Museum or Mausoleum Framing of Art Culture and Neuroplasticity
For those interested in Bound Quarter, here are the details:
Museum or Mausoleum? The Framing of Art, Civilization and Neuroplasticity
Fall – Winter – Leap
Faculty: Sarah Williams ; feminist theory, consciousness studies.
Collaborating Instructor: Marshall Astor; art, museum studies, arts administration
Signature Required: Students wishing to join the plan should have previous studies in visual or performing arts, cultural studies, anthropology, cognitive studies, philosophy, feminist theory or museum studies.. Students should bring prove that they have met the prerequisites to the faculty at the Bookish Off-white to obtain signature. Materials may also be emailed or mailed to Sarah Williams (williasa@evergreen.edu or SEM II A2117, The Evergreen Country College, 2700 Evergreen Parkway, Olympia, WA 98502). If mailing materials, include a brief note requesting to enroll in the program, forth with contact data.
Description: Practise museums transform living, irresolute cultural objects into fixed, preserved, inviolate collections? What stories practise museums tell? What stories do objects embody? And what stories practice we, visitors, tell ourselves? How practise objects housed in museums touch our sense of self-identity? What does information technology take to become aware of how stories we tell both frame and are framed by objects? Is it possible to heal culture and the cocky through the interactions of narratives and objects? What happens to historical ideas about human consciousness when we explore the mausoleum-like exhibitions of what this consciousness has exhibited as other? What happens to consciousness when it is framed by neuroscience or to the self when it encounters thinking as an evolutionary internalization of movement?
We'll explore the ability of narrative objects in a diversity of exhibition spaces: museums, galleries, shopping malls, book/spider web pages. Nosotros'll place curiosities about the relationship between art objects and self-representation, peculiarly shifts in cultural influences and identities as they relate to shifts betwixt the museological and mausoleum-like aspects of exhibition spaces.
A triptych is a narrative object that uses 3 pictorial panels to convey movement in time, space, and states of being. A triptych, of sorts, is the focus of our fall quarter work and the model for our winter field studies. Consider our left panel: in the lives and other virtual realities of William Gibson'southward Count Zip, the effects of narrative objects range from creative to preservative to destructive. Equally significant is how these effects are framed in movements between exhibition spaces experienced as "bird-cages of the muses" and those encountered in computer generated Joseph Cornell-like bird boxes. In the centre console is the narrative ability of an artwork in Sheri Tepper's science fiction novel, The Fresco. Here, alien races feel the consequences when a fresco at the heart of their cultural identity has been violently misinterpreted for a millennium. At present, the right panel. Hither, in Catherine Malabou's texts the shifting movement or adjustability of self is called neuroplasticity. Her analysis of Claude Levi-Strauss' fascination with two sides–graphic and plastic–of masks illustrates her definition of neuroplasticity. We'll read this mail-Derridean theory of cocky and practise fieldwork with masks available for viewing in local collections.
During jump quarter students volition have the opportunity to integrate individual and peer group projects into a cadre all-program curriculum. That is, in improver to the viii credit all-program activities of seminar, lecture, visiting artists' lecture and film serial, a retreat week, and related assignments (eastward.g., weekly seminar response essays, a theory as evocative object chapter, a mindmap and 3D triptych, and mid-term and final reflective and evaluative writing), each student will use an ILC/Internship form to design an in-plan individual or peer grouping projects for viii credits. These projects may include (but are non limited to) the curation and/or installation of an exhibition or collection, an internship, a studio-based artistic or technical practice, community-based learning in support of Paddle to Squaxin 2012!, or a field-based museum-related study. Students will certificate their individual or peer-based learning and create a multi-media presentation for calendar week ten. Partially funded past TESC's Noosphere Award, week seven retreat week activities will include a range of wistful practices: 5 rhythm dance; yoga nidra; lectures with Seattle University philosopher and Zen priest, Dr. Jason Wirth; and a retreat 24-hour interval at Seattle Academy'due south St. Ignatius Chapel.
In Addition to Weekly Articles on the Plan Moodle Required Texts Include: Every bit Higher up, So Beneath (Rudy Rucker – to be read prior to the kickoff of Spring Quarter), My Cocaine Museum (Michael Taussig), What Makes a Cracking Exhibition? (ed., Paula Marincola), Descartes' Mistake (Antonio Damasio), Plasticity at the Dusk of Writing (Catherine Malabou). A recommended text for students agile in the Paddle to Squaxin is Battling Knowledge: Museums and Indigenous Perspectives (ed., Susan Sleeper-Smith).
Preparatory for studies or careers in: art history, art, cultural studies, writing, anthropology, feminist theory, contemplative instruction, and museum-related fields.
Source: https://archives.evergreen.edu/webpages/curricular/2011-2012/museumormausoleum/
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