immediate surroundings. The short sentence happened to land on the other
side of the page at sometime when I was in Edinburgh, it is a reflection on an
ongoing inquiry. In a way, these inscriptions represent different sides of my
inquiry, different ways of exploring the field. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: .05pt; text-align: justify;">
<span lang="EN-GB" style="line-height: 150%; mso-bidi-font-size: 12.0pt;">In this chapter,
I will try to elaborate on the process of research, “the Searcher’s
labyrinthian wanderings” (Unwin, 2009, p.39) by revisiting my journals; the
field notes which I have kept over the course of my research informed by an
autoethnographic sensibility.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: .05pt; text-align: justify;">
<span lang="EN-GB" style="line-height: 150%; mso-bidi-font-size: 12.0pt;"> As Schneider and Wright indicate “‘the field
diary’ of the anthropologist … and the sketchbook or ‘visual diary’ of the artist”
is another common practice between art and anthropology (Schneider and Wright,
2006, p.26). My journal-keeping practice gained a particular significance after
I decided to approach my research from an autoethnographic perspective, for
which developing a “personal sense” of the field is an essential practice.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB" style="line-height: 150%; mso-bidi-font-size: 12.0pt;">Primarily, I have considered
the principle of autoethnographic journal-keeping practice to be a meticulous
self-monitoring, self-tracking gesture. Such work aims to reach to an
understanding of the site of inquiry through the personal, which requires an
ability to keep a critical, reflexive eye on oneself. how do I handle my field
as a practicing artist? What purpose do these journals serve in my practice? <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-right: .05pt; text-align: justify;">
<span lang="EN-GB" style="line-height: 150%; mso-bidi-font-size: 12.0pt;">In the journals,
the character of my dwelling appears on a daily basis. The pages are filled
with quick notes, to do lists, hand-drawn maps for finding my way and journey
details, timetables; minute observations, reflections, diary entries, and
comments on daily events; sketches, scribbles, notes for future projects and
questions; some references to look at later on; life studies from my
surroundings, drawings of everyday objects and sketches for installation
proposals. A disparate range of materials serve wildly differing purposes:
notes on how to get by in everyday situations as a newcomer, notes of ideas for
projects to be developed and notes from the field all accumulate on these pages.
<o:p></o:p></span></div>
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<div class="MsoCaption">
<span lang="EN-GB" style="line-height: 150%; text-align: justify;">I find it hard to
bring these diverse paths appearing in the journals into a coherent and
polished whole. In the process of inquiry, the researcher is located “in the
middle of things, in motion” says writer and architectural designer Jane
Rendell (2003, p.224). The flow of things takes the research towards unexpected
directions. The space of inquiry is open to generative and creative
possibilities, in which research is considered as an open-ended </span><span lang="EN-GB" style="font-family: "TimesNewRomanPSMT","serif"; line-height: 150%; text-align: justify;">process, through which ideas, concepts
and theories emerge</span><span lang="EN-GB" style="line-height: 150%; text-align: justify;">. The disobedient character of the wandering mind opens unforeseen
diversions from the main destination which shape the character of inquiry and
thus, the knowledge produced. Therefore, Linda Richardson argues that the
production of a “textual corpus”, a “text” and theory should be reconsidered as
something substantially driven by practice, as an ambiguous project in the
making, a work emerging in the process (2000, p.940).</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB" style="line-height: 150%; mso-bidi-font-size: 12.0pt;">As a discipline which
traditionally identifies itself with the “writing of the culture”, the text is
pretty much at the centre of ethnographic research. There are different
modalities of “writing” present in the ethnographic research process, as Nigel
Rapport describes:</span><span lang="EN-GB" style="font-family: "TimesNewRomanPSMT","serif"; line-height: 150%; mso-bidi-font-family: TimesNewRomanPSMT; mso-bidi-font-size: 12.0pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0cm 1cm 12pt 35.4pt; text-align: justify;">
<span lang="EN-GB">There is inscription – the writing of notes,
keywords and mental impressions; there is transcription – the writing of
dictated local texts; and there is description – the final writing of coherent
reflections and analyses, facilitating a later retrieval of overall sense and
order (1997, p.94). <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB" style="line-height: 150%; mso-bidi-font-size: 12.0pt;">In all of these three modes,
(in-scription, trans-scription and de-scription) what is common is the task of <i>scribere</i>, the Latin word for “to write”.
From the beginning of ethnographic research to the very end of it, writing is
the task that the ethnographer engages with; it is the medium shaping the whole
process. From the quick notes and minute observation in the journals to the
final monograph, the ethnographer writes. These myriad modes of -scriptions are
woven together to form the final corpus.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB" style="line-height: 150%; mso-bidi-font-size: 12.0pt; mso-fareast-language: EN-GB;">Yet,
Tim Ingold distinguishes between writing and inscription. </span><span lang="EN-GB" style="line-height: 150%; mso-bidi-font-size: 12.0pt;">Inscription, in
its original sense, which Ingold is expanding upon, is not “a matter of finding
the right words to record or convey what has been observed” (2007, p.128). </span><span lang="EN-GB" style="line-height: 150%; mso-bidi-font-size: 12.0pt; mso-fareast-language: EN-GB;">The act of inscription is about following the gestures and lines of the matter.
Writing shares with drawing, as well as “walking, weaving, observing, singing,
storytelling” an innate character to “proceed along lines of one kind or
another” (2007, p.1). Thus, by emphasising this character of writing that
merges with the field it is studying, Ingold suggests a “graphy” that </span><span lang="EN-GB" style="line-height: 150%; mso-bidi-font-size: 12.0pt;">follows the lines
of the world in its becoming. In that sense, the work of ethnography could be
understood as “inscribing culture” instead of “writing culture”.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB" style="line-height: 150%; mso-bidi-font-size: 12.0pt; mso-fareast-language: EN-GB;">On
the pages of my journals writings and drawings of various sorts, in various
modalities come together, in differing relationships to each other.</span><span lang="EN-GB" style="line-height: 150%; mso-bidi-font-size: 12.0pt;"> The drawings on
my journals almost always appear with writing. They subtitle, supertitle and
annotate the drawings. The writings surround, underline the sketches; they become
lines to be pursued further. The </span><span lang="EN-GB">complex trajectory
between making and thinking fleshes out in this correspondence.</span><span lang="EN-GB" style="line-height: 150%; mso-bidi-font-size: 12.0pt;">While sketching
for future works questions and some possible solutions to be tested are jotted
down next to the sketches. The drawings intermingle with the lines of
handwriting and intertwine</span><span lang="EN-GB" style="line-height: 150%; mso-bidi-font-size: 12.0pt; mso-fareast-language: EN-GB;"> different modalities of
observing and thinking about the field of inquiry.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-right: .05pt; text-align: justify;">
<span lang="EN-GB" style="line-height: 150%; mso-bidi-font-size: 12.0pt;">The inscriptions
in my journals manifest the paths I have taken during the course of my
research, the disobedient diversions in my inquiries. These paths sometimes
conflict, sometimes cut across each other and sometimes turn into dead ends
with no concrete destination. Yet each path signposts a specific moment and
creates the many layers of my inquiries. The velocity of a page ranges between
quick scribbles and detailed drawings, between short notes written hastily and
lengthy reflections that cover the surface of the page line by line. Different
paces of thinking and different modalities of working appear in my journal
pages. The way I dwell on the space of my notebooks hints at the way I dwell on
this “many sited, open ended” (Rapport, 1997, p.xvii) field of my research. The
loose, multidirectional trajectory appearing in the notebooks interweaves the
destination(s) of my inquiry. <o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<a href="https://www.blogger.com/blogger.g?blogID=5712665571404276090" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=5712665571404276090" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=5712665571404276090" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=5712665571404276090" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=5712665571404276090" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=5712665571404276090" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=5712665571404276090" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><span style="line-height: 150%; text-align: justify;">When it comes to following
the provisional guidelines I sketched in the journals, working on these
fleeting ideas in the flesh, the actuality of turning these ideas into reality
changes the character of the lines. A column of tourist travel adaptors that I
imagine to look like a spinal column proves itself to be difficult to realise,
for example. In these sketches, in the imaginary exercises for future work, the
faint lines of imagination set me free, yet the work in the studio has its own
dynamics translating my sketchy ideas into its own making. Other unexpected
questions rise which demand addressing. The light material of imagination
wandering on the page lands on the ground and it is now subject to gravity. An embodied, embedded inquiry is at issue here, the
loose ends of things, “things” which gather the world in themselves (see
Heidegger, </span><i style="line-height: 150%; text-align: justify;">The Thing</i><span style="line-height: 150%; text-align: justify;"> 1977) draw the
routes of my wanderings. New questions and unanticipated sideways emerge along
this route.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB" style="line-height: 150%; mso-bidi-font-size: 12.0pt;">Bruno Latour reminds us that
in research, “‘where to travel’ and ‘what is worth seeing there’ is nothing but
a way of saying in plain English what is usually said under the pompous Greek
name of ‘method’ or, even worse, ‘methodology’”(2005, p.17). Method originally
means a “pursuit, a following after” (Online Etymology Dictionary).
Practitioners as “wayfarers” follow “the grain of the world’s becoming and
bending it to his or her evolving purpose” Tim Ingold says (2010, p.92). Thus,
the method and methodology of practice suggest an intertwined movement with the
field of inquiry. Beyond rigid structures and strict guidelines, this is
instead an attendance to the everyday world. Through “coupling the movement of
the observer’s attention with currents of environmental activity”<span style="color: red;"> </span>the aim of the inquiry does not
only seek “to represent the observed but to participate with it in the same
generative movement” (Ingold, 2012, p.11). This is a way of searching
that is always on the move and it is always open to unexpected trajectories. A
mode of thinking that opens towards something that was not there at the outset.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB" style="line-height: 150%; mso-bidi-font-size: 12.0pt;">“This is serendipity”, says
Dona Davis reflecting on the “intrinsically haphazard endeavour” of
ethnographic fieldwork practice (2007, p.3). Relying on “happenstance and
chance” Davis suggests that such a practice acknowledges “unsought,
unanticipated or not predicted”(ibid.) aspects of the field that demands
following new directions and unexpected diversions opening in the process. It
is in the nature of the “method”, of the “way” to be diverted. As such, the
“method” of a practitioner differs from a method that is “largely about testing
hypotheses ... about predictability” (2007, p.3). For Davis, the latter is the
quintessential “way” of scientific study. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB" style="line-height: 150%; mso-bidi-font-size: 12.0pt;">Similarly, Brenda Farnell
and Robert Wood emphasise the distinctive ways scientific discourses work and they
underline the distinction between the practices of art and science. While
artistic practices “aim to enrich and expand the realms of human experience”,
the latter “usually aim to understand such experience through explicit
conceptual formulation” (Farnell and Wood, 2011, p.93). Whereas scientific
discourse aspires to provide an “explanation of the world”, art dwells on
ambiguity “to give us an expansive experience of human being in that world”
(ibid.). There is a tension between such an approach aiming for a closure, for
a conclusion and an attitude which instead suspends the answers and holds a
rather ambiguous position “released from the need to circumscribe or explain”
(Ravetz, 2011, p.161). <o:p></o:p></span><br />
<span lang="EN-GB" style="line-height: 150%;">These inscriptions manifest
the routes of the unanticipated ways of making-thinking which is the essential
character of a practice based study. They host the unruly wanderings of a
practitioner, of “distracted, tactile eye” (Ingold, 2011, p.14) drawn by the
serendipitous, evasive character of a world that draws us towards things that
might not happen at </span><span lang="EN-GB">“</span><span lang="EN-GB" style="line-height: 150%;">states of heightened
awareness” (Ravetz, 2011, p.169). The journals house moments of passing
resolutions to “be configured into a formation ... an essay, thesis, painting,
sculpture, symphony, poem, design, recipe, play </span><span lang="EN-GB" style="font-family: "TimesNewRomanPSMT","serif"; line-height: 150%;">– </span><span lang="EN-GB" style="line-height: 150%;">whether monster or
masterpiece” (Unwin, 2009, p.38). Yet the motivation behind these “final” forms
is not to “illustrate ideas” (Rendell, 2003, p.225), or to explain. These
“formation[s]” describe an itinerary, a way that opens itself to the other .</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<br />
<div class="MsoNormal">
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zamanehttp://www.blogger.com/profile/15317209591844876963noreply@blogger.com0tag:blogger.com,1999:blog-5712665571404276090.post-20927497821431234342012-02-04T06:53:00.000-08:002012-02-04T06:53:11.857-08:00Eschew the monumental<q cite="http://quotationsbook.com/quote/12926/">Shun the Epic. All the guys who can paint great big pictures can paint great small one</q><br />
<br />
ernest hemingwayzamanehttp://www.blogger.com/profile/15317209591844876963noreply@blogger.com0tag:blogger.com,1999:blog-5712665571404276090.post-76138012125333905312012-02-04T06:50:00.000-08:002012-02-04T06:50:53.028-08:00how to answer the question about your nationality without feeling awkward about itIn this post, we are answering your long lingering question, quest for finding a way to express your disbelief in defining yourself through your nationality. although it might play a tiny part in conservations, even as a box to be filled in an application for a trivilous card, you might still feel a bit of out of space, uneasy when asked about your national identity. You might want to start telling, how complicated it is to just nail it down with a word. You might want to raise the shattering of identities, or tell how sick and constructed it is. Or say, or ask the person how often does s/he really thinks about her/his national identity? And even it seems like a very simple-straightforward question, what it actually refers to, in everyday conversation is, where you are from, under which lights, weather conditions you grown up, where your accent come from, to locate you, although they might not have a particular idea about that part of the world. What they know would be generic, even streotypical. but yet, an idea about what kind person you might be, a touchy mediterranean, a whining middle easterner, a loud north american, laid back latin american?<br />
anyway, all those things aside, you face a very simple question on the surface of it. But then it is not that simple for you. You would like to talk about, how you think the founder of the turkish identity actually formulated a performative national identity, by saying anyone that says I am turkish is turkish.<br />
but you cannot do that, at least not to everyone.<br />
so I was thinking a way of telling it, just answering the question with a word, but twisting it. Try stressing the -ish at the end, which gives the meaning of approximity to the word. which will eliminate the preciseness, the contained nature, circumscribed borders of national identity. and dont forget to wave your hands, on a horizontal axis, to underpin your emphasis on the approximate.zamanehttp://www.blogger.com/profile/15317209591844876963noreply@blogger.com0tag:blogger.com,1999:blog-5712665571404276090.post-91363371898970632972012-02-04T06:15:00.000-08:002012-02-04T06:15:23.935-08:00land·mark: studio practice as a series of landmark to track down the change<h2 class="me">
<br /></h2>
<span class="pronset"><span class="speaker"></span> <span class="show_spellpr" style="display: inline;"><span class="prondelim">[</span><span class="pron"><span class="boldface"></span></span></span></span><span class="pronset"><span class="show_ipapr" style="display: inline;"><span class="prondelim"></span><span class="pron">ˈlændˌmɑrk</span></span></span><span class="pronset"><span class="show_spellpr" style="display: inline;"><span class="pron"><span class="boldface"></span></span><span class="prondelim">]</span><span class="pron_toggle" style="display: inline;"></span></span></span> <div class="body">
<div class="pbk">
<span class="pg"><span id="hotword"><span id="hotword" name="hotword" style="color: #333333; cursor: default;">noun</span> </span></span><div class="luna-Ent">
<span class="dnindex"><span id="hotword"><span id="hotword" name="hotword" style="color: #333333; cursor: default;">1.</span> </span></span><div class="dndata">
<span id="hotword"><span id="hotword" name="hotword">a</span> <span id="hotword" name="hotword">prominent</span> <span id="hotword" name="hotword">or</span> <span id="hotword" name="hotword">conspicuous</span> </span><a href="http://dictionary.reference.com/browse/object">object</a><span id="hotword"> <span id="hotword" name="hotword">on</span> <span id="hotword" name="hotword">land</span> <span id="hotword" name="hotword">that</span> <span id="hotword" name="hotword">serves</span> <span id="hotword" name="hotword">as</span> <span id="hotword" name="hotword">a</span> <span id="hotword" name="hotword">guide,</span> <span id="hotword" name="hotword">especially</span> <span id="hotword" name="hotword">to</span> <span id="hotword" name="hotword">ships</span> <span id="hotword" name="hotword">at</span> <span id="hotword" name="hotword">sea</span> <span id="hotword" name="hotword">or</span> <span id="hotword" name="hotword">to</span> <span id="hotword" name="hotword" style="color: #333333; cursor: default;">travelers</span> <span id="hotword" name="hotword">on</span> <span id="hotword" name="hotword">a</span> <span id="hotword" name="hotword">road;</span> <span id="hotword" name="hotword">a</span> <span id="hotword" name="hotword">distinguishing</span> <span id="hotword" name="hotword">landscape</span> <span id="hotword" name="hotword">feature</span> <span id="hotword" name="hotword">marking</span> <span id="hotword" name="hotword" style="color: #333333; cursor: default;">a</span> <span id="hotword" name="hotword">site</span> <span id="hotword" name="hotword" style="color: #333333; cursor: default;">or</span> <span id="hotword" name="hotword">location:</span> </span><span class="ital-inline"><span id="hotword"><span id="hotword" name="hotword">The</span> <span id="hotword" name="hotword">post</span> <span id="hotword" name="hotword">office</span> <span id="hotword" name="hotword">served</span> <span id="hotword" name="hotword">as</span> <span id="hotword" name="hotword">a</span> <span id="hotword" name="hotword">landmark</span> <span id="hotword" name="hotword">for</span> <span id="hotword" name="hotword">locating</span> <span id="hotword" name="hotword">the</span> <span id="hotword" name="hotword" style="color: #333333; cursor: default;">street</span> <span id="hotword" name="hotword">to</span> <span id="hotword" name="hotword" style="color: #333333; cursor: default;">turn</span> <span id="hotword" name="hotword">down.</span> </span></span></div>
</div>
<div class="luna-Ent">
<span class="dnindex"><span id="hotword"><span id="hotword" name="hotword">2.</span> </span></span><div class="dndata">
<span id="hotword"><span id="hotword" name="hotword">something</span> <span id="hotword" name="hotword">used</span> <span id="hotword" name="hotword">to</span> <span id="hotword" name="hotword">mark</span> <span id="hotword" name="hotword">the</span> <span id="hotword" name="hotword">boundary</span> <span id="hotword" name="hotword">of</span> <span id="hotword" name="hotword">land.</span> </span></div>
</div>
<div class="luna-Ent">
<span class="dnindex"><span id="hotword"><span id="hotword" name="hotword">3.</span> </span></span><div class="dndata">
<span id="hotword"><span id="hotword" name="hotword">a</span> <span id="hotword" name="hotword" style="color: #333333; cursor: default;">building</span> <span id="hotword" name="hotword">or</span> <span id="hotword" name="hotword">other</span> <span id="hotword" name="hotword">place</span> <span id="hotword" name="hotword">that</span> <span id="hotword" name="hotword">is</span> <span id="hotword" name="hotword">of</span> <span id="hotword" name="hotword">outstanding</span> <span id="hotword" name="hotword">historical,</span> <span id="hotword" name="hotword">aesthetic,</span> <span id="hotword" name="hotword">or</span> <span id="hotword" name="hotword">cultural</span> <span id="hotword" name="hotword">importance,</span> <span id="hotword" name="hotword">often</span> <span id="hotword" name="hotword">declared</span> <span id="hotword" name="hotword">as</span> <span id="hotword" name="hotword" style="color: #333333; cursor: default;">such</span> <span id="hotword" name="hotword">and</span> <span id="hotword" name="hotword">given</span> <span id="hotword" name="hotword" style="color: #333333; cursor: default;">a</span> <span id="hotword" name="hotword">special</span> <span id="hotword" name="hotword">status</span> </span><span class="secondary-bf"><span id="hotword"><span id="hotword" name="hotword">(landmark</span> <span id="hotword" name="hotword">designation),</span> </span></span><span id="hotword"> <span id="hotword" name="hotword" style="color: #333333; cursor: default;">ordaining</span> <span id="hotword" name="hotword">its</span> <span id="hotword" name="hotword">preservation,</span> <span id="hotword" name="hotword">by</span> <span id="hotword" name="hotword">some</span> <span id="hotword" name="hotword">authorizing</span> </span><a href="http://dictionary.reference.com/browse/organization">organization</a><span id="hotword">. </span></div>
</div>
<div class="luna-Ent">
<span class="dnindex"><span id="hotword"><span id="hotword" name="hotword" style="color: #333333; cursor: default;">4.</span> </span></span><div class="dndata">
<span id="hotword"><span id="hotword" name="hotword">a</span> <span id="hotword" name="hotword">significant</span> <span id="hotword" name="hotword" style="color: #333333; cursor: default;">or</span> <span id="hotword" name="hotword">historic</span> <span id="hotword" name="hotword">event,</span> <span id="hotword" name="hotword">juncture,</span> <span id="hotword" name="hotword" style="color: #333333; cursor: default;">achievement,</span> <span id="hotword" name="hotword">etc.:</span> </span><span class="ital-inline"><span id="hotword"><span id="hotword" name="hotword">The</span> <span id="hotword" name="hotword">court</span> </span><a href="http://dictionary.reference.com/browse/decision">decision</a><span id="hotword"> <span id="hotword" name="hotword">stands</span> <span id="hotword" name="hotword">as</span> <span id="hotword" name="hotword">a</span> <span id="hotword" name="hotword">landmark</span> <span id="hotword" name="hotword">in</span> <span id="hotword" name="hotword">constitutional</span> <span id="hotword" name="hotword" style="color: #333333; cursor: default;">law.</span> </span></span></div>
</div>
</div>
<div class="pbk">
<span class="pg"><span id="hotword"><span id="hotword" name="hotword">verb</span> <span id="hotword" name="hotword">(used</span> <span id="hotword" name="hotword">with</span> <span id="hotword" name="hotword">object)</span> </span></span><div class="luna-Ent">
<span class="dnindex"><span id="hotword"><span id="hotword" name="hotword">5.</span> </span></span><div class="dndata">
<span id="hotword"><span id="hotword" name="hotword">to</span> <span id="hotword" name="hotword">declare</span> <span id="hotword" name="hotword">(a</span> <span id="hotword" name="hotword">building,</span> <span id="hotword" name="hotword" style="color: #333333; cursor: default;">site,</span> <span id="hotword" name="hotword">etc.)</span> <span id="hotword" name="hotword">a</span> <span id="hotword" name="hotword" style="color: #333333; cursor: default;">landmark:</span> </span><span class="ital-inline"><span id="hotword"><span id="hotword" name="hotword" style="color: #333333; cursor: default;">a</span> </span><a href="http://dictionary.reference.com/browse/movement">movement</a><span id="hotword"> <span id="hotword" name="hotword">to</span> <span id="hotword" name="hotword">landmark</span> <span id="hotword" name="hotword">New</span> <span id="hotword" name="hotword">York's</span> <span id="hotword" name="hotword">older</span> <span id="hotword" name="hotword" style="color: #333333; cursor: default;">theaters.</span> </span></span></div>
</div>
</div>
</div>zamanehttp://www.blogger.com/profile/15317209591844876963noreply@blogger.com0tag:blogger.com,1999:blog-5712665571404276090.post-75126461418863807602012-02-04T04:12:00.001-08:002012-02-04T04:12:19.661-08:00to syncwith the otherzamanehttp://www.blogger.com/profile/15317209591844876963noreply@blogger.com0tag:blogger.com,1999:blog-5712665571404276090.post-7455828814969946942012-02-03T16:52:00.000-08:002012-02-03T16:52:55.323-08:00"avoid any kind of craft...therefore any kind of style"says david shrigley.<br />
"starts with a text then becomes an image than becomes text<br />
describing what does not need to described"<br />
translating what does not need to be translated <br />
<br />zamanehttp://www.blogger.com/profile/15317209591844876963noreply@blogger.com0tag:blogger.com,1999:blog-5712665571404276090.post-31385250279522973302012-02-02T14:15:00.001-08:002012-02-03T16:58:08.268-08:00body techniques-habilis-craft: readings for embodied knowledge<h2>
Body techniques</h2>
<div align="left">
Mauss describes 'techniques of the body' as highly developed
body actions that embody aspects of a given culture. Techniques may also be
divided by such as gender and class (for example in the manner of walking or
eating).</div>
<div align="left">
These include such as eating, washing, sitting, swimming,
running, climbing, swimming, child-rearing, and so on. </div>
<div align="left">
The techniques are adapted to situations, such as aboriginal
squatting where no seats are available. Techniques are thus a 'craft' (Latin: <i>
habilis</i>) that is learned.<br />
<i>Hence I have had this notion of the social nature of the 'habitus' for<br />many years. Please note that I use the Latin word-it should be understood<br />in France-habitus. The word translates infinitely better than<br />'habitude' (habit or custom), the 'exis', the 'acquired ability' and 'faculty'<br />of Aristotle (who was a psychologist). It does not designate those<br />metaphysical habitudes, that mysterious 'memory', the subjects of<br />volumes or short and famous theses. These 'habits' do not just vary<br />with individuals and their imitations, they vary especially between<br />societies, educations, proprieties and fashions, prestiges. In them we<br />should see the techniques and work of collective and individual practical<br />reason rather than, in the ordinary way, merely the soul and its<br />repetitive faculties. </i><br />
(Mauss, 1973, p.73).<br />
</div>
<div align="left">
The teaching of these methods is what embeds the methods and the
teaching is embedded within cultures and schools of teaching. A pupil who
becomes a teacher will likely teach what they are taught.</div>
<div align="left">
<a href="http://changingminds.org/disciplines/sociology/theorists/elias.htm">Norbert Elias</a> and <a href="http://changingminds.org/disciplines/sociology/theorists/bourdieu.htm">Pierre Bourdieu</a>
developed the ideas further in<i> habitus</i>, the non-discursive aspects of
culture that bind people into groups, including unspoken habits and patterns of
behavior as well as styles and skill in body techniques.<br />
<br />
<br />
Bourdieu, Pierre. 1977. <i>Outline of a Theory of Practice</i>, Cambridge:
Cambridge University Press<br />
Elias, N. (1978). <i>The History of Manners. The Civilizing Process: Volume I</i>.
New York: Pantheon Books <br />
Elias, N. (1982). <i>Power and Civility. The Civilizing Process: Volume II.
</i>New York: Pantheon Books<br />
Mauss, Marcel. 1934. Les Techniques du corps, <i>Journal de Psychologie
32(3-4)</i>. Reprinted in Mauss, Sociologie et anthropologie, 1936, Paris: PUF<br />
<br />
<br />
Fieldnotes may be no more than a trigger for bodily and a hitherto subconscious memories. We cannot write down the knowledge at the time of experiencing it, although we may retrospectively write of it in autobiographical modes. The specific ways in which we learned awaits recounting (Okely 1978). Bourdieu notes how the body can be treated “ as a memory” (1977: 94), it cannot always be consciously controlled. Anthropologists acquire a different bodily memory in fieldwork experience as an adult in another culture. The commonplace analogy between the anthropologist and a child learning another culture is misleading since the anthropologist is already formed and shaped by history. He or she has no change or superimpose new experience upon past embodied knowledge (Mauss 1938), and come to terms with a changing self embodied in new contexts.<br />
<br />
Okeley, J. (1992). Anthropology and autobiography: Participatory experience and embodied knowledge.Routledge. London and NY, p. 16</div>zamanehttp://www.blogger.com/profile/15317209591844876963noreply@blogger.com0tag:blogger.com,1999:blog-5712665571404276090.post-16351029848263583312012-02-02T13:28:00.000-08:002012-02-02T13:37:24.281-08:00the thing isThe in between space of the stranger, newcomer, misfit, how she encounters her attachements, conditionings, herself, her culturally informed self, in another context, another culture. Culture as a set of –more or less- established formulas, problem solving strategies towards daily questions, obstacles, a set of reflexes.<br />
What I am looking at is, getting used to it, settling down, trying to fit, connect, relate, understand, perform within it. to be fluent. ill always be stammering. so many things to catch up.<br />
Attaching, settling down without growing roots. <br />
Yerleşmek, yerleşememek, yerlileşememek, <br />
carrying a sense of home with, witnessing how the old habits change.<br />
the relation I build up between here and there. the way i stay here, the way i dwell there.<br />
my stay here is time-matter based, up there it is a timeless bond.<br />
the way my history unearths itself with every fresh, unknown, unfamiliar encounter which requires another history to be able to properly respond, act. even to behave improperly, you should know what is proper. i cannot here. that forces you to adopt, develop other criteria. based on... short term memory? to go through a set of fast track disappointments?throw yourself into the wilderness?<br />
<br />
<br />zamanehttp://www.blogger.com/profile/15317209591844876963noreply@blogger.com0tag:blogger.com,1999:blog-5712665571404276090.post-46893181671254024422012-02-02T13:07:00.000-08:002012-02-03T04:00:25.651-08:00falda nessie görmekbugün bi kafede oturmuş kitabımı ve kendimi kısa bir sanatçı konaklama programına misafir ediyodum. küçük fincan kahvesi içilmiş ve de kahve köpükleri ardında izlerini bırakmıştı bardakta. alışkanlık işte, bi de boş fincanın kitaptan bir mola gibi masada durup durup gözüme takılmasından olacak, köpüklerin şekillerine bakmaya başladım. işte nessie tam orda karşımda duruyodu.<br />
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<br />zamanehttp://www.blogger.com/profile/15317209591844876963noreply@blogger.com0tag:blogger.com,1999:blog-5712665571404276090.post-51535283511110262012012-02-02T10:57:00.001-08:002012-02-02T10:57:05.871-08:00the tune, tone, mode of the experienceand the implication of it in its artifacts.<br />
mushy? tacky? timid? not to much revealing? to occupying?zamanehttp://www.blogger.com/profile/15317209591844876963noreply@blogger.com0tag:blogger.com,1999:blog-5712665571404276090.post-55322440478625726552012-02-02T08:43:00.000-08:002012-02-02T09:10:16.189-08:00making sense of that distance between in another sense<div class="separator" style="clear: both; text-align: center;">
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1.in the video, the audience is the making (or cooking) of a metric ruler, on a piece of wood. as to what that piece of wood or length of wood is we have no idea. so one thing that might be lost in the video could be that the evenly distributed centimeters on the wood actually does not overlap with the actual, standard measurement units. but the hand intervenes into the screen to give a sense of proportion, scale. with the guidance, reference point of the hand we can tell that the numbers and the intervals are bigger-larger than they supposed to be.<br />
a pinch of reddish dust is sparkled on the surface, than we watch the making of a ruler, a measuring device being mad. some thought that it was red soil, some, looking at the actual object in the space (where I used cumin) said it is sand.<br />
but I guess it is a measuring and knowing with the limit of one's material and one's self.<br />
in a sense we are witnessing the invention of a new ruler. <br />
a ruler assumes a straight line between two points. a shortcut. to make things easly translatable into one another.<br />
the empty space available for the bookcase you are planning to buy, and the space the bookcase occupy, the dimensions of the bookcase.<br />
measuring gives you an abstract number, idea that can be translatable into a concrete thing again. <br />
making my way in a new culture which have its own kind of practices, I am looking for the right times, right moments, right moves. seizing the responses, reactions, and adjusting my responses, registering them to my vocabulary to act, perform better next time, at the next encounter.<br />
A şehrinden B şehrine gitmekte olan...<br />
2.<br />
someone is making a ruler with a dusty material: what would you think?<br />
Dust: ephemeral material, very fragile to exterior conditions. a dust, a shake, a mistake can dismantle it.<br />
ruler: standard, rigid, universal, as rigid as stone. you take it as a reference. you measure the size, dimension of things with it. than note it down, carry your measurements with you, and with another ruler you can remake, recreate the actual size of the object that is not there anymore.<br />
it makes object portable without carrying them. you can carry the physical dimensions of objects in your pocket.<br />
it is a perfect translation, when the only thing you want to know it the dimensions, weight.<br />
like a receipe; following the instructions, mixing the stated amounts of stuff together in the right order.<br />
a handmade ruler: personal, imperfect.<br />
customized, not translatable.<br />
then, there is the futile attempt of doing it, the excessive amount of time spent doing that futile thing.<br />
both because it is not translatable but also it is waste of time.<br />
<br />
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<br />zamanehttp://www.blogger.com/profile/15317209591844876963noreply@blogger.com0tag:blogger.com,1999:blog-5712665571404276090.post-4685842314982629252012-02-02T08:25:00.001-08:002012-02-02T08:25:29.225-08:00dance first think later. it is the natural order.<br />
samuell beckettzamanehttp://www.blogger.com/profile/15317209591844876963noreply@blogger.com0tag:blogger.com,1999:blog-5712665571404276090.post-12163179986423427782012-02-02T08:21:00.000-08:002012-02-02T09:56:41.874-08:00stills, rather than footage?performance stills<br />
video stills<br />
diary stills<br />
head notes<br />
foot notes<br />
field notes<br />
<br />
rather refrain myself from recording, documenting, and the work being a raw documentary. what would an autoethnographic documentary look like?<br />
because I did not want to throw myself onto the others. it is not about me.zamanehttp://www.blogger.com/profile/15317209591844876963noreply@blogger.com0tag:blogger.com,1999:blog-5712665571404276090.post-26232968411074202042012-02-02T02:29:00.000-08:002012-02-02T02:29:56.430-08:00autoethnopoiesisnasıl? bence süper. akademik camiaya benden bi kıyak olsun.<br />
doing ethnography through making, in the sense heidegger uses it.zamanehttp://www.blogger.com/profile/15317209591844876963noreply@blogger.com0tag:blogger.com,1999:blog-5712665571404276090.post-38135249007628492062012-02-02T02:01:00.001-08:002012-02-02T02:01:56.159-08:00reflexivity-self-reflexivity-reflective-?zamanehttp://www.blogger.com/profile/15317209591844876963noreply@blogger.com0tag:blogger.com,1999:blog-5712665571404276090.post-84532617703932811112012-02-01T09:06:00.001-08:002012-02-01T09:06:48.951-08:00as fluid asa glass of water<br />
hani su gidenin ardindan dokulenzamanehttp://www.blogger.com/profile/15317209591844876963noreply@blogger.com0tag:blogger.com,1999:blog-5712665571404276090.post-66435645859334221012012-01-31T06:20:00.000-08:002012-01-31T06:20:04.342-08:00küesşınsAs an embodied ethnographic writing in the field, how can auto-ethnographic methodology be applied to practice-based research? If I am to follow the basic principles of ethnography, how should I approach towards my field, the work at the field? How does an artist-researcher evaluate the data collected, and how does she collect data in the first place? If ethnographic methodology follows fieldwork, data collection, description of the data and analysis of the data that develops into a comphrehensive, coherent body of writing, how does this methodology corresponds does it have to correspond? Can these approaches combine to inform each other or make something new? to practice-based research, how can it be developed in the working process of the artists who deals with the writing of one’s self, informed by cultural context? How can the work of art can go beyond a “descriptive accounts of the field studied” (Rapport, 2004, p.93) perhaps see issues around the sensual turn? without sacrificing the problematics intrinsic to the discipline of art? These are some of the questions, auto-ethnographic methodology raises for the practising artist, that need to be studied. <br /><br /><br /><br /><img height="1" 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width="320" />zamanehttp://www.blogger.com/profile/15317209591844876963noreply@blogger.com0tag:blogger.com,1999:blog-5712665571404276090.post-3129712945514087662012-01-31T03:00:00.000-08:002012-01-31T03:00:09.528-08:00fruitful-footfoolthe way it fills my mouth, it shapes my mouth, makes me rethink about its meaning. it is a funny combination actually, fruit full, sounds like an invention of 4 years old.zamanehttp://www.blogger.com/profile/15317209591844876963noreply@blogger.com0tag:blogger.com,1999:blog-5712665571404276090.post-42740270182105740682012-01-31T02:29:00.001-08:002012-01-31T02:29:37.171-08:00simplicitysometimes I feel like the whole idea of phd is about robbing me off from saying things, being able to say simple things in their simple ways. which makes them loose their simple,straightforward power.zamanehttp://www.blogger.com/profile/15317209591844876963noreply@blogger.com0tag:blogger.com,1999:blog-5712665571404276090.post-35919420705129342852012-01-31T01:49:00.000-08:002012-01-31T01:49:21.382-08:00Tiga-hot babe bize ortaya bir yolculuğathis is what the korean status update supposed to tell me.<br />
so tell me, what does it supposed to mean?zamanehttp://www.blogger.com/profile/15317209591844876963noreply@blogger.com0tag:blogger.com,1999:blog-5712665571404276090.post-59046976089227932962012-01-30T13:50:00.000-08:002012-01-31T02:27:48.502-08:00garip kuş: Boby tear drops<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/zAgJW7o4i2Y?feature=player_embedded' frameborder='0'></iframe></div>
<br />
çok inanılmaz, bobby teardrops nedir ya? ağlak babi?zamanehttp://www.blogger.com/profile/15317209591844876963noreply@blogger.com0tag:blogger.com,1999:blog-5712665571404276090.post-69157514184335093292012-01-30T06:09:00.001-08:002012-01-30T06:09:55.455-08:00what is in a nameesra<br />
ezra<br />
isra<br />
esta<br />
estelle<br />
<br />zamanehttp://www.blogger.com/profile/15317209591844876963noreply@blogger.com0tag:blogger.com,1999:blog-5712665571404276090.post-36929916627357616572012-01-30T03:51:00.001-08:002012-01-30T03:56:16.412-08:00playlist for a life in oscillation track 1dönmek, mümkün mü artık dönmek <br />
onca yollardan sonra <br />
yeniden yollara düşmek <br />
neresi sıla bize, neresi gurbet <br />
al bizi koynuna ipek yolları <br />
üstümüzden geçiyor gökkuşağı <br />
sevdalı bulutlar, uçan halılar <br />
uzak değil dünyanın kapıları <br />
neresi sıla bize, neresi gurbet <br />
yollar bize memleket <br />
gitmek, mümkün mü artık gitmek <br />
onca yollardan sonra <br />
yeniden yollara düşmek <br />
neresi sıla bize, neresi gurbet <br />
rakılı akşamlar, gün batımları <br />
çocuk gibi ağlar yaz sarhoşları <br />
olmamış yaşamlar, eksik yarınlar <br />
hatırlatır herşey eski aşkları <br />
neresi sıla bize, neresi gurbet <br />
yollar bize memleket...<br />
<br />
<br />
çocuk gibi ağlar yaz sarhoşları<br />
al bizi koynununa ipek yolları<br />
olmamış yaşamlar, eksik yarınlar <br />
nersi sıla bize neresi gurbet...<br />
murathan munganzamanehttp://www.blogger.com/profile/15317209591844876963noreply@blogger.com0tag:blogger.com,1999:blog-5712665571404276090.post-88202505825954116532012-01-30T01:30:00.000-08:002012-01-30T01:30:33.705-08:00processing factual, the lived experiencemaybe the reason why I am not going for raw is to process it, to digest it. as a result of spending time with it, dwelling on it more, from the perspective of a non-documentarist. it does not mean going as raw as possible does not mean a less well-thought attitude. I am so inclined to go side ways, to look into its detail, to find something else, which ends up being sometimes too much processed, too hermetic, too enclosed to itself.<br />
there are things you cannot show with mere facts, mere visuals, video records.<br />
closing the gap between experience and expression is not that straightforward, it needs other strategies.zamanehttp://www.blogger.com/profile/15317209591844876963noreply@blogger.com0