#cacs102
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Social Identity
Social identity is the personhood formed as a result of socialisation and acculturation processes (Barker, 2007, p. 222). Subjects draw upon accessible resources to express their social identity, such as social ascription or social groups (Tagg & Seargeant, 2016, p. 343). It is through these social markers that subjects learn the expectations and impressions that others have of them (Barker, 2007, p. 220). Andy Warhol blurred the lines between visual artist and celebrity. The artist affiliated himself with the high-class social groups of ‘ascribed’ celebrity and ‘achieved’ celebrity, heightening his own social status and increasing the commercial value of his commodified pop art pieces (Kerrigan et al., 2011, pp. 1512–1513).
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Rita’s tattooing process, via instagram.
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Overdetermination
Overdetermination refers to the way that the unconscious mind rallies against our conscious selves and analyses feelings and situations too deeply. With this, we get create a situation that has been overthought and overdrawn, finding too much meaning in something small and trivial. Basically, overdetermination is every time you thought your English teacher was pulling meanings out of single words in Shakespeare plays. For me, I can find overdetermination present in my everyday life through my anxiety, which is highly present within my writing as each individual word that is placed onto a page is overthought and picked with excruciating precaution.
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Authenticity
Authenticity is one of those terms that have been thrown around for many years and have been vital for many jobs: from a journalist to and artist. Across my academic studies, I have encountered academics who have stated that their works are authentic and thus, original. There was a quote that I once read that said, being a Creative Writing major, that every good idea (in relation to writing) had already been written so everything else is appropriation. The authenticity, in regards to Moore’s article, acknowledged by artists outline “the artist speak truth of their own situation, that they speak of the situation of (absent) others and truth about their own culture” (Moore, 2002). as is obvious, the image above is authenticity as a mirror, framed to look the same without being a truthful representation.
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Essentialism is a notion created as a result of the enlightenment period, it is the view that every entity has a set of attributes that is necessary to its identity and function as a being. It is the ‘core’ or ‘soul’ of a person and relies on the idea of a “fixed essence of femininity, masculinity, Asians, teenagers and all other social categories.” (Barker.2012.pg221) Yasumasa Morimura seeks to explore and challenge social conventions and the ideas of fixed identity. He references within his work, his experiences as an Asian male in a western society and the stereotypes placed on him as a result of his gender, race, age and beliefs.
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SUBJECTIVITY
SUBJECTIVITY - “THE condition of being a person and the processed by which we become a person; that is, how we are constituted as cultural subjects and how we experience ourselves.” (Barker 2012, p. 220) In this, Barker states that our upbringing; where we grew up, when we grew up affects us at our deepest level. My upbringing will be completely different to someone else’s, no matter how similar our lives are, therefore effecting the way I enjoy things and identify with them. Just because I like a movie, artwork, doesn’t mean you have to like it as well. “Art is subjective.” - Mat Wall-Smith, 2017
(Call Me By Your Name, 2017, Dir. Luca Guadagnino)
(Mother! 2017, Dir. Darren Aronofsky)
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REFERENCE LIST
ANIMATIONS:
Xaviera López, 2016, <http://xavieralopez.com/>
- <http://xavieralopez.com/1132-2/>
- <http://xavieralopez.com/skin/>
- <http://xavieralopez.com/mirror/>
- <http://xavieralopez.com/zoop/>
- <http://xavieralopez.com/shampoo/>
- <http://xavieralopez.com/ex-ovo-omnia/>
- <http://xavieralopez.com/spider-flow/>
- <http://xavieralopez.com/inhale-exhale-repeat/>
- <http://xavieralopez.com/the-triangle/>
- <http://xavieralopez.com/the-dream/>
DEFINITIONS:
o Barker, c 2007, ‘Issues of Subjectivity and Identity’, in Cultural Studies: Theory and Practice, 3rd edition, Sage publications, London, pp. 218-223
o Bennet, A & Royle, N 2016, An introduction to literature, criticism and theory, 5th edition, Routledge, New York.
o Brooks, P 2001, Troubling confessions: speaking guilt in law and literature, The University of Chicago Press, Chicago.
o Eagleton, T 2008, Literary theory: an introduction, University of Minnesota Press, Minneapolis.
o Freud, S 1974, ‘Creative Writers and Daydreaming’, Standard edition of the Complete psychological works of Sigmund Freud: IV, trans. J Strachey, Hogarth Press, London.
o Freud, S 2004, Civilization and its discontents, Penguin Books, London.
o Freud, S 2016 ‘The uncanny’, Massachusetts Institute of Technology, <hep://web.mit.edu/allanmc/www/freud1.pdf>.
o Fricke, J 1994, ‘Kurt Cobain, The Rolling Stone interview: success doesn't suck’, Rolling stone, viewed 5 August 2016,
<hDp://www.rollingstone.com/music/news/kurt-cobain-the-rolling-stone-interview-19940127>.
o Hall, S, Held, D, Hubert, D, Thompson, K 1996, Modernity: an introduction to modern societies, Blackwell Publishers, Oxford.
o Howes, David 2005, ‘Skinscapes: embodiment, culture and environment’ in Classen, Constance The book of touch, Berg, Oxford, pp. 27-39
o Mansfield, N 2000, Subjectivity: theories of the self from Freud to Harraway, New York University Press, New York.
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Referencing
Tagg, C & Seargeant, PA 2016, ‘Facebook and the discursive construction of the social network’, in A Georgeakopoulos & T Spilio' (eds), The Routledge handbook of language and digital communication, Routledge, New York, pp. 342-347.
https://www.youtube.com/user/MessYourself
https://en.wikipedia.org/wiki/Gifted_Hands:_The_Ben_Carson_Story
Mansfield, N 2000, ‘Freud and the split subject’ in Subjectivity: theories of the self from Frued to Haraway, New York University Press, New York, pp. 25-40
http://www.apa.org/science/about/psa/2005/05/gelman.aspx
http://www.dictionary.com/browse/unconscious
https://www.psychologytoday.com/basics/unconscious
http://www.huffingtonpost.com/ira-israel/what-is-authenticity_b_10327880.html
http://www.thoughtsonlifeandlove.com/fractured-identities/
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INTRODUCTION
I am a 19 y/o 1st-year University student: studying a Bachelor of Creative Arts, Major: Creative writing. also studying a Diploma in Social Media Marketing. This Tumblr blog is an assessment of Critical Frameworks in Creative Practice. (CACS102).
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Fractured Identity
Fractured identity occurs as a result of the condition of subjectivity which renders individuals vulnerable to shifting internal and external forces. Therefore, a single concrete identity nor complete autonomy can be maintained (Bennett & Royle, 2016, p. 151). A subject is fragmented into multiple identities which may be inconsistent with one another (Hall et al. 1996, p. 598). Jason Wing’s installation In Between Two Worlds (2012) explores the artist’s bicultural identity. Indigenous Australian symbolism represents the Biripi people and Chinese symbolism refers to his Cantonese background (Adelaide Eastern Courier, 29 September 2010, p. 33). The artist converges these identities by stating that he is “100% Chinese, 100% Aboriginal, 100% Australian” all at once (Wing cited in Ang, 2017, p. 345).
Jason Wing, In Between Two Worlds, 2012
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CREATIVE IDENTITY
An individuals creativity identity is not only how you present yourself, but the manner is which you create. It is true that ‘few studies have focused on the complexities and contradictions that face creatives in their professional role’ (C. Hackley & A.J. Kover 2015). As the creative arts industry continues to grow, individual identities become vital not only to businesses but to the uniqueness of art. Seeing myself as a creative practitioner in visual arts and graphic design, I stay true to what inspires me most. Most of my influences come from nature and the experiences that have defined me. Creating under this force ensures my creative identity will remain true.
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Sensory Knowledge
Sensory knowledge refers to the information we gain we gain from our bodies external senses. We rely on our senses – sight, smell, sound, taste and scent – to gain and relay knowledge that we couldn’t necessarily pick up or give from verbal communication. Even though we are born with these senses to help us act within our environment, our cultural backgrounds impact the efficiency of these senses immensely. The way we process our information and our differentiating views and perceptions are influenced by our various social backgrounds, and therefore create our different senses.
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The notion of the unconscious is was first referenced in Freud’s psychoanalytical theory of personality. It is described as being a facet of the mind in which thought, urges and memories, usually of an unpleasant or unacceptable manner, are stored outside of our conscious field. Salvador Dali’s ‘The Lugubrious Game’ (1929) is one of a series of works referencing Freud’s Oedipus Complex, which Dali felt related heavily to his own life. It depicts the ideas of masturbation, Dali’s sexual fears and fixations (including a sexual desire for his mother) and the consequences of masturbation (the imagery of which can be viewed through Freud’s dream analysis to be a reference to castration by his father).
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ESSENTIALISM
ESSENTIALISM – THIS is the thought that every single person has a fixed ‘essence’; something that makes them, them which is a constant, unmovable variable, “… femininity, masculinity, Asians, teenagers and all other social categories” (Barker, 2012, p. 222) This word often goes hand-in-hand with ‘identity’. Although this is predetermined, you take this with you wherever you go, you can often project your essence into your creative work. You can oftentimes tell when films are directed by the same person as they have a ‘feel’ or ‘spirit’; this is the director leaving their own ‘water mark’ on their work.
(Crimson Peak, 2015, Dir. Guillermo del Toro)
(The Shape of Water, 2017, Dir. Guillermo del Toro)
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SENSORY KNOWLEDGE
Howes refers to sensory knowledge as how an individual acquires knowledge through the senses; we absorb this information through our sense of smell, touch, taste, sight and what they hear. For example, as a child, we are taught not to touch the hot stove because something bad will happen if we do. Of course, as a child, we will want to challenge this as we are yet to experience that negative outcome of being burnt. However, once we do touch the stove and experience being burnt, we learn through our senses to associate that experience as something negative. As a writer, I incorporate images and music to into my works.
IMAGE: http://xavieralopez.com/1132-2/
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Reference List.
Bargh, J. A & Chartrand, T. L, 1999, the unbearable automaticity of being, American psychologist, 54(7), p. 462.
Barker, C 2012, Issues of Subjectivity and Identity, in cultural studies: theory and practice, 4th ed, SAGE, London, p. 225.
Bloom, H 1997, The anxiety of influence: a theory of poetry, 2nd edn, Oxford University Press, Ofxord, p. 30.
Bukszpan, D 2010, musicians gone broke, cnbc, 29 october, viewed 20 March 2017, <http://www.cnbc.com/2010/10/29/15-Musicians-Gone-Broke.html>.
Elmo, What Makes Music, 2011, videorecording, Youtube, viewed 16 March 2017, <https://www.youtube.com/watch?v=o4aQgvBiQA8>.
Evans, J 2015, On pop starts alter-egos, the website of Jules Evans, 11 September, viewed 21 March 2017,<http://www.philosophyforlife.org/on-pop-stars-alter-egos/>.
Gordon, A 2014, ‘Distinctions of authenticity and everyday punk self’, Punk & post punk, vol. 3, no. 3, pp. 183 -202.
Heather 2015, what does creative identity mean to you, weblog post, 4 June, viewed 20 March 2017, <https://nearlythere.com/2015/06/04/what-does-creative-identity-mean-to-you/>.
Howes, D 2005, ‘Skinscapes: eboidment, culture and environment’, in Classen, Constance The book of touch, Berg, Oxford, pp.27-39.
Liebman, J 2012, Larry Graham Interview, For bass players only, 1 October, viewed on 20 march 2017, <http://forbassplayersonly.com/interview-larry-graham/>.
Los Angeles Times 2010, Jac Holzman on Bob Dylan at the 1965 Newport Folk Festival, videorecording, Youtube, viewed 20 March 2017, <https://www.youtube.com/watch?v=5qwasjjQx2k>.
Mansfield, N 2000, Subjectivity: theories of the self from Freud to Harraway, New York University Press, New York. p.3.
McLeod, S 2009, Unconscious Mind, viewed 17 March 2017, <www.simplypsychology.org/unconscious-mind.html>.
McRobbie, A 1998, British fashion design: rag trade or image industry?, Routledge, New York, p.66.
Miles Davis Biography 2014, 16 October, viewed 19 March 2017, <http://www.biography.com/people/miles-davis-9267992>.
Miles Davis, image, rollingstone, viewed 15 March 2017, <http://www.rollingstone.com/music/artists/miles-davis/biography>.
Robertson, T & Atkins, P 2008, "Essential vs. Accidental Properties", The Stanford Encyclopedia of Philosophy (Summer 2016 Edition), Edward N. Zalta (ed.), <https://plato.stanford.edu/archives/sum2016/entries/essential-accidental/>.
Shockman, E 2016, weblog, 6 February, viewed 19 March 2017,<https://www.pri.org/stories/2016-02-06/how-music-can-affect-your-sense-taste>.
Sklar, M 2013, Punk style, Bloomsbury Publishing, London, p. 4.
Smith, P 1979, London’s calling, image, Wikipedia, viewed 20 March 2017, < https://en.wikipedia.org/wiki/File:TheClashLondonCallingalbumcover.jpg>.
Tagg, C & Seargeant, P 2016, ‘Facebook and the discursive construction of the social network’, A Georgakopoulou & T Spilio' (eds), The Routledge handbook of language and digital communication, Routledge, New York, p 343.
Taylor, C 1991, The ethics of authenticity, Harvard University Press, London, p. 65.
The Jimi Hendrix Experience – Foxey Lady (1968), 2013, videorecording, Youtube, viewed 17 March 2017, <https://www.youtube.com/watch?v=_PVjcIO4MT4>.
Thompson, W, Graham, P & Russo, F 2005, Seeing music performance: Visual influences on perception and experience, Semiotica, 156, pp. 203-227.
Van Zandt, S 2010, Rollingstone magazine, weblog, 2 December, viewed 20 March 2017, <http://www.rollingstone.com/music/lists/100-greatest-artists-of-all-time-19691231/eric-clapton-20110420>.
Wald, E 2015, Dylan Goes Electric!, Harper Collins publishers, New York, pp. 1-2.
Watrous, P 1993, The New York Times, The Blues: A Cousin of Mozart?, 7 February, viewed 20 March 2017, <http://www.nytimes.com/1993/02/07/arts/pop-view-the-blues-a-cousin-of-mozart.html>.
What Is The Blues? Lightnin’ Hopkins Explains, 2015, videorecording, Youtube, viewed 19 March 2017, <https://www.youtube.com/watch?v=UvUVRkGe_Yo>.
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