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Antropología del Arte Trabajo final: Carey averbook

Introduction

I finished graduate school in May and have undergone a process of grounding myself and, in a way, reorienting myself since August. This certificate program has been instrumental in this process of integrating different interests, abilities, and parts of mi ser into a more coherent grounded self. Al lado del aprendizajes del diplomado, he estado trabajando, desarrollando nuevas ideas, y recreando mi pagina web—mi imagen se puede decir. Esta imagen es real. Tiene que reflejarme hacia el mundo. En todo el proceso, lo he entendido como el resultado del proceso de estes meses, cuando me conozco y puedo articular eso hacia el mundo para seguir caminando//avanzar. Viendo mi carta de motivos, eso es exactamanete lo que mas esperaba de esta experiencia.

Dialogical Process

I use a dialogical process; various approaches that coexist and are comparatively existential and relativistic in their interaction. Each ideology can hold salience in particular circumstances, changes can be made within ideologies if the strategy doesn’t have the desired effect (vs. dialectic process)

I am at the nexus of anthropology, ethnography and research/investigation, documentary arts, and journalism

I use writing, photography, video, audio, participatory methods, graphics, and design. The way they come together depends on the work and what best communicates, expresses, and embodies the work’s messages.

Dialogics involve listening and interpreting intentions behind the words. It doesn’t lead to simple concrete answers necessarily. It can be more suitable for facilitating cooperation compared to dialectic practice

Sensibilidad Migrante

Investigue bastante sobre este tema que me pareció muy fascinante personalmente. Encontré que para Arundhati Chatterjee, it is the changing living conditions and subsequent shift in consciousness and experience that make someone a migrant; for stuart hall it is a duplicity/looking in and out at once; Papastergiadis considers migrancy a “shared existential experience” characterized by loss of certain sense of time and place.

All of these coalesce to a concept that breaks through the categories of who is a migrant to better be able to understand what it means to be a migrant. With that there is a potential for building solidarity across the socioeconomic spectrum by drawing attention to shared existential and psychological experiences of different migrants.

This for me was particularly insightful en su relación a mi proyecto anterior sobre la migración boliviana que en realidad también fue un exploracion de mi experiencia personal. En los últimos anos, he aprendido ver que yo también soy parte de un diáspora como Judía y el impacto que eso tiene en mi vida de hoy. Eso + mi otro hogar en Cochabamba crea un experiencia de “sensibilidad migrante” que influye toda mi vida y mis relaciones con amigxs y colegas desde que se nació.

Additionally, I have connected my interest in this area to the kind of work I’m interested in exploring visually with photography specifically, which primarily is in the emotional landscape. I’m not very interested in “news”, in “what’s happening” so much as how that affects people’s lives, hearts, and the ways they move through the world.

This has led me to think about my relationship with photography vs. Video vs. Writing vs. Audio – what does each one of these mean to me? How do I use them to investigate questions, talk to and represent others’ experiences, and communicate?

Arte como parte de la investigación

This was an important section for me in dissecting the ways that art has both been marginalized in investigations and offers possibilities to explore and research. Tambien la antropologia del arte abre el espacio de definicion del arte hacia algo mucho mas profundo que el objeto consumido o un proceso exclusivo de una sociedad. Ese abrimiento es un reaching back to or beyond capitalism and industrialization’s co-option of art and suppression of creating as a human need, which Marx and William Morries speak to so well.

Creo que esto cabe con la descolonización de la investigación (y de la vida) y genera una visión mas holística. Noté del texto “Antropología del arte como un campo interdisciplinario de Patricia Tovar Álvarez, que la antropología del arte dirige a cambiar nuestra comprensión de como se produce y cual es la función del arte en nuestra vida.

“la tarea de la antropología del arte gira un torno al enigma, ya no de la definición de lo que es el arte o lo que llamamos arte sino de la relación entre la fuerza del arte para influir y transformar el universo simbólico de los seres humanos y el deseo de saber.”

“Art like life dictates systems to philosophy” Nahum Gabo

Con las ultimas dos citas de la lectura… They are touching on what I understand to be ontology and stories. The quote that accompanies me so often is “The universe is made of stories, not of atoms” from The Speed of Darkness by Muriel Ruykeser. And I think both of the above statements speak to this quote.

Ontology speaks to the basic assumptions we make about the world that are the basis for the stories we have to explain the world (like if a mountain is alive or dead, for example). These assumptions and the stories built on them are just stories! Nothing means anything without these stories on individual and collective levels, which means that there is great potential of liberation and reconstruction in intervening in the stories we tell, which is what I’ve been in pursuit of, which I am in pursuit of, which is what I feel my calling to be. And I’m trying to figure out how to best serve this.

Art and research can absolutely influence and transform the stories we tell –our symbolic universe and our knowledge. Counseling and psychology (especially liberation psychology) does as well. Journalism and religion also have powere here, in very different ways.

Collect and represent data//represent findings

GLITTER

Rika Allen Reading

“by combining the methodologies and knowledge generating practices of art and anthropology, a space is opened in which we can attempt to represent the complex realities of peoples’ struggle to give meaning to thier lives in ways that don’t reduce them to scientific stats or documented reports…invitation to reform and revolutionze our ways of knowing and seeing the world” --- This is exactly what I’m trying to get at.

Sarah Pink quoted “Anthropologists should not stop writing. But perhaps some problems we face when we write linear texts with words as our only tool can be resolved by thinking of anthropology and its rpresentation as not solely verbal, but also visual and not simply linear but multilinear.”

Video to me is a linear medium, but photography is not at all and multimedia does not have to be. I have tried to create non linear and multilinear narratives in my work, but it is very difficult for people to understand that. It is commonly critiqued outside of academia, in the journalism world. It is accepted, of course in the art world.

I have become quite attached to the term transdisciplinary as Allen describes it in four points as a way to describe my practice. In the end, I am an anthropologist and artist in that I am working to produce knowledge about the world and represent that in fresh strategic ways. I strive to find new ways of seeing, knowing, and representing the world that breaks and opens the expected and accepted stories on personal and societal levels.

Documentacion Poetica

La imagen y el sonido poseen una dimensión simbólica y epistémica – son modos de representación que nos permiten conocer formas de vida y formas de mirar al mundo. Tienen una dimensión estética→producen sensaciones→revelarnos en el universo de emociones.

Creo que es por estas razones que muy temprano en mis estudios, me sentía que fue necesario incluir la imagen en mis investigaciones y representaciones.

La documentación poética es una manera de integrar distintos lenguajes y disciplinas que permite comprender y comunicar de manera no lineal y polifónica. Construyendo de la sensibilidad migrante que implica cierta curiosidad y duda. La documentación poética nos acerca a la energía de los contextos, de los movimientos, y de la interacción.

Las lecturas de esta semana me hicieron pensar mucho en el campo de antropología y como se puede expandir y crecer a través de etnografía-arte. Las ideas de integrar la etnografía con el arte, la investigación con la poiesis, y la investigación con la transcreaccion eran importantes para mi en entender mejor los procesos que empleo yo y quien soy como creadora.

En su lectura, Dra. Patricia Tovar A. define visualizar como: hacer visible la forma múltiple de la ocurrencia de lo real, la calidad sensible, el tono, los matices; para que de esta manera otros puedan percibirlo a traves de ti. Creo que esta definición de visualizar se acerca mucho a lo que intento con mi trabajo de representaciones.

Performatividad

Crear video o fotos es "perform" – para mi y los participantes tanto como una relación entre nosotros. Eso todo el tiempo manifesta, define, y decide el momento y lo que pasa un momento – lo cual también será capturado para ser visto en el futuro por los espectadores. El enfoque de mi campo es contar historias – storytelling. La idea es que una historia es semi-vivo a través del medio del imagen y audio, y el espectador, idealmente, va a también incorporar o encarnar esa historia – la experiencia emocional – vivir o revivir la experiencia de las personajes y las ocurrencias => respuesta corporal => respuesta encarnada.

Esto va tan lejos como ser ampliamente aceptado como una estrategia de provocar o crear cambio social a través del video y la fotografía; transformar o despertar un espectador para querer hacer o transformarse, su vida, y/o su comunidad y sus alrededores → por una experiencia encarnada, una respuesta corporal tanto emocional y psicológico cuando te sientes que tu has experimentado, sentido, vivido lo que estas incorporando a través de activar tus sentidos de ver y escuchar a un video o a la fotografía.

En términos del trabajo, creo que los temas de encarnar del modulo de la performatividad me influyo the most. Para transformarnos, para lograr todo lo que hablé al principios de este escritura, hay que tener experiencias encarnadas. Creo que los medios audiovisuales facilitan esas experiencias que son requisitas para transformarse, morir y renacer, y cambiar nuestras stories.

La imagen, el cine, y la etnografía

Este modulo me ayudo profundizar mi relación con la fotografía y entender que es un medio bastante personal, emocional, y poética para mi. (especialmente en comparación a mi relación con el video).

Primero estoy muy muy influida por las escrituras del John Berger hablando del fotografía como memoria y el profe, Jorge Andres, reinforced that. Photos are memories, he said they are “time bombs” specifically.

El video se diferencia de la fotografía con sus características del movimiento, de mover a través del tiempo, y del sonido. Entonces los dos funcionan very differently and are very different tools to use in research, representation, and narratives.

Even so, video for me is a tool that is to be used beyond only “capturing” something or “documenting.” Again, it offers qualities that can take a viewer into a more profound and whole experience beyond “documenting.” Plus, what is documenting anyway? Who is documenting who/who and through what lenses (metaphorical) and for what purposes? What is “the real”? I don’t trust that idea of documenting, personally.

I do think that video can be used to preserve what it records over time and that is really essential in cultural resilience in today’s world. The Chiapas Media Project is an example of an initiative to do just this from the ground up.

From the artist in me, I also feel that video should rise to an aesthetically high level. Maybe that’s more the photographer in me. I’m not sure. But it should have a coherent and strong intentional visual language just as the best photography does.

Una de mis repuestas a la complejidad de los problemas de la imagen en el campo del antropología es la transparencia. Creo que tenemos que ser transparentes con quienes somos, nuestras intenciones, y los lentes metafóricos que llevamos cuando fotografiamos. Es lo mismo para el periodismo o otros campo, para mi. Tenemos que ser transparentes. Otra respuesta es que la escritura es también problemática, viene 100% de uno mismo y no “mostrando” nada.

Arte-Ciencia

Por supuesto el arte ha sido suppressed with the Enlightment’s fortification of logic, duality, and scientific method. It’s not considered a way of knowing in modernity. Or, in whatever way it is considered as such, it still exists on a level below science, just as intuition and embodied knowledge (going back to Varela) is also dismissed—and dismissed by science. Ironically, the “art world” absorbed the same hierarchy and vertical power dynamics as science and as the epistemological world that places science about art as a form of knowing and knowledge production.

Leer las lecturas y revisar los ejercicios de mis compañerxs es muy interesante, pero creo que este modulo no me impacta tanto a nivel del trabajo como a nivel de interés personal. Si he pensado mucho en el mapeo y en las ideas de territorio vs. espacio.

Conclusion

Making my website is where my process of coalescence culminates, right now, and where I say to the world (I don’t really expect that many people to see my website), but where I say outwardly who I am. Where I own my voice and where I plant my feet. A big part of that is my bio. Perhaps this could seem trivial, but it is an important thing that sets the stage for what comes next and how I live in my skin. To that end, I’ll share the bio that I have written for the website:

Carey Averbook is a transdisciplinary photographer, researcher, and journalist who investigates questions of personal and social importance. She uses stills, video, audio, and writing to represent and communicate her findings. Her work focuses on social and environmental issues in the Americas, such as climate change impacts in Bolivian women’s lives, migration and transnational bridges, and queer time. She has a B.A. in Anthropology from the University of North Carolina at Chapel Hill and a M.A. in New Media Photojournalism from GWU's Corcoran School of Arts and Design. A Jewish Spanish speaker from North Carolina, she now splits her time between Washington, DC and the Bolivian Andes.

I’m focused on each step in front of me – one at a time. Caminando, caminando, paso a paso. Confio que todos los pasos acumulados me van a llevar a un lugar bueno. Mientras tanto, quiero disfrutar y dar propósito a la cosa mas preciosa en mi vida—el tiempo—con todxs lxs compañerxs que encuentro en el camino rico de investigación y reinvención.

My new website (still finishing): www.careyaverbook.net

About the photos and videos

I selected photos that my form of self-portraits over the last few years. They were all taken on my cell phone. I thought that photos of myself were the best fit to accompany the reflections of the internal process to myself.

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