From Double Navel To Particle-Sign: Toward The A-Signifying Work Of Painting

Kontturi, Katve-Kaisa

doi:10.5040/9780755603435.ch-001

Cited by 6 publications

(3 citation statements)

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“…If matter is intelligent, self-organizing, and agentic (Barad, 2007;Braidotti, 2013), then matter is capable of intruding and facilitating key moments within material-discursive phenomena. Konturri (2013) proposed the notion of a "particle-sign" to describe an aspect of material-discursive relationships between matter, such as paint, paper, canvas, glue, and the artist (Barad, 2007;Konturri, 2013) that is unintentional on the part of the artist. In Black Pond , the particle sign emerges in the image below in the unintentionally overly thick application of black gesso on the banks of a fruit-tree orchard and the waters that run by it.…”

Section: Resultsmentioning

confidence: 99%

Reinterpreting arts-based data through a posthumanist lens – Reinterpreting arts-based data through multiple theories

Weber¹

2017

RAE

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In 2015, the author published an autoethnographic study on the conflict between herself, a Deaf teacher, and sign-language interpreters working with adolescent students in a tutorial program in Saskatchewan, Canada. While the author advocated the use of American Sign Language native to the Deaf community, the interpreters preferred to use a manual code based on English grammar and syntax . Artwork produced by the author during this period of conflict and interpreted in the light of classic postcolonial theory (Mignolo, 2000;Pennycook, 1998;Said, 1979) allowed for a more nuanced and compassionate retelling of the conflict. The presence of continued binaries in the 2015 study, however, prompted the reinterpretation of the same data within a posthumanist frame, prompting the questions: What does the same arts-based data reveal when reinterpreted according to the material turn, specifically posthuman theorizing? BioJoanne Weber is a teacher of the deaf and hard of hearing, artistic director of a deaf theatre company, Deaf Crows Collective, and a PhD student at the University of Regina, in Saskatchewan, Canada, where she specializes in language and literacy education. Her books, The Pear Orchard (poetry) and The Deaf House (creative non-fiction) were finalists in the Saskatchewan Book Awards (2007Awards ( , 2013. Joanne is also a leader in the Canadian Deaf community at provincial and national levels.

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Section: Resultsmentioning

confidence: 99%

Reinterpreting arts-based data through a posthumanist lens – Reinterpreting arts-based data through multiple theories

Weber¹

2017

RAE

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“…Su proceso parecía no previsto, mostrando cómo su cuerpo era capaz de recordar sus movimientos y afectos para materializarlos en el papel. El lápiz se movía en intracción con un cuerpo que podía regenerar sus tránsitos y mostraba la actividad de la materia como un participante activo e indispensable (Kontturi, 2013: 18) e igual creador de estas cart(e)ografías. Los afectos, pues, estaban circulando por los cuerpos tanto humanos como no humanos para generar un nuevo dispositivo.…”

Section: Las Cart(e)ografías En Drassanesunclassified

Hacia una pedagogia afectiva del movimiento

Benavente

2019

Tercio Creciente

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Entender la pedagogía desde el concepto de afecto permite adentrarnos a las transformaciones que los cuerpos viven dentro de eventos de aprendizaje. En concreto, este artículo indaga sobre cómo los afectos circulan en situaciones pedagógicas de movimiento localizadas, en 3 sesiones de psicomotricidad, para ir hacia una pedagogía afectiva que explora las transiciones de los cuerpos como manera de repensar las formas de hacer en educación. La metodología usada en este artículo es de una Investigación Basada en las Artes desde una perspectiva de los Nuevos Materialismos. Cómo método, se explora el proceso de elaboración de las cartografías de investigación y cart(e)ografías que aterrizan el movimiento y los afectos de un momento en concreto. Este artículo entiende como resultados aquellos conocimientos surgidos en el proceso de investigación. En ellos, se puede ver como el movimiento permite circular afectos que pueden ser retenidos en la especificidad de cada cuerpo para transformar y aprender. Acercarse a una pedagogía afectiva del movimiento significa ir hacia métodos experimentales pero localizados. De esta manera se pueden explorar estrategias pedagógicas que invitan a repensar la educación a partir de desdibujar las dualidades y las jerarquías, atender a las relaciones, a los movimientos de los cuerpos que nunca son estables y empezar a entender la necesidad de afectar y ser afectado para poder transformarse y aprender.

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“…She argues that creative ideas are emerged from serendipitous and intentional actions, and reflections on these actions creates new works of art. In art historian Katve-Kaisa Kontturi's (2013) studies, the meaning in the matter is researched in order to overcome the stratified status of the art works. Through examining paintings of an artist, she argues that destructing the givens, the obvious implementations of the material, presents the subjectivity of the matter.…”

Section: Ceramic Artist Maarit Mäkelä and Ceramic Artist And Research...mentioning

confidence: 99%

Material as the Co-designer: exploring a new practice in the nature and at the studio

Aktaş¹

2018

RAE

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Creative production is fed upon reflections of the maker from various phases in making. This paper presents reflections from an explorative process of studying the material and ways of interacting with it. By introducing examples from different phases of felt making, this study examines how the wool, the only material in felt making, reacts as the maker works with it. Coming from a product design background, the author is used to build her works upon facts, needs, or reasons. When she started practising felt, she had no purpose rather than exploring the material and gaining experience on the practice. As the interaction with the material continued, with a carefully documented exploration process, she realised how material reformed itself with the movement of her hands, continuously creating new patterns by recomposing the fibres. This particular example suggests broadening the concept of design by positioning material as the co-designer in the creative process which can propose new ways of understanding the creative practice and material's role. In this paper, the concept of material agency is studied from the perspective of material as the co-designer with a practice-led approach.

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From Double Navel To Particle-Sign: Toward The A-Signifying Work Of Painting

Cited by 6 publications

References 0 publications

Reinterpreting arts-based data through a posthumanist lens – Reinterpreting arts-based data through multiple theories

Reinterpreting arts-based data through a posthumanist lens – Reinterpreting arts-based data through multiple theories

Hacia una pedagogia afectiva del movimiento

Material as the Co-designer: exploring a new practice in the nature and at the studio

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