As I examine my motivations to create art I recognize three primary but competing drives (relating to three Viennese schools of psychotherapy): A will to pleasure (Freud, Klein, Lacan), a will to meaning (Frankl, Sarbin), and a will to power (Nietzsche, Adler).
These drives become characters which become objects personified in this site specific installation as a model of my mind (its flaws laid bare). A fourth character lurks in the shadows not so very far away creating anxiety for all.
Catastrophantastic is my way of playfully, creatively, artfully "thinking" through phantasies that underlie my consciousness and generate my drives as they attempt to evade the horrific recognition of my body's frailty and certain eventual death.
- Lander
These drives become characters which become objects personified in this site specific installation as a model of my mind (its flaws laid bare). A fourth character lurks in the shadows not so very far away creating anxiety for all.
Catastrophantastic is my way of playfully, creatively, artfully "thinking" through phantasies that underlie my consciousness and generate my drives as they attempt to evade the horrific recognition of my body's frailty and certain eventual death.
- Lander
| lander_thesis.pdf |
Links, diagrams and significant quotations
installation art
http://installationart.net/MenuItems/contents.html
www.tate.org.uk/context-comment/articles/it-installation-art
www.naeaworkspace.org/session_handouts_12/Creativity%20Neuroscience%20Digital%20Installation%20Art_Allison%20Procacci.pdf
"(T)he best installation art is marked by a sense of antagonism towards its environment, a friction with its context that resists organisational pressure and instead exerts its own terms of engagement." - Claire Bishop, But is it installation Art? Tate Etc. issue 3: Spring 2005
disabilities, metaphor, disabilities' misuse as metaphor and related texts
www.press.umich.edu/pdf/9780472071005-ch1.pdf
http://muse.jhu.edu/article/35207
http://muse.jhu.edu/article/378826
http://psychologyinrussia.com/volumes/pdf/2012/petrenko.pdf
http://www.wordgathering.com/issue23/arts/cachia.html
http://www.dsq-sds.org/article/view/3783/3792
dsq-sds.org/article/view/1263/1272
http://collectiveliberation.org/wp-content/uploads/2013/01/Lorde_The_Masters_Tools.pdf
https://monoskop.org/File:Susan_Sontag_Illness_As_Metaphor_1978.pdf
http://www.theamericanconservative.com/2014/07/24/the-ethics-of-disability-metaphors/
https://missmarymax.wordpress.com/2010/07/17/disability-as-metaphor/
http://meloukhia.net/2015/05/disability_as_metaphor_and_why_you_shouldnt/
http://www.theatlantic.com/entertainment/archive/2014/07/why-disabled-characters-are-never-played-by-disabled-actors/374822/
https://archive.org/stream/DenialOfDeath/DenialOfDeath_djvu.txt
http://www.yorku.ca/jspot/5/jgifford.htm
"The fact that we will all become disabled if we live long enough is a reality many people who consider themselves able-bodied are reluctant to admit."
- Garland Thompson, Disability, Identity, and Representation.
objectification
http://www.mit.edu/~shaslang/mprg/nussbaumO.pdf
http://plato.stanford.edu/entries/feminism-objectification/
http://web.mit.edu/langton/www/pubs/Projection&Objectification.pdf
https://www.youtube.com/watch?v=3YMgu9VqhuI
catastrophe and phantasy
www.researchgate.net/publication/227666497_Catastrophe_objects_and_representation_Three_levels_of_interpretation
www.psychoanalysis-and-therapy.com/human_nature/nash/Nashchap2.htm
http://people.oregonstate.edu/~flayb/MY%20PUBLICATIONS/Theory/Flay%2078%20Catastrophe%20Theory%20-%20attitudes%20and%20social%20behavior.pdf
r.search.yahoo.com/_ylt=A0SO8yCVsvFXaqkAxyNXNyoA;_ylu=X3oDMTEycmJqcW1xBGNvbG8DZ3ExBHBvcwMxBHZ0aWQDQjE3OTNfMQRzZWMDc3I-/RV=2/RE=1475486485/RO=10/RU=https%3a%2f%2fcuerpo-txts-lacan-jacques.wikispaces.com%2ffile%2fview%2fElizabeth%2bStewart%2bCatastrophe%2band%2bSurvival%2bWalter%2bBenjamin%2band%2bPsychoanalysis%2b2009.pdf/RK=0/RS=_I8LVEhjysn0iNXzQ2qGdkmWp4g-
http://www.healingcare4u.org/3PrimalDrivesEssay.html
www.researchgate.net/publication/227666497_Catastrophe_objects_and_representation_Three_levels_of_interpretation
www.psychoanalysis-and-therapy.com/human_nature/nash/Nashchap2.htm
http://people.oregonstate.edu/~flayb/MY%20PUBLICATIONS/Theory/Flay%2078%20Catastrophe%20Theory%20-%20attitudes%20and%20social%20behavior.pdf
r.search.yahoo.com/_ylt=A0SO8yCVsvFXaqkAxyNXNyoA;_ylu=X3oDMTEycmJqcW1xBGNvbG8DZ3ExBHBvcwMxBHZ0aWQDQjE3OTNfMQRzZWMDc3I-/RV=2/RE=1475486485/RO=10/RU=https%3a%2f%2fcuerpo-txts-lacan-jacques.wikispaces.com%2ffile%2fview%2fElizabeth%2bStewart%2bCatastrophe%2band%2bSurvival%2bWalter%2bBenjamin%2band%2bPsychoanalysis%2b2009.pdf/RK=0/RS=_I8LVEhjysn0iNXzQ2qGdkmWp4g-
http://www.healingcare4u.org/3PrimalDrivesEssay.html
"The one by whom the abject exists is thus a deject who places (himself), separates (himself), situates (himself), and therefore strays instead of getting his bearings, desiring, belonging, or refusing..Instead of sounding himself as to his “being,” he does so concerning his place: “Where am I?” instead of “Who am I?” For the space that engrosses the deject, the excluded, is never one, nor homogeneous, nor totalizable, but essentially divisible, fold- able, and catastrophic. A deviser of territories, languages, works, the deject never stops demarcating his universe whose fluid confines—for they are constituted of a non-object, the abject—constantly question his solidity and impel him to start afresh. A tireless builder, the deject is in short a stray."
- Julia Kristeva, (1982), Approaching Abjection, Powers of Horror
- Julia Kristeva, (1982), Approaching Abjection, Powers of Horror
caliban
https://www.nas.org/articles/acknowledging_things_of_darkness_postcolonial_criticism_of_the_tempest
https://www.arcjournals.org/pdfs/ijsell/v1-i2/v1-i2-ijsell_3.pdf
http://www.gaynz.com/blogs/redqueen/?p=1694
http://sederi.org/docs/yearbooks/07/7_33_munoz.pdf
the outsider/universality
www.lacan.com/zizparallax2.htm
http://rebels-library.org/files/universal_exception.pdf
bartleby
https://www.academia.edu/378124/ID_Prefer_Not_To._Bartleby_and_the_Excesses_of_Interpretation?auto=download
"[P]erhaps we should assert this attitude of passive aggression as a proper radical political gesture, in contrast to aggressive passivity, the standard ‘interpassive’ mode of our participation in socio-ideological life in which we are active all the time in order to make sure that nothing will happen, that nothing will really change. In such a constellation, the first truly critical (’aggressive,’ violent) step is to withdraw into passivity, to refuse to participate—Bartleby’s ‘I would prefer not to’ is the necessary first step which, as it were, clears the ground, opens up the place, for true activity, for an act that will actually change the coordinates of the constellation." p342
Zizek, S. (2006) The Parallax View, Cambridge, Massachusetts and London: MIT Press.
"Originals are beings of Primary Nature, but they are inseparable from the world or from secondary nature, where they exert their effect: they reveal its emptiness, the imperfection of its laws, the mediocrity of particular creatures…. The original, says Melville, is not subject to the influence of his milieu; on the contrary, he throws a livid white light on his surroundings, much like the light that ‘accompanies the beginning of things in Genesis’". p83
Deleuze, G. (1998) Bartleby; or, the formula. In: G. Deleuze, Essays Critical and Clinical (D. W. Smith, trans.), London: Verso.
