recontextualizing

Garnet: the burden of leadership, self-restraint, and longing for connection

post-“Jail Break”, a lot of us rather inevitably and understandably started using its ‘Garnet is a fusion of Ruby and Sapphire’ revelation to both interpret Garnet in subsequent episodes and to recontextualize her admittedly stoic, withdrawn behavior throughout Season 1.

this sort of ‘recontextualization effect’ encouraged some funny fandom trends–like figuring out what Ruby and Sapphire were feeling/thinking during moments like Garnet’s infamous telephone conversation with Dr. Maheswaran in “Fusion Cuisine” or the duration of Garnet’s fusion with Amethyst in “Coach Steven”. and those were mostly harmless, but allowing Ruby and Sapphire’s love to determine our understanding of Garnet as a wholly happy, healthy relationship–even over behavior that suggested something deeper and different–really does Garnet a huge disservice.

Garnet isn’t just Ruby and Sapphire in a trench coat, or Ruby and Sapphire copiloting Garnet’s body.

Garnet embodies Ruby and Sapphire’s love, and she’s a gestalt–her own, distinct person, with her own personality and experiences, who’s quite literally greater than the sum of her parts.

during The Week of Sardonyx, a lot of us–including myself–noted that, because she embodies Ruby and Sapphire’s loving relationship, Garnet couldn’t really comprehend the depths of Amethyst’s and Pearl’s loneliness, insecurity, self-loathing, and lack of self-esteem… 

…and while there’s definitely more to it than I originally understood before my Garnet-targeted canon rewatch, I still believe that point has a little merit. while Amethyst and Pearl once had Rose to help them work through their issues and remind them that they were valued and loved, Rose ultimately abandoned her physical form to have Steven–and even before that, it was impossible for Rose to always be there for Amethyst and Pearl in the same way that Ruby and Sapphire are for one another, because they’re “always together”. like Pearl, it’s very likely that Ruby and Sapphire experienced marginalization and oppression on Homeworld…but by fusing out of love, they’re able to lend each other constant, unconditional support and achieve a transcendent sense of togetherness.

that unconditional love, constant support, and transcendent togetherness of Ruby and Sapphire’s fusion are the foundation of Garnet’s very being. in her own words, Garnet has told Steven on two separate occasions that being a fusion makes her feel like she’s never alone…

…and the relative emotional stability and security she feels because of that–along with her unique abilities and amplified strength as a fusion–are probably the qualities that made her the best candidate to step up as the Crystal Gems’ new leader after Rose gave up her physical form.

but–and I cannot stress this enough–none of those qualities preclude Garnet from longing for significant connections with others, experiencing loneliness, or having her own insecurities. Ruby and Sapphire may always be together, but Garnet is her own person with her own feelings, thoughts, emotional needs, and relationships with the others. Garnet’s needs are different than Amethyst’s and Pearl’s, but hers are just as valid as theirs. 

in fact, Garnet’s behavior and interactions with the other Crystal Gems throughout the series establish that she wants connection keenly…but deliberately distances and holds herself back from her teammates emotionally, hence her ‘stoic’ and ‘put together’ exterior.

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Sitcom Thursday, Arrested Development-style! It turns out that when you take something that’s funny and then apply it to characters with completely different backstories, it can actually recontextualize it into something fairly depressing!


Wanda’s not going to make Clint disappear. She’ll probably just go all hardcore suburban mom trying to get a coach to put her kid on a team on him.

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“Mica Moca is a gigantic three building complex, the remnants of an old treasure vault factory. It is open and ripe with possibility. In the main room, personal objects are set up around the room. They are offerings for the public. Each collection has a cell phone number and a sort of aural menu attached to it. The public is being asked to pick up their phones for a free, private concert with the singer of their choice. The singers are housed in various rooms throughout the complex, unseen by their audience. It is an intimate concert for two.”

"Recontextualizing the Found Object" Exhibition

I have just received some images from the exhibition called “Recontextualizing the Found Object" at the Martha Gault Art Gallery, Slippery Rock University in PA.
It is so wonderful to see the installation images with other artists’ work. I was pleased to have been a part of the show. Sean Macmillan who was the Juror and the director of the exhibition, wrote “The show was a profound success. We have received great feedback and had a tremendously high turnout.“ Also he will be able to compile the catalog of the show. That is awesome news! I will be looking forward to having the catalog with all the great pieces.

Here are some overview pictures of the installation space.



If you look closely, you can see my art work in the center of the image below. It is inside the vitrine next to the brownish piece.


It’s so small. Here is the bigger version.



Here is the participating the artists for the show.  Emily Watson, Columbus, OH                 Rob Jackson, Athens, GA             Yong Joo Kim, Providence, RI Amelia Toelke, Madison, WI                Tara Philips, Toronto, Canada       Lisa Johnson, Bloomington, IN Wesley Harvey, San Antonio, TX            Ray Ogar, Little Rock AR            Ronald Gonzalez, Johnson City, NY Melissa Cameron, Victoria, Australia      Barbara Knuth, Seattle, WA          John Whitfill, Lubbock, TX Renee Zettle-Sterling, Cooperville, MI    Robly Glover, Lubbock, TX           Nicole Burns, Lindenwood, NJ Laura Wood, Greenville, NC                Chader McDonah, Tempe, AZ           Abigail Heuss, Greenville, NC
Re-Contextualizing Well-known Cultural Artifacts vs. Ambiguous Appropriation

http://www.nytimes.com/2010/02/28/weekinreview/28kennedy.html?_r=0

Is there a difference between re-conceptualizing well-known cultural artifacts and ambiguous appropriation?  Is the later too vague and inconspicuous?  Dishonest?

This conflict remains not far from my mind when using appropriation methods in my own work.  This NY Times article maintains that it is certainly on the mind of many others when Warhol’s soup cans are accepted and Helene Hegemann’s book is rejected.

Hegemann’s book borrows from many other literary artists and writers, including famous individuals as well as bloggers.  Those who were appropriated didn’t seem to mind but others are worried this is the beginning of a slippery slope.

With all the information now readily available to anyone surely supports this sort of thing will only increase so maybe it’s time to accept it and appreciate it as it won’t be going away anytime soon.  From my perspective, the possibility of expanding copyright laws could only harm artists who aim to critique.

Essay/Article Response

April 23, 2011

What does it mean to know someone? Opening ourselves up to people make us vulnerable. Therefor people put up a guard to become a conformed individual of our society. When that guard comes down for a moment of uncovered truth, they might be seen as “weird.” Imagine a world where everyone’s true self were uncovered. But then you could also argue that humans are so complex that we are too ambiguous and every aspect of ourselves is too indefinite to be exactly so. We can’t be just one thing so we can’t ever be completely uncovered unless every aspect was taken into account.  In some ways, I feel like it is impossible to truly know someone if you are not in their head, you can only come to learn ones habits so well that they become can become predictable. In this context of thinking, that would be the extent that you would truly know someone.

Whether that made sense or not, this is me venting about how it is almost impossible to know how well you know the people around you. Someone could hold a secret forever, and you might never find out.

This picture is an image I am using in my re-contextualization of Hansel & Gretel. I juxtaposed two photos, a brick wall with the branches of a tree, and re-contextualized it by rephotographing it through a macro lens adapter.

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Fancy Dress Costume by Paul Poiret

France, 1911

Met Museum

Early in the twentieth century Diaghilev’s Russian dance company, Ballets Russes, performed in Paris—reigniting the taste for orientalism in Europe with its exotic sets and costumes. As this ensemble illustrates, Poiret excelled in recontextualizing western dress with fantastical eastern influence. He was also a maverick modernist in creating a stir, taking promotion of his inventive ensembles to new levels with his infamous spectaculars. This fancy-dress ensemble was made for and worn to Poiret’s 1002nd Night party in 1911, which was designed and organized to promote his new creations in the full splendor and glamour of the orientalist trend.

chanclazo in addition to that last reblog, i gotta say too that most art crit/art history is never also interested in HOW these objects got in the house in the first place when talking about homes in the diaspora like east coast salvis have these paintings made on glass that u hang n then u plug it in and the water fall looks like it’s moving. like shit like that comes from korean stores? n like so many other objects etc n theres lots of recontextualizing. also like lots of korean stores will have products like biblical banners in spanish etc in the store so theres histories of like production of objects thats all like ?????? that isn’t talked about in terms of mass production. there’s lots of VERY specific objects like this that end up being markers of NYC salvadoran decor that aren’t even “salvadoran.” not that versailles is except that we lowkey reference colonial palaces in the country through that bt like u know? bt yeah lots of intercommunity dialogs happening and stuff that isn’t charted. 

Renowned composers add soundscapes to painted masterpieces

London’s National Gallery is usually shrouded in a respectful hush as visitors quietly contemplate the centuries old masterpieces on display. But a new exhibition called Soundscapes is set to change all that this summer: the show sees six contemporary composers recontextualizing six paintings through sound art and music installations. We recently wrote about an exhibition in Madrid, which shifted art lovers’ focus from sight to touch using 3D replicas of famous paintings. Soundscapes is another example of institutions encouraging visitors to reassess art from a different angle. READ MORE…

I don’t remember if I’ve posted about this album before, and I’m not going to get up and check.

Federico Mompou was a Catalan composer who spent much of his career in France. He’s very much in the delicate tradition of Satie and Debussy, especially this sequence, Música callada, hushed music, ambient before ambient. This is a recording of him playing the sequence from the late 60s or early 70s, when he was elderly, and honored as one of the great modern Spanish composers by a Fascist country he had never loved, but whose checks he cashed. By that time he was regarded with contempt as a bourgeois collaborator by the Left, and this placid, nostalgic, formal music did nothing to diminish that view.

I wear suits and ties to work every day. I don’t have to, but I do, in the perhaps mistaken belief that recontextualization is possible, that I can love beautiful old things because they are beautiful and because they are old, without being a traitor to radicalism. My aesthetic instincts are all Tory; even low culture has to accrete the patina of age before I’m really comfortable with it. As for high culture, I’m a populist, which is to say a utilitarian: I put on Música callada to go to sleep.

anonymous asked:

i rly realte to what ur sayin abt men not seein u like a woman. i think for me it has a lot to do w a mixture of my androgyny/gncness and my disability and maybe also my weight. i think men didnt know how to catergorize me bc i didnt fit in the mold of a woman but i didnt fit as a man either so i kinda got shoved in a monster category and treated like something vaguely threatening but best left alone. thanks for sayin all that bc its helpin me recontextualize that experience.

Thank you for sharing this!

Various Artists - The Rough Guide to Bollywood Disco [2014, Music Rough Guides, World Music Network]

In this compilation, focus is given to the integration of disco into Indian films, with only one of the seven tracks not sourced from a soundtrack. While the songs are often adaptions of existing melodies (”Auva Auva Koi Yahan Nache” by Usha Uthup & Bappi Lahiri, for instance, reworks The Buggles’ “Video Killed The Radio Star”, while Nazi Hassan’s “Boom Boom” directly lifts Giorgio Moroder’s synth-line from Donna Summers’ “I Feel Love”), there’s also plenty of recontextualization by means of instrumental touches and vocal twists.

The synth burbles of Usha Uthup’s 1980 “Hari Om Hari” are so ahead of their time as to evoke early Warp Records releases, while the closing track “I Am A Disco Dancer” (performed by Vijay Benedict for the film Disco Dancer) may have served as the inspiration for Christopher Just’s acid house anthem “I’m A Disco Dancer (And A Sweet Romancer)”. Though disappointingly brief (clocking in around 36 minutes total), the collection is a nice primer for its chosen subject, with enough solid grooves to make up for its quickness.

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In the Video of Sandra Bland's Arrest, the Tape Doesn't Lie

This is a tale of two stories, the official version and the one we can see with our own eyes. They’re both on the record, captured on videotape. And the difference is damning.

A lot has been written about the roughly eight minutes of police dashboard-camera video in which Sandra Bland was pulled over and arrested. Hardly anything has been written about the 10 minutes further on in which the arresting officer tells his story over the radio to his supervisor. This is a shame, because it is in those 10 minutes that we witness the reality of institutional power get recontextualized into a narrative of institutional blamelessness.

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- With A Little Help Of My Friends   Joe Cocker -

That is how to appropriate and recontextualize, both material and method. Claiming the artifact as one’s own personal utterance, and not as formal replication promising false “authenticity.”

Oh, for contemporaneous context, Patrick Troughton was The Doctor when Joe Cocker released this cover with his first album. Yes, Merry Clayton sang backup on a track. She may have been the hardest working woman in show business, and still going. Let’s hope her recovery from last year’s car crash returns her to full health and activity.