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Building Online Learning Communities. Effective Strategies for the Virtual Classroom. Palloff e altri 1.waispotunlohil.gq/general-physics/the-patriach-isaac-mythologies-of-land-mythology.pdf
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Scopri i nostri suggerimenti. Learning Communities di Shirley M. Hord e altri 1 When teachers learn from each other, students reap the benefits. This definitive volume details how A Guide for Members and Leaders describes why teams are important, how they function, and what makes them productive. Wheelan covers in depth the four stages of a team—forming, storming, Besides, the impossibility of being dressed properly echoes the impossibility of fitting into the social norms which underlie social reciprocation.
The textile metaphore has often been used to describe the link between beings; therefore stitching fragments of worn clothes together is tantamount to reconstructing a disrupted social tie in an attempt at resisting social and individual desintegration. The artistic praxis at work in Them is complex and may be viewed from various perspectives: If other works by Treacy are underlain by ecological concerns, in Them, recycling is keyed to an ethical and artistic response to precariousness.
The collecting process is a means for the artist to assert his own social identity, his commitment to real life and his eagerness to place his work in contemporary society. Collecting tattered garments is a commemorative act which is conducive to an ethics of vulnerability in that it triggers not just empathy but a mutual exposure to frailty.
Treacy also compares himself to a psycho-geographer wandering places which create a specific state of mind. He stresses the feeling of solitude which imbues those places as if this quietness was a prerequisite for the encounters with fragments of otherness. As a matter of fact, these liminal, excentric places have absorbed traces of people seeking refuge from a society that excluded or expulsed them.
The places that the artist roams are haunted by the presence of people once engaged in illicit activites or people cast out of society. And it is precisely in these liminal environments that they are able to do so.
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Countering the dematerialisation and commodification of human relations, many contemporary artists conceive works relying on interpersonal contacts and eschewing the biais of representation. The process experimented, rather than the representation itself, is crucial to the artistic statement. Though Them does not conceptually document or display its own creative process, the experimental and performative nature of the work cannot be overlooked. There was no intellectual rationale behind this, it was entirely intuitive. Undressing is an act of self-dispossession which facilitates empathy towards the dispossessed.
It is not simply a way to fit in society but also a tool for negotiating or subverting social constraints. A person is undeniably of the time and place in which he or she lives, and cultural norms are imposed on the body in innumerable ways […]. As Anne Hollander shows in Seeing Through Clothes , clothing is not merely a direct social or aesthetic message but a form of self-perpetuating visual fiction fashioning self-image.
Dressing is a creative act, as is re-dressing, cross-dressing or over-dressing. While self-portraiture has traditionnally been predicated on the assertion of individual singularity, in Them , the artist covers his own self to the point of forsaking his identity to explore precariousness through embodiment. While selfies invade our image-saturated world, Treacy comes up with what we could call unselfing images. Costuming is an under-studied practice even though performance art has recently evidenced its potency. Performance artists are not actors as they do not necessarily take on roles: Treacy contends that overdressing induced a contact between the clothes and his skin which fostered an unexpected sense of intimacy: The direct experience of clothing elicits a sensory approach to precariousness that counters the abstract discourse and detached data on poverty.
The performative aspect of the work offers an alternative to the voyeurism that Susan Sontag criticises in Regarding the Pain of Others. The individual body, conceived as artistic material, becomes the vehicle for a political message. Ethics and Life Writing , G. The dirty, assymetrical, gloomy costumes evoke abnormality or madness and conjure up images of horrible fantastic creatures either ghosts or warriors. The menacing characters seem to emerge from a sinister comedy or a grotesque carnival. But such wilderness is lodged within ourselves: The carnivalesque moment has been construed as an escape from normative and hierarchical societies and one that lets wilderness resurface albeit temporarily.
The carnival traditionally features the fantasised other, the scapegoat who embodies the wilderness and the devilish or the uncivilised. Some of the figures in Them are reminsicent of the beggars as well as the defiant representations of death, both among the traditionnal figures of the carnival.
During the carnivalesque ritual, the wild man is a solitary figure who reinserts singularity in the group and replaces the id, in Freudian psychoanalytical terms, inside culture. Carnivalesque rituals are cathartic moments: Undisputably, the wild man encapsulates our deepest fears, being a grotesque, vaguely comical deformation of ourselves or a sexually dysfunctionnal alter-ego.
The monster is not a wholly external phenomenon, nor can it be entirely separated from our own nature. The figures in Them inevitably touch us and involve us in their own becoming. The vulnerability that we perceive in Them is also ours. Therefore, the monster and its avatars foster multual vulnerability; they create visual and affective echoes. Vulnerability, in the Levinasian perspective, is premised upon interdependance and opposed to the autonomous subject.
In Them such interrelationality relies on collecting, impersonating and exhibiting. Does Them belong to portraiture or self-portraiture? Performance, photography or sculpture? Are the characters imaginary or real? More similar to us than different from us?
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Should we shiver away or sympathise? The viewers are left in a grey zone, invited to ponder their acceptance of exclusionary norms. In the end of the novel, the latter steps out of darkness as if ressurected after he has found how to share vulnerability. Eventually the revelation of the repressed monstrosity which lies dormant and hidden below the bright surface might spark a metaphor of photography itself.
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Flammarion - Mucem, , 37— Sylvere Lotringer , Pasadena: Hill and Wang, Douglas , Mary T. U of California P, Roy Sellars, , last accessed at http: Thames and Hudson, Ethics, Aesthetics and Emotion , — Rose , Nikolas, Powers of Freedom: Reframing Political Thought , Cambridge: Shildrick , Margrit, Embodying the Monster: Encounters with the Vulnerable Self , London: Webber , Andrew J.
The writing of this paper would not have been possible if the artist had not provided ample details about his work. Quoted with his kind permission.