edencarnegieassessment

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Reference List - My Favourite Part

Ashford, B. and Mael, F. (1989). Social Identity Theory and the Organization. Academy of Management Review, 14, p.2.

Barker, C. (2008). ‘Issues of subjectivity and identity’, in Cultural studies: theory and practice. 3rd ed. London: Sage Productions, p.218

Beksiński, Z. Walker [Painting]. Available at: https://www.shopbeksinski.com (Accessed 25 March 2019)

Bethesda Game Studios 2008, Fallout 3, video game, Playstation 3, America

Boy Singing With Tourette’s - Original Song (2015) Youtube Video, added by Adam Ladell [Online] Available at https://www.youtube.com/watch?v=uYNVcx2TRBA [Accessed 26 March 2016]

Card, O. (1985). Enders game. 1st ed. New York: Tor Books.

Cohen, B. M., & Cox, C. T. (1995). Telling without talking: Art as a window into the world of multiple personality. New York, NY, US: W W Norton & Co.

Guerrini, S. Differences [Drawing]. Available at: https://www.saatchiart.com/art/Drawing-Differences/744668/2274101/view (Accessed 25 March 2019)

Harrison, M. Little Woman at Home [Drawing]. Available at: https://www.tate.org.uk/art/artworks/harrison-little-woman-at-home-t12827 (Accessed 27 March 2019)

Huang, M., Bridge, H., Kemp, M., Parker, A. ‘Human cortical activity evoked by the assignment of authenticity when viewing works of art’ Frontiers in Human Neuroscience

Mad Max. (1979). [DVD] Directed by G. Miller. Australia: Warner Bros. Interactive Entertainment, Feral Interactive, Mindscape.

Mansfield, Nicholas 2000, Subjectivity: theories of the self from Freud to Haraway, Allen & Unwin, St Leonards, N.S.W. (p.28/29)

O’Loughlin, M ( 2006 ) Embodiment and Education: Exploring Creatural Existence.Philosophy and Education, 15 (Dordrecht, Springer)

Reilly, M. (2012). Scarecrow: A Scarecrow Novel. 1st ed. Australia: Pan Australia

Robert Smithson, Beyond The Gallery, Singapore, ArtScience Museum, 24 November 2018

Tagg, C. and Seargeant, P. (2016). Facebook and the discursive construction of the social network, in A. Georgakopoulou and T. Spilio (eds), The Routledge handbook of language and digital communication, New York: Routledge, p.343

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Unconcious

The opposition of awareness, the unconscious “Can be trivial impulses and surprising disjunctions that we live with every day” (Nicholas 2000). The unconscious is the habits which are ingrained within individuals and reveal themselves through regular behaviour and are proved unintentional for the individual. They can represent distinctions to the psychological approaches to specific subjects or scenarios, as shown in the works of Polish artist, Zdzisław Beksiński, who wish “to paint in such a manner as if I were photographing dreams… though, they utilize recognizable everyday objects, those are paired and arranged in ways only the dream world could sustain in a single image.” His work portrays the unconscious thoughts of his dreams: reflections of his fears and most relevant subconscious thoughts, which, once awake, could only be transformed into mere interpretations and not literal representations.

References:

Mansfield, Nicholas 2000, Subjectivity: theories of the self from Freud to Haraway, Allen & Unwin, St Leonards, N.S.W. (p.28/29)

Beksiński, Z. Walker [Painting]. Available at: https://www.shopbeksinski.com (Accessed 25 March 2019)

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Sensory Knowledge

“All art articulates the boundary surface between the self and the world both in the experience of the artist and the viewer.” (Juhani Pallasmaa 2007). It is the knowledge one obtains from the physical world around them which contributes to the formation of their identity and the work they will produce. Individuals reciprocate such stimuli in different and unique manners, thus shaping their creative identity and their respective piece of work. Robert Smithson pioneered a new form of art known as Land Art, which involved making natural interventions into natural environments. He highlighted the land, its beauty, and its grandeur; his creative identity shaped from the sensual experiences he obtained in such natural environments.

References:

O’Loughlin, M ( 2006 ) Embodiment and Education: Exploring Creatural Existence.Philosophy and Education, 15 (Dordrecht, Springer)

Robert Smithson, Beyond The Gallery, Singapore, ArtScience Museum, 24 November 2018

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Authenticity

“Authenticity brings a scholarly value in shaping art historical understanding, has a direct and potentially huge consequence for monetary value, and … is presumed to have an impact on the individual viewer’s experience” (Front. Hum. Neurosci, 2011). It is the concept which underpins an individuals originality and genuineness whilst also influencing how viewers of art appreciate a piece of work and the artist who produced it. Laura Pergolizzi (stage name LP), is a singer who believes strongly in being true to herself and authentic in both the work she produces and herself as an artist, having left Island Def Jam Music Groups’s record label due to artistic differences (lprock.com) in order to pursue her own true ideals.

References:

Huang, M., Bridge, H., Kemp, M., Parker, A. 'Human cortical activity evoked by the assignment of authenticity when viewing works of art’ Frontiers in Human Neuroscience

Website: http://www.lprock.com/bio.html

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Fractured Identity

Fractured Identity is “creative expression can simultaneously disclose and camouflage information in artwork—especially information that is repressed and dissociated (Cohen, B. M., & Cox, C. T. 1995). It is a result of artists who have no solid ground for their identity to sprout from, whether that be due to a mixed heritage, sexuality or disabilities. Therefore, there is a struggle to achieve a sense of completeness. Fractured Identities a SICK! Festival was an event in Manchester which allowed those who struggled with fractured identities to meet like-minded artists and portray their pieces of work whilst taking the “antidote to the physical, mental and social challenges of life” (sickfestival.com)

Cohen, B. M., & Cox, C. T. (1995). Telling without talking: Art as a window into the world of multiple personality. New York, NY, US: W W Norton & Co.

SICK! Festival: http://www.sickfestival.com

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Creative Influence

Creative Influence is the foundation from which artists use  “socially shared material” (Barker 2007, p.221) of that of other artists to achieve their own creative identity. It is necessary as it allows artists to have an impact on the world and to leave their footprint in the industry, whilst also shaping the works the will produce in the future. The Fallout game series gained inspiration from the original Mad Max film by George Miller: using a similar dystopian world which would soon become one of the most iconic game series in the world.

References:

Barker, C. (2008). ‘Issues of subjectivity and identity’, in Cultural studies: theory and practice. 3rd ed. London: Sage Productions, p.218

Bethesda Game Studios 2008, Fallout 3, video game, Playstation 3, America

Mad Max. (1979). [DVD] Directed by G. Miller. Australia: Warner Bros. Interactive Entertainment, Feral Interactive, Mindscape.

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Essentialism

“The western search for identity is premised on the idea that there is such a thing to be found. Here, identity exists as a universal and timeless core of the self that we all possess… Essentialism assumes that descriptions of ourselves reflect an essential underlying identity” (Barker 2007). It can be considered as the soul: the values which form the very essence of an individual. The Little Woman At Home, created by Margaret Harrison, amalgamates such concepts in one image. The artist reveals the vagina and breast of the woman, depicting the male stereotype of women and emphasising the inner qualities which are vital in understanding a person.

References:

Barker, C. (2008). ‘Issues of subjectivity and identity’, in Cultural studies: theory and practice. 3rd ed. London: Sage Productions, p.218

Harrison, M. Little Woman at Home [Drawing]. Available at: https://www.tate.org.uk/art/artworks/harrison-little-woman-at-home-t12827 (Accessed 27 March 2019)

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Subjectivity

“Subjectivity is both the condition of being a subject and the processes by which we are established as subjects” (Barker 2012, p.218; Mansfield 2000, p.3). It is the manner in which individuals become a ‘subject’ of the world around them, which in turn influences how they perceive and judge certain scenarios and other subjects. As subjects they are vulnerable to change depending on the environment they are exposed to, and as a result, are constantly changing and evolving. In Ender’s Game, the main character, a young boy throughout the novel, is constantly changing as a subject due to the environments and situations he is exposed to changing. At the end of the novel, he realises that the manner in which he grew up in was intentional from his superiors, as they were shaping his opinions and utilising his unique subjectiveness.

References:

Barker, C 2012, Cultural studies: theory and practice, 4th edn, Sage, London, p. 20-23, 218-224.

Card, O. (1985). Enders game. 1st ed. New York: Tor Books.

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Creative Identity

Creative identity is a key concept which represents how artists “draw upon in presenting and expressing themselves” (Tagg & Seargeant 2016, p.343). It is the amalgamation of individual identity, their experiences, context, and emotions by which the artist channels and combines in order to deliver their creative piece to the world. Adam Ladell has utilised the power of music to control his Tourette’s syndrome and express how music can overcome even the toughest of barriers. He works in conjunction with his neurological disorder to strengthen his creative abilities whilst ultimately expressing his true self: that he cannot overcome who he is and therefore must work with what makes him.

References: Tagg, C. and Seargeant, P. (2016). Facebook and the discursive construction of the social network, in A. Georgakopoulou and T. Spilio (eds), The Routledge handbook of language and digital communication, New York: Routledge, p.343

Boy Singing With Tourette’s - Original Song (2015) Youtube Video, added by Adam Ladell [Online] Available at https://www.youtube.com/watch?v=uYNVcx2TRBA [Accessed 26 March 2016]

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Social Identity

“Social identification stems from the categorization of individuals, the distinctiveness and prestige of the group, the salience of outgroups, and the factors that traditionally are associated with group formation” (Blake E. Ashforth and Fred Mael 1989, p.2). One’s social identity is subject to society’s expectations and differs depending on the context to which they are exposed to, ultimately influencing how one presents themselves to the world. Sebastian Guerrini is an artist who questions the approach to social identity and claims it is “a game about the different dimensions of any being” (Sebastian Guerrini). The artwork suggests that we are trapped within the grasp of society, who is presenting us to other dominions. 

Reference: Ashford, B. and Mael, F. (1989). Social Identity Theory and the Organization. Academy of Management Review, 14, p.2.

Guerrini, S. Differences [Drawing]. Available at: https://www.saatchiart.com/art/Drawing-Differences/744668/2274101/view (Accessed 25 March 2019)