Art in the corporal memory and in the mental imagery

Gheorghiu, Dragoş

doi:10.2307/j.ctv13pk6z0.10

Cited by 4 publications

(4 citation statements)

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“…It produces a new kind of learning by combining knowledge and practice [98]. Creative anthropology can be distinguished from approaches that document cultural facts in the media [99]; from representations of anthropological data through artistic practices [100,101]; from interdisciplinary collaborations between an anthropologist and artists [102][103][104]; and from proposals from the artist as an anthropologist [105,106] or archaeology as an art form [107]. All these innovative approaches have defined several possibilities for interdisciplinary relations [108], but in contrast to existing research, creative anthropology takes the stick from the end of research-creation [52].…”

Section: Opening Breaches: Creative Anthropology's Hybrid Heuristicsmentioning

confidence: 99%

“Creative Anthropology” as a Unit for Knowing: Epistemic Object and Experimental System in Research-Creation “in” Clay

Potvin

2024

Humans

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This essay takes advantage of the current context of superdiversity to define a form of hybrid heuristics between North American anthropology and research-creation “in” the arts. In an attempt to alleviate the epistemological disaster described by Gregory Bateson as the loss of the unity of the biosphere and humanity, I position myself within a nomothetic perspective of Boasian anthropology and a postqualitative approach to research-creation. My research-creation proposes clay as an epistemic object and develops a creative methodology in the form of an experimental system that borrows from the following two types of change observable in living organisms: static and schismatic changes. The artistic activities, presented as two heuristic cycles, seek to broaden the self-reflexivity inherent in the use of clay by human groups. They provoke decentring leading to a loss of control where a new identity has to be defined. This reveals itself in terms of system thinking as the reconstruction of a new reality that is defined neither entirely by my artistic practice nor entirely by my theoretical framework derived from anthropology. It is a “place of passage” between both. It is a new identity that can be defined by the “change of change” that I call “creative anthropology”. This transdisciplinary approach introduces a “second glance” into anthropological research and opens up breaches through research-creation. It works to develop new narratives and test posthumanism in the field of my artistic practice.

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Section: Opening Breaches: Creative Anthropology's Hybrid Heuristicsmentioning

confidence: 99%

“Creative Anthropology” as a Unit for Knowing: Epistemic Object and Experimental System in Research-Creation “in” Clay

Potvin

2024

Humans

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“…In front of the force of Nature that transforms matter as if trying to continue the human creation, during psychogeographic pilgrimages I am sometimes carried away by imagination interpreting the details captured in photographs as discreet or obvious signs on the walls of ruins that invite me to listen to the stories of their past. The artistic imagination is to be found in the scientific one, such as the archaeological imagination (Shanks, 2012;Gheorghiu, 2020), and psychogeography is located on the border between these two perspectives of knowledge. Psychogeographic experiences have allowed me to express in a creative manner, the way in which the ruins proudly tell their fascinating stories.…”

Section: Mottomentioning

confidence: 99%

A Study of Experiential Archeology of a Poem by Fernando Pessoa

Moţăianu

2022

DAC

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This paper describes an experiential archaeology project carried out in three cities in Portugal, Mação, Tomar and Lisbon and analyses, from a poetic perspective, the effects of Time on matter using psychogeography as a method of exploring the urban landscape.In this case psychogeography was used to experience a poem by the great Portuguese modernist writer and poet Fernando Pessoa, in the same way an observer experiences a cityscape. Photographs of ruins that show traces of degradation caused by the passage of time are presented in the form of four condensed visual narratives that visualise four different versions of the poem's verses.

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“…The henge earthworks and stone circle do not stand in isolation but developed in a Neolithic landscape with a long history dating back to the 4th millennium BCE ( [43], pp. [23][24][25][26][27][28][29][30][31][32][33][34][35][36][37][38]; the very fabric of the Avebury site was composed of elements with a storied past [44]. The Avebury site was (re)discovered by the antiquary John Aubrey in 1649; recorded in detail by William Stukeley in the 1720s; and restored in the 1930s to its perceived former glory by the marmalade magnate and playboy Alexander Keiller ( [43], pp.…”

Section: Avebury Again and Againmentioning

confidence: 99%

“…Importantly, "Rather than producing institutionally safe narratives conventionally certified as truth, archaeologists should follow the lead of artists who use the past as a source of materials to be reconfigured in new ways to help people see in new ways" ( [30], p. 691). This includes archaeologists trying "to challenge their own practice-based research creatively" ( [31], p. 121, original emphasis) or, put another way, those applying their creative imagination [32,33].…”

Section: Introductionmentioning

confidence: 99%

Temporal Frankensteins and Legacy Images

Dawson

Jones

Minkin

et al. 2022

Digital

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Digital images are produced by humans and autonomous devices everywhere and, increasingly, ‘everywhen’. Legacy image data, like Mary Shelley’s infamous monster, can be stitched together as either smooth and eloquent, or jagged and abominable, supplementary combinations from various times to create a thought-provoking and/or repulsive Frankensteinian assemblage composed, like most archaeological assemblages, of messy temporal components combining, as Gavin Lucas sums it up, as “a mixture of things from different times and with different life histories but which co-exist here and now”. In this paper, we take a subversive Virtual Art/Archaeology approach, adopting Jacques Derrida’s notion of the ‘supplement’, to explore the temporality of archaeological legacy images, introducing the concept of timesheds or temporal brackets within aggregated images. The focus of this temporally blurred, and time-glitched, study is the World Heritage Site of the Neolithic to Common Era henge monument of Avebury, UK (United Kingdom).

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Art in the corporal memory and in the mental imagery

Cited by 4 publications

References 0 publications

“Creative Anthropology” as a Unit for Knowing: Epistemic Object and Experimental System in Research-Creation “in” Clay

“Creative Anthropology” as a Unit for Knowing: Epistemic Object and Experimental System in Research-Creation “in” Clay

A Study of Experiential Archeology of a Poem by Fernando Pessoa

Temporal Frankensteins and Legacy Images

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