The Prosthetic Pedagogy of Art: Embodied Research and Practice

Notes

Notes Chapter oNe. INtroduCtIoN 1. R. Barry, Frieze, 80. [online]. Available: http://www.frieze.com/magazine/. 2. Lefebvre’s characterization of interstitiality as a “lethal zone” and “mixed space” correspond with critical theorist Carol Becker’s Zones of Contention (1996, 38, 43) where creative and political agency are possible through art practice. 3. In Parables for the Virtual (2006), Massumi describes the embodied processual rhythms of continuity and discontinuity (217), which corresponds with Lefebvre’s rhythmic oscillation. 4. Massumi (2006) refers to liminal space as “virtual” from which parabolic possibilities of art emerge (30–31, 137). 5. See J. Roberts, The Intangibilities of Form: Skill and Deskilling in Art after the Readymades (London: Verso, 2007). 6. The concept of “delay” should not be confused with somnambulation or hibernation. On the contrary, it is an alertness of mind and a tarrying for imagina‑ tion while in the process of work. In regard to the necessity for “lingering,” John Dewey writes: “The crucial educational problem is that of procuring the postponement of immediate action upon desire until observation and judgment have intervened” (1938, 69; emphasis in original). Such postponement affords contemplation, seeing, and transformational becoming through art research and practice. 7. Anthropologist Claude Lévi‑Strauss (1966) describes the process of eth‑ nographic representation as similar to that of a bricoleur (21–22). 8. Herbert Read (1955, chapter 1) describes the eidetic visuality of the cave painters who possessed a keen ability to see, project, and render images of bison in great detail as if giving them virtual life on cave walls long after actually seeing and hunting them in the field. 9. See the discussion of Robert Rauschenberg’s bridging of various processes of art making and combination of found visual and material culture in chapter 2, “Verge of Collapse.” 10. “Feet of clay” is a euphemism from the Book of Daniel, which is used to indicate “a fundamental weakness in someone supposedly of great merit” (Oxford Eng‑ lish Dictionary, online, 4c); “Thou, O king, sawest, and behold a great image . . . his feet part of iron and part of clay . . . And as the toes of the feet were part of iron, and part of clay . . . so the kingdom shall be partly strong, and partly broken” (King James Version, Daniel 2:31, 33, and 42). 11. Lefebvre’s differentiation between “representations of space” and “repre‑ sentational spaces,” corresponds with de Certeau’s (1988, 117) distinctions between “places” and “spaces.” 163 164 Notes to Chapter tWo 12. According to cultural theorists Chomsky and Herman (1988), this negative operation within abstract space represents the “manufacture of consent” by corporate power (302). 13. Mouffe’s critique of capitalism in museums. 14. See Koestler’s “bisociation” (1975, 178–79) and Rothenberg’s “Janusian thinking” (1979, 256), where ideas and images coexist and correspond in the same space of the mind. 15. Such interventions to counter the commodification of art by corporate capitalism were first proposed by Duchamp, who in the early 1960s declared, “the great artist of tomorrow will go underground.” Chapter tWo. Verge of Collapse This chapter was previously published in Spring 2008 in Studies in Art Education: A Journal of Issues and Research in Art Education 49, no. 3: 218–34. It is reprinted here with permission from the National Art Education Association www.arteducators.org. 1. Poff, C. (2005, February 24). Survival rates higher among recently wounded troops in Iraq, Afghanistan. Online. Available: http://www.international‑ reportingproject.org/. 2. Hambling, D. (2006, September 4). Instant expert: Weapons technology. Online. Available: http://www.newscientist.com. 3. Globalization 101.org: A project of the Carnegie endowment. (July 14, 2003). Technology changes news coverage of war. On‑line. Available: http://www. newscientist.com. 4. Moniz, D. (2005, April 28). Female amputees make clear that all troops are on front lines. USA Today. Online. Available: http://www.usatoday.com/news/ nation/2005‑04‑28‑female‑amputees‑combat_x.htm. 5. See example of Feininger’s photograph at Gallery M. Online. Available: