TEN KEY TAKEAWAYS:
1). Do not be afraid to question yourself/peers/instructors. Fear of confrontation only stifles growth for you and others learning around you.
2). Ask for elaboration and/or rephrasing before jumping to response. Context is key in a “safe” learning and explorative environment. Often times these spaces can breed heated debate and discussion; to deepen this inquiry it’s best to better know the person you’re engaging rather than assume you know all the information.
3). A game can be a quick and fun way to become familiar with the ways you and other artists navigate obstacles. Games provide a less hypothetical, more tangible, problem and solution based experience than discussion often times and especially in the earlier stages of a group relationship understanding is essential.
4). Power is always present, even when you’ve attempted to negate it entirely. No matter to what level you’ve tried to strip away a singular power in a situation like that of our class it cannot be completely dimmed. The best you can do is to acknowledge that power as a part of the situation and open it up for questioning.
5). The binary is a heady monster. Forcing artists, especially young developing ones to “pick a side” is not always the most efficient way to explore a topic. While it may be known that no answer is correct, sometimes the sheer thought of the commitment can force a person to object to the proposal entirely.
6). Privilege is all around us and we’ve all got it to varying degrees.
7). The revolution must go on. Change will not stop for even the most tyrannical or forces. It is often born out of the youth and aided by art.
8). The history of a place resonates throughout generations and the effects don’t stop after the last witness dies. The traumas of a people’s or place’s past carry an extreme weight that must be considered when observing a cultures current state. EX: student revolution in France
9). New movements are born every day. Why couldn’t I be so bold as to stand up for a dramatic shift? EX: Brutalism, Romanticism, etc...
10). Great traumas are bound to breed great art. Where there’s a cry to be heard there’s a person there to harness that cry and echo it out to the masses, hopefully without overstepping the victim. This is a conundrum I’m still tackling as it seems near impossible to make something based on an event you haven’t experienced without displeasing someone in someway. I don’t believe this means it shouldn’t be made.
1). Do not be afraid to question yourself/peers/instructors. Fear of confrontation only stifles growth for you and others learning around you.
2). Ask for elaboration and/or rephrasing before jumping to response. Context is key in a “safe” learning and explorative environment. Often times these spaces can breed heated debate and discussion; to deepen this inquiry it’s best to better know the person you’re engaging rather than assume you know all the information.
3). A game can be a quick and fun way to become familiar with the ways you and other artists navigate obstacles. Games provide a less hypothetical, more tangible, problem and solution based experience than discussion often times and especially in the earlier stages of a group relationship understanding is essential.
4). Power is always present, even when you’ve attempted to negate it entirely. No matter to what level you’ve tried to strip away a singular power in a situation like that of our class it cannot be completely dimmed. The best you can do is to acknowledge that power as a part of the situation and open it up for questioning.
5). The binary is a heady monster. Forcing artists, especially young developing ones to “pick a side” is not always the most efficient way to explore a topic. While it may be known that no answer is correct, sometimes the sheer thought of the commitment can force a person to object to the proposal entirely.
6). Privilege is all around us and we’ve all got it to varying degrees.
7). The revolution must go on. Change will not stop for even the most tyrannical or forces. It is often born out of the youth and aided by art.
8). The history of a place resonates throughout generations and the effects don’t stop after the last witness dies. The traumas of a people’s or place’s past carry an extreme weight that must be considered when observing a cultures current state. EX: student revolution in France
9). New movements are born every day. Why couldn’t I be so bold as to stand up for a dramatic shift? EX: Brutalism, Romanticism, etc...
10). Great traumas are bound to breed great art. Where there’s a cry to be heard there’s a person there to harness that cry and echo it out to the masses, hopefully without overstepping the victim. This is a conundrum I’m still tackling as it seems near impossible to make something based on an event you haven’t experienced without displeasing someone in someway. I don’t believe this means it shouldn’t be made.
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