nick1f-blog

[nick1f-blog]

KEYWORDS

Social Identity 

‘Social Identity’ is the ‘perception of oneness with or belongingness to some human aggregate.’ (Blake. E Ashforth, Fred Mael. P. 21) This concept is derived from the idea that individuals work to adapt themselves into a world that has been ‘pre-existent’. (Barker, 2012, p. 222) This notion of ‘social identity’ is formed through the membership and socialisation that is existential within a group in “which people draw upon in presenting and expressing themselves…” (Tagg and Seargeant 2016, p. 343) In this modern day era, Social Media has become a platform in which we can shape our identity into something that only presents what we wish for others to see, but still fits into those pre-existent social constructs. This is portrayed in the following video. 

Fractured Identity 

This sense of a ‘Fractured Identity’ is “not unified around a coherent-self. Within us are contradictory identities, pulling in different directions, so that our identifications are continually being shifted about.” (Barker 2012, p. 225) As developing individuals, our identities can be challenged and can continuously change throughout time. It is for this that our ‘core-self’ is contradicted by the different fragmentations that can be established throughout our livelihood that confuse our true identity. (Barker 2012, p. 225, Hall et al. 1996, p. 598) In this image, the subject’s identity is being challenged as his core self is unknown. Therefore, this unknown self is a toxic in preventing meaningful existence.

Creative Identity

‘Creative Identities are considered representational projects emerging in the interaction between self –the creator, multiple others –different audiences, and notions of creativity informed by societal discourses’. (Sciencedirect.com-New Ideas In Psychology) All creative practitioners have a creative identity that is formed by their own piece of work or the work influenced from others that supports to define them as creative practitioners. In my creative practice, my creative identity would be entailed through my persona as an actor that will be depicted in the performances I present. Similarly, to Sam Smith, audiences understand his creative identity through the songs that he presents and the messages conveyed in them.

Creative Influence

To be ‘Creatively Influenced’, one would be inspired and aspired by another person’s ‘creativeness’. When influenced by this, one would use this person’s work to creatively approach it, generating meaning in their own particular way. However, influences can also vary for different creative practitioners whom can be inspired through the occurrences in life. “Poetic Influence –when it involves two, strong authentic poets, -always proceeds by a misreading of the prior poet, an act of creative correction that is actually and necessarily a misinterpretation” (Bloom 1997, p. 30) In contrast to Bloom, today’s artists like; Taylor Swift, her relationships with others have influenced her creativity as a way of expressing her opinions of her ‘ex-lovers’ through songs and music videos.  

Sensory Knowledge

‘Sensory Knowledge’ is acknowledged as the understanding of how we perceive the world from our familiarity with the five key senses that include- sight, sound, smell, taste and touch. (Cranny-Francis, 2008 p. 37, Howes, 2005 p. 28-30) It is through the knowledge we gain from our senses that guides us to obtain meaning in our identity and meaning that is expressed and obtained from others and what is around us. (Cranny-Francis, 2008 p. 37) Sensory Knowledge can be acknowledged in “The Great Gatsby”, a world renowned novel, which depicts the 1920’s (The Jazz Age) through the use of sensory imagery, drawing attention in the readers’ mind to the smell and look of the morally ambiguous world in which he lived.

Overdetermination

Freud’s philosophy of ‘Overdetermination’ suggests this idea that “even the most trivial behaviours are the focus and expression of the most plural and deep psychological complexity.” (Mansfield, 2000 p. 29) On all accounts of human nature, and unconsciousness, every day actions, are psychologically analysed to be meaningful and complex. (Mansfield, 2000, p. 29) An example of this is recognised in ‘Chuckie Finster’, a fictional character in an American animated television series called; “Rugrats”. As a young infant, Chuckie would always over analyse his surroundings. His unconsciousness triggers him to avoid participating in any events or activities that his friends decide to prepare suggesting that; “Maybe this isn’t a good idea.”

The Unconscious 

‘The Unconscious’ is a state of subconsciousness in the mind which can often lead to repressed subjects that are uncontrollable. (Mansfield, 2000, p. 185) According to Freud, these unconscious subjects can be revealed in three different ways- Dreams, Parapraxes, and Jokes. In these ways, it is through ‘conscious awareness’, what and how we think, and our experiences that unconscious materials have the ability to appear in ‘Neurotic behaviours’. (Mansfield, 2000, p. 27-28) An example of ‘The Unconscious’ can be seen in Sandra Bullock’s 2007 film, ‘Premonition’, as the subconscious mind contradicts her character in a dream until she realises that she is in fact ‘consciously aware’ of what she must do. In my creative practice, the unconscious can be used as a method of developing a character and further ideologies in a performance. 

Essentialism

‘Essentialism’ indicates the meaning that at the centre of each person is the same –their own identity. And the ‘essentiality’ that this always remains the same despite any changes in circumstances or perspectives, a person is built around this unchanging ‘core’. (Hall et al. 1996, p. 597, Barker 2012, p. 221-222) In association with my creative practice, an example of this can be recognized in the 2017 film, ‘Thor: Ragnarok’. In this film, the character of Loki has a fixed self-identity, a core that stays the same. Despite Thor’s attempts to prevent his malicious acts from arising, Loki continues to betray and deceive him, thus portraying this ‘essence’ of a monotonous core-identity. 

Authenticity 

‘Authenticity’ is a terminology that revolves around the nature and value of being “true to yourself”, through use of ‘expressive behaviour to personify one’s personal identity.’ (Sigurour Kristinsson p.1, Denis Dutton p.1, 5) Frida Kahlo, is a well-known artist who’s work has expressed authenticity, which can be identified in many of her artworks. Through her dramatic symbolism in paintings such as; ‘Self-portrait with Thorn Necklace and Hummingbird’, Frida displays her personal experiences within relationships, and her cultural and religious identity as a Mexican and Christian to name a few. She inspires me as a Theatre practitioner to use my own experiences as a technique in playing an ‘authentic’ character on stage. Frida stated; “I paint my own reality. The only thing I know is that I paint because I need to, and I paint whatever passes through my head without any other consideration”.

Subjectivity 

In regards to Barker, ‘Subjectivity’ is this conception of individualism; (the ‘subject’) that is intertwined with the understanding of how we develop as subjects of individuals, culturally and experientially. (Barker 2012, p. 220) This notion of individualism is subjective to establishing an identity that is internally –through the unconscious, and externally –environmentally, socially, culturally, enforced. (Bennet and Royale 2016, p. 151) In this artwork, a women’s face is illustrated and with each canvas, are surroundings of internal and external forces, along with expressionistic ideals –highlighted through the ‘key words’, that ‘subjects’ her personality. In my creative practice, this piece can be used as an influential guide in breaking down a character’s identity and human nature.

References:

Barker, Chris 2012, 'Issues of subjectivity and identity', in Cultural studies: theory and practice, 4th ed., SAGE, London, p. 220-225

Bennett, Andrew & Royle, Nicholas 'Me', in An introduction to literature, criticism and theory, Fifth edition., p. 151

Bloom 1997, p. 30

Cranny-Francis, Anne 2008, 'Touching skin: embodiment and the senses in the work of Ron Mueck', in Anderson, Nicole Cultural theory in everyday practice, Oxford University Press Australia and New Zealand, South Melbourne, Vic, p. 37

Fil.lu.se. (2007). [online] Available at: http://www.fil.lu.se/hommageawlodek/site/papper/KristinssonSigurdur.pdf p. 2

 Glăveanu, V. and Tanggaard, L. (2014). Creativity, identity, and representation: Towards a socio-cultural theory of creative identity. p. 1

Goodreads.com. 

A quote by Frida Kahlo

. [online] Available at: https://www.goodreads.com/quotes/36444-i-paint-my-own-reality-the-only-thing-i-know 

Hall et al. 1996. P. 597, 598

Howes, David 2005, 'Skinscapes: embodiment, culture, and environment', in Classen, Constance The book of touch, Berg, Oxford, p. 28-30

Mansfield, Nicholas 2000, Subjectivity: theories of the self from Freud to Haraway, Allen & Unwin, St Leonards, N.S.W., p. 27,28,185

Pdfs.semanticscholar.org. (2004). [online] Available at: https://pdfs.semanticscholar.org/69c9/3a55f274c7666fb51da32d0c1f2268b5e67d.pdf p. 2,5,6

 Psychtoons. Chuckie Finster. [online] Available at: http://psychtoons.weebly.com/chuckie-finster.html

Tagg and Seargeant 2016, p. 343

 YouTube. (2017). Are You Living an Insta Lie? Social Media Vs. Reality. [online] Available at: https://www.youtube.com/watch?v=0EFHbruKEmw