Salmon Tales:
How do you feel about the article's discussion about the relationship between humans and salmon?
Do you like methods they used, linking art and activism?
Did you like one banner in particular? Why?
Tellingsmiths:
What do you think publishing does to a work? As Garramone asks, "Does publishing make tellings into the truth, a truth?"
What do you think about stories, autobiography, testimonial as fiction? Truth? In academia? How are they effective?
What place do you think imagery, imaginary, and imaginings should have in truth and academia?
How do you see Garramone's ideas in relation to Asian American publications?
Confessions of a Community Activist:
What do you think of Sau Wai Tai's critique/analysis of universities and urban spaces?
How did art and artistic creation hep Sau Wai Tai and her students understand the links between race, gender, and environmental oppressions?
Garden the City:
In what ways could the Garden the City project be taken as "political art?"
Do laws controlling public (or private) spaces act as mechanisms for controlling individuals and communities?
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I think that the Telling Salmon Tales project overall is really interesting and unique. At first after I began reading this article into the first page or so, I was kind of unsure about how I felt about this, mainly because salmon really has no connection to me personally at all. Then as I read on, I kind of realized that this was a fish that a certain group of people feel a great connection, and that with the group of people in mind, this was a really unique idea just perfect for the creator's intents. So although I do not personally relate to every aspect of the symbiosis relationship between salmon and humans, and that salmon are connected to regenerative health, I can completely respect the people of BC's opinions and attempt to understand them. The final "Weaving New Tales" banner really hit the point of merging arts and activism by bringing the public into the project, by letting many stories become told, and by making people aware.
ReplyDeleteFirst of all, regarding the Garden the City reading, I really agree with the line that says "Art and creativity have a place in effecting change, in creating dynamic spaces and in shaping the exchange of knowledge, stories, and information". I think this line sort of describes political/activist hear. And, it's really interesting to hear the author use the phrase "creating dynamic spaces" because I think that the artistic formation of a space for others to talk/discuss/share various issues is in itself both an art project as well as something political and possibly activist as well. The author talks specifically about the Garden city, but that line even made me think about places like the Motley. I think the design of the Motley in itself is art, and yet it is a space that is often used for other "Artistic" events.
I think that with the Garden the City project, there is not doubt that agriculture can be considered a form of art. The fact that the intentions lie within notions of public and private space make it political. The fact that the project utilizes postcards and photos and text to get the word out make it both political and even activist in terms of making people aware.
Laws controlling public/private space definitely act as mechanisms for controlling individuals and communities, though I am not so sure they should. Those kinds of laws should be controlling to a certain extent, when discussing safety/damage/costs that the city/community/public must endure. However, if these laws start to limit free expression (such as drawing on large pieces of paper), then it always raises the question of whether an item, a place, a room, a street, etc etc is more public, or more private. It's definitely controlling and limiting. But harder to say what is "right".
Natty, I was thinking about the same thing regarding Sau's earthballs project: How did her earthballs function as a critique to York university's urban spaces? I like the idea that art students were getting together and creating a project collectively. Through their interactions and conversations they shared, they came to understand each other and learn about each other's stories. However, what did the earthballs really mean to the people on campus? Did other students understand or know Sau's artist statement? Did her project acted as an agent of change to other students' perception to nature? Seems to me Sau's project is more poetic and that it is more an installation than a strong political statement.
ReplyDeleteIn comparison, I think the Garden the City project touched upon a bigger group of people and it challenged the restrictions on postering in a more direct manner. Its message is clearer and stronger. It reminded me the viral marketing tactic that T-mobile (flash mob train dance) and Apple (Feist) used to promote their products. If people argee with her message, they are more likely to spread the words through new media such as Facebook and YouTube.
I was really surprised at the thorough discussions of the relationships between salmon and humans. I appreciated that the article brought something new to my attention, and showed different belief systems. The banners, however, would have been a little bit lost on me. Even with descriptions of what each banner was displaying, I was struggling to find each piece on the banner itself. I think that without the explanation, I would not have understood the artists intent.
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ReplyDeleteSo it completely messed up my post. Let's try this again.
ReplyDeleteI thought the salmon article was a bit strange, partially because I'm used to thinking of them as, well, fish. And that's it. So, I suppose it was an interesting new look at something in a different culture.
I agree with Lynette completely: without the explanations of the banners, I'd have been lost. They're very symbolic - in a manner that definitely requires explanation, both for the visual and the meanings behind the visual.
As for Garden the City: I think that much of the issue is political. The author even states, "Its main goals were both environmental (greening the city) and socio-political (encouraging greater food security)" (124). As for the -art- part of the equation: it's a statement of change, a sort of performance art, in a way, I think. Also, she included the posters/cards, which add to the art aspect, I suppose.
As for the second part of your question: yes, they act as controlling mechanisms. That's exactly what they're supposed to be. True, some laws aren't necessary, but many are there for a reason, whether it's to protect individual property from vandalism/theft/etc. or to make the city some money for various programs. True, I'm not pro- the selling of public space keeping citizens from using it, but I understand it. A bus company pays for the chunk of concrete on which it puts its bus stop/benches. Yes, it can then rent out the wall space to advertisers, and that money doesn't necessarily go back to the people, but the initial rent cost - well, the city can't make ALL of its money on taxes.
I’m sorry this is so late! I thought it was just a syllabus session today. I wanted to talk about ‘Does publishing make tellings into the truth, a truth?’ I think that publishing gives a work a certain validity. It says that at least the person who chose to publish the work thinks that it conveys some kind of truth. The work also is probably a truth of the person who wrote it, whether it is anyone else’s truth or not. Like Jessica said it is hard to connect with the work, since we do not have any personal connection, however, it is a very interesting concept and is definitely worth exploring.
ReplyDeleteI also wanted to comment on the question about laws for public spaces being used to control individuals and communities. I completely think that this is true. Even if that was not a laws intended purpose eventually it can become that way to keep certain groups contained. For example in some states the punishment for having crack is far more server than having the same amount of cocaine. This is obviously targeted at a certain minority group since cocaine is “this rich man’s drug.” There are many more examples of this too.
To comment on Cheukwa and Natty's question about the earthball project, I also question the audience perception and response. I wish maybe Sau Wai Tai included audience response comments. Maybe she (I think she's a she) didn't even ask those passing along campus who noticed the installations? At the end of her piece she emphasizes that their endeavors as earthworkers did not last and that's okay because the project was considered "transient" to them. I wonder, how effective are these projects of activism/art when they are transient/traveling/temporary, as opposed to more stable or permanent like in a museum.
ReplyDeleteThe Salmon Tales piece reminded me of the people of Alaska who also saw salmon as a very important part of their lives as did the people of British Columbia. I liked how the banners promoted the importance of the salmon and protested against the farming of salmon. I think the most effective banner was the last one, Weaving New Tales, because anyone can put his or her story on it to add to the rich history of the salmon.
ReplyDeleteIn the Confessions of a Community Artist article I was confused why this was considered Asian American art/activism. I know that the author/organizer of the earthball project was Asian American but did the project include other Asian Americans? I was also unsure of why Sau Wai Tai was so upset when the earthballs discinagrated into the ground when that was something that was expected and a part of nature.
I think the Garden the City was a very good idea to spread the message to as many people as possible. It was great how the post cards were designed my many different people, getting the community involved.