ALBERTA COLLEGE OF ART AND DESIGN FACULTY ASSOCIATION
EXECUTIVE B OAR D 2016–2017
We like images! You can send images for inclusion without them being part of an article. Send a modest selection of print-ready 300dpi tiffs, at approx. 4” x 6” in RGB colour, or greyscale. Include a clear indication of the content in your image file names. If the images support an article, also add a note in your copy about where you might like images e.g. Fig. 1/Ill. 2. Please include a title for your article or submission. Limit feature articles to 2000 words. Remember to include any credits, acknowledgements or photo captions. After your submission has been received you’ll receive acknowledgement from the newsletter editor or ACADFA office manager. Please don’t revise or further edit your submission until you have received feedback from the editor or the ACADFA office manager, and then use the track changes for any further revisions. Lastly, ideas and proposals are welcome at any time! We sometimes work on items over an extended period so don’t feel constrained by our twice-yearly deadlines.
interim president Justin Waddell
AC AD FA OFFICE 547 OFFICE HOURS TUES/WEDS 10AM–5 PM THURSDAY 10AM–2PM Office Manager Patti Dawkins Phone 403-284-7613 email: email@example.com WEBSITE http://acadfa.wix.com/acadfa1
The opinions expressed in this newsletter are those of the authors and do not necessarily represent those of the Alberta College of Art + Design Faculty Association. ©Alberta College of Art + Design Faculty Association and contributors 2016
vice president/treasurer Karl Geist secretary Heather Huston professional affairs rep Martina Lantin nac chair Chris Frey g rievanc e advisor Jeff Lennard Communications Offic er Laurel Johannesson ac ademic council rep Mark Clintberg sessional representative Mark Giles
Front + Back Cover Photo Kelsey Stephenson “divining” (2016) ink monoprint, silkscreen and etching on digital output, 9‘ x 72’ Rowe Gallery University of North Carolina, in Charlotte.
board of g overnors rep Ian Fitzgerald (non-voting)
Karl Geist NAC Doodle on Paper Plate 2016
New Fa cu l t y School of V i s u a l A r ts Richard Clements, Assistant Professor, Sculpture
Titus Andronicus, one of William Shakespeare’s most maligned plays, is certainly his most violent: in addition to the more traditionally “conventional” murders there are numerous voluntary and involuntary amputations, letters written in blood, sons baked into pies then fed to their mother, and, of course, an abundance of decapitations. The Globe Theatre’s 2006 production of said play did certainly not temper this violence in any way; the exceptionally graphic, blood-soaked violence notoriously caused over one hundred audience members to faint during its 51-week run, and the night I was there was no different, The Globe, traditionally, has two seating areas: the cheaper standing area in front of the stage called the pit or yard for “commoners” or “groundlings” (where I was), and the more expensive seated tiered galleries above for “nobles”. This particular production extended the stage into the pit via two large mobile scaffold units that, pushed by stage hands, circumnavigated you while characters upon them with lit flares screamed prose and spat blood at one another. In addition to “raining blood”, on the night I attended it was also actually raining, which soaked us “commoners”. It was an incredibly overwhelming experience – and it got direr. In one scene a Messenger, delivering the decapitated heads of Titus’ two sons in sopping, bloody bags, dropped them upon the wooden stage. As soon as the two prop-heads hit the stage, an audience member, standing right next to me, fainted, fell and hit their head upon the stage, rendering them unconscious – they lay, with bloody nose, in the mud, partially under the stage (1). To make matters worse, one of the prop-heads rolled off the stage landing right next to the “groundlings” head – we scrambled, made room, and called for help. The play, however, didn’t stop – as screams and lights emanated from both on and off the stage, paramedics calmly stretchered the injured out of the chaotic mire while the stage hands, dressed in all black (2), somberly extracted the prophead. This event has ‘stuck in my head’, so to speak, and has remained very significant for me. Upon reflection, the two prop-heads were heavier than expected, and were, in retrospect, probably the same weight as actual heads. When dropped, they sent two damp THUDS through the stage, and it was this realism that caused the third head to THUD. Three real THUDS - two fake heads - one real head. In that split second as I was looking down at the “groundling’s” head and bagged prop-head both slumped in the mud I suffered from representational synesthesia: concurrently seeing both as object and subject; both real and fake.
Torment, 1906-1907, bronze Sleep, 1908, marble Head of a Sleep Child, 1908, marble Sleeping Muse, 1910, marble Prometheus, 1911, bronze Sculpture for the Blind, 1916, marble
<<<My head weighs around eleven pounds but my thoughts weigh nothing. I don’t think of my head when I am thinking and I also don’t think with my head (even when thinking about my head) and my thoughts aren’t in my head. Thinking about headaches can produce them. I scratch my head to retrieve thoughts, and when anxious, it is calming for someone to hold my head. When I am falling asleep my head is sometimes a nuisance, but when I am sleeping my head is invisible to me, yet my pillow in the morning testifies that it was there the whole time.>>> This is what, I believe, Brancusi was negotiating within his “portraiture” between 1898 and 1916. Perhaps counter intuitively, Torment (1906-1907), being a representational subject, can be understood here as the prop-head, while Sculpture for the Blind (1916) is more presentational object, and can be understood as the “groundling”. In this series, Brancusi’s “heads” are seen both as object and as subject, as present-at-hand and as ready-to-hand, as opaque vessel and as translucent window, as mass and as aether: as physical and as metaphysical. Moving between cast bronze and carved marble we have objects made from within and from without. (1) This area, under the stage, is traditionally called “Hell”. (2) Like Death or the Grim Reaper.
Richard Clements was born in London, England in 1983. After completing his BFA at the Alberta College of Art and Design in 2005 he went on to study Fine Art at Goldsmiths College, acquiring his MFA in 2007. Since then he has exhibited nationally and internationally. His upcoming solo exhibition, opening on November 3rd, is being at held at CSA space in Vancouver.
Faculty S c h ool o f Co mmunicat io n De sign Neil Petrunia, Instructor, Photography, Visual Communications Design I just completed the acquisition of a publishing house, Frontenac House Ltd. Iâ&#x20AC;&#x2122;ve been designing their books for over 16 years, and the principles wanted to retire. I want to keep designing books, so my wife and I purchased the company. My title is now President and Publisher. Frontenac House, based in Calgary, publishes poetry, prose, aviation history, biographies and illustrated art books. Our art books include authors Patricia Bovey, Patricia Ainslie, Adam Melnyk, Andrew Oko, Aritha van Herk (with George Webber), and Carol Sheehan. Illustrators and photographers we have used for cover designs include Rick Sealock, Neil Petrunia, Tim Nokes, George Weber, and ACAD alumni Sam Weber, Geneva Haley, Moe Clark, and Kelly Sutherland. We are looking forward to continuing a tradition of publishing top quality books by new, established, edgy, provocative, and thought provoking authors from across Canada. My first launch as Publisher was the Quartet 2016 books in September. Quartet is an annual series of four books of poetry launched every September.
These covers are from the Quartet 2016 set. Blood Orange and Cemetery Compost were illustrated by a recent ACAD grad, Geneva Haley. The Bone Weir cover was illustrated by ACAD alumni and former sessional instructor, Tim Nokes.
New Fa cu l t y School of V i s u a l A r ts Ann Mansolino, Associate Professor, Photography In my photographic work, I explore the relationship between the internal self and external ideas of past, present, identity, memory, and place. My images are constructed portraits and self-portraits that give visual, photographic form to lived internal experience. My images function as a symbolic autobiography; that is to say, they do not depict what particular life events looked like, but rather what they felt like, or could have felt like, in moments of introspection, aspiration, recollection, and dislocation. They explore the aspects of life that are not visible on the surface: how we see ourselves in relation to our pasts, our feelings of belonging and its opposite, and our ideas of who we are and who we think we should be. The images investigate the ways in which we search for and locate meaning, and reveal the emotional and psychological texture of our experiences. In order to explore this idea of the interior self through constructed photographic symbols and metaphors, I place objects in the landscape that often function like temporary installations, created solely for the purpose of being photographed, and perform actions over and over, which become rituals that are seen only by the camera. My work is thus rooted in the interaction between self and place, both physically and metaphorically. Having recently moved to Calgary in order to teach at ACAD, I find myself surrounded by new landscapes and am beginning the process of making new images here by exploring the area, looking at how the spaces and forms within it suggest interactions and metaphors that can inform my photographs. Each change of geography Iâ&#x20AC;&#x2122;ve experience in the past has resulted subtle shifts in my work, even while the overall style and conceptual concerns remains constant. I am interested in seeing what this place, with its extreme contrasts of prairie and mountains, of bright sun and cold, will allow me to create. My images are shot on medium or large format black and white film, and are printed as gelatin silver prints in a traditional darkroom.
Ann Mansolino “untitled”, 2012 Gelatin silver print 11” x 14” and 16” x 20”
Facul ty School of Cr i ti ca l + C re at i ve S t u d i e s Diana Sherlock, Instructor, Humanities, Professional Practices In the making is an 86-page catalogue published by the Alberta College of Art + Design that discusses the work of thirteen contemporary artists whose work represent various conceptual and material intersections between craft and emerging digital media. The twenty-four works by Ward Bastian, Jolie Bird, Hyang Cho, Dean Drever, Stephen Holman, Mackenzie Kelly-Frère, Robin Lambert, Wednesday Lupypciw, Brendan McGillicuddy, Tyler Rock, Jenna Stanton and Pavitra Wickramasinghe span a diverse range of disciplines— photography, performance, video and sound installation, drawing, sculpture, ceramics, jewellery and glass—and represent various conceptual and material intersections between craft and emerging digital media. Key ideas include the relationship between tacit and conceptual knowledges; the coexistence of traditional and contemporary ways of making that involve processes of translation and remediation; the labour and love of craft and technology in terms of production, distribution and consumption; the dematerialization and rematerialization of art and craft since Conceptual art; and the deskilling and reskilling of postdisciplinary practice. The catalogue features a curatorial essay by Diana Sherlock and an extended interview with the artists about “Questions of Making and Research,” conducted by Canadian independent curator and researcher, Nicole Burisch. The exhibition was hosted by the Illingworth Kerr Gallery at the Alberta College of Art + Design and by the Kenderdine College Art Galleries at the University of Saskatchewan in Saskatoon. Designed by GOOD Company and printed by McAra Unicom in Calgary, the book includes full-colour reproductions of the In the making installation at the Illingworth Kerr Gallery and each artist’s work printed on 100 lb Titan Dull text with soft touch aqueous finish. Sixteen 50T Eames diffused White Architecture dividers include key pullout quotations printed in silver ink. Perfect bound with a 122 lb silky Pilke Royal Blue cover with silver line decoration and debossed silver foil stamp title block. Available: December 15, 2016 (Just in time for Christmas!) ISBN: 978-1-895086-45-4 Price: $20.00 Cdn. plus applicable taxes and shipping Distribution Contact: Diana Sherlock, firstname.lastname@example.org Thank you to our funders: the Alberta College of Art + Design, the Alberta Foundation for the Arts, Calgary 2012, Calgary Arts Development, Kenderdine College Art Galleries and the University of Saskatchewan, TD Insurance Meloche Monnex.
Facul ty School of Co mm u n i cati o n D e si g n Guy Parsons, Instructor, Drawing, Communication Design
Guy Parsons “the trouble with clowns” (2016), Acrylic + Digital, 52” x 31”
New Fa cu l t y School of V i s u a l A r ts Kelsey Stephenson, Sessional Instructor, Print Media Re c ent wo r k : d i vi n i n g Recently, I had the opportunity to exhibit the installation ‘divining’ in the Rowe Gallery at the University of North Carolina, in Charlotte. This is part of an ongoing series of both print and installation work I have been examining in my studio. I am working with both traditional and non-traditional print processes, and expanding these in the larger installation work. This process allows multiple ways to investigate the dual impact of people on place, and the broad idea of place on our own self identification in my work. It is events through time which generate the history and identity associated with place. My mark-making process is intended to make the work, like landscape, feel as though it has existed for millennia. Drops from pools of inky water, and traces of where it evaporated remain, leaving patterning and reticulation. These remnants fascinate me. They resemble waters’ passage through the world in the form of rivers and streams. Searching out and tracing these marks in order to divine their history references water as a source of my inspiration in this work. There is a duality to water’s presence, as well as constant motion. Ice, soil erosion or storms may be unsettling, even dangerous - but one cannot live without water. As our bodies enter the landscape of the gallery, the fragile paper is disturbed, making it move and rustle. The papers along the wall exist at the intersection of multiplicity and originality. Combined, they present as a single piece, as though seeing an aerial view of landscape, or the division of a survey map. My work functions as both whole and fragment, exposing its vulnerability to disruption. A rupture in the illusion of wholeness occurs where we can see the edges of the papers, revealing movement. The fragility of the material and its constant motion references transience, both of landscape and of the viewer’s relationship with it. This begins to reference my own experience of place as a series of multiple, fragmentary, subjective moments, or even as longing for those places. It also questions how we equate bodies and landscape as each touches on and interacts with the other. As one moves about the space, much like water running in its course, the work disconnects from the whole, and is experienced as a series of fragmentary moments. I consider this work to be a creation of such moments brought together in one place, informed by thoughts of desire, longing, and a search for completion. My work draws on connections to places meaningful to myself, searching for how place has created an impact. For me, seeking to understand place is also a way of gaining insight and understanding into those who live within that context.
Kelsey Stephenson “divining” (2016) ink monoprint, silkscreen and etching on digital output, 9‘ x 72’
New Fa cu l t y School of Co mm u n i cati o n D e si g n Wh itney M c C r a r y, Sessional Instructor, Design Drawing Modern Ateliers, such as the Florence Academy and the Academy of Classical Design, derive much of their academic approach from the French Academy and private ateliers in the 19th Century. But art in nineteenth century France witnessed a great divide develop between the Academy and the independents resulting in societal shifts that undermined the archaic hierarchy of the Academic system affecting the popularity of the academic style. The progressives viewed the academicians style as idealistically sentimental with a careful finish catering to the tastes of establishment. This is how the Academy defined it’s own style: The genuine academic style is characterized neither by constraint nor bombast, but by an unwavering tendency toward the noble and refined. It represents the opposition of the ordered imagination to the uncontrolled imagination, and the opposition of inspired - but nonetheless decided and scrupulous art - to careless and slipshod art. It represents a return to antiquity in so far as it sees in physical beauty the image of moral beauty and presents a means of redirecting the mind - through aid of art - to the lofty realms of grandeur, purity, and the ideal.1 There is much to be admired in the purpose behind the academic style in 19th century France but to claim the authority to judge what is noble art and what is slipshod art is a combative position to assume. Despite the limitations of the academic style in practice, the Academy and atelier methods in 19th century France contributed to the development of the progressive styles that grew out of that period. 2 The foundational skills ateliers did and do succeed at is their systematic approach to drawing instruction, emphasis on copying, and the practice of the étude, or academic sketch. The current atelier approach to learning how to draw has maintained a consistency in curriculum since 17th century France. Students begin with a series of copies emphasizing first the contour, then the principle masses of light and dark prior to exploring the gradation of value. Working from carefully selected flat images at first, students move on to copying plaster casts of antique sculptures before studying the live model. This method has the potential to impart a singular style and overemphasize mechanical reproduction yet it’s greater purpose is to instill patience and confidence in execution. This logical progression allows students to gain confidence observing and recording the overwhelming information the sense of sight presents before adding the difficult task of originality and expression. Noted independent artists from the Realists, Impressionists, and Fauvists mirror this progression, as they were students of the atelier system and found original ways to apply what they learned. Henri Matisse, Édouard Manet, Claude Monet, and Gustave Courbet established the foundations for their mature work while studying under academics and their artistic evolution is evidence for the varied perception of experience. Another example is drawing plaster casts which can superficially appear to be a dull rote task, Gustave Moreau, a professor
Whitney H McCrary “Antinous” Charcoal on paper 36” x 24”
at the École des Beaux-Arts from 1891-1896, offers us a different perspective on working from the Antique, ‘The great legends of Antiquity,’ he wrote, ‘should not be constantly transcribed as history, but as eternal poetry...The intensity of myths should not be restrained by chaining them to an era or to the models and styles of that era.’3 Academic style might never find a foothold in popular taste again, but I personally feel the atelier methods continue to be a timeless generative process.
1 Dictionnaire de l’Académie des Beaux-Arts. 6 vols. Paris: 1858 et seq. Print. pp. 148-149 2 Boime, Albert. The Academy and French Painting in the Nineteenth Century. London: Phaidon, 1971. Print. p. 185 3 Mathieu, Pierre-Louis. Gustave Moreau, the Watercolors. New York: Hudson Hills, 1985. Print. p. 18
Faculty S c ho o l o f Visual Ar t , Paint ing C h r i s C ran, Sessional Instructor, Drawing
Photo: Denise Clarke
The Proust Questionnaire: Chris Cran By NGC Magazine Staff on June 22, 2016 The Proust Questionnaire started as a Late Victorian parlour game, aimed at revealing key aspects of a person’s character. While still in his teens, author Marcel Proust answered a similar series of questions with such enthusiasm that, when the manuscript containing his original answers was discovered in 1924, his name became permanently associated with this type of informal interview. Chris Cran is an internationally recognized painter who lives and works in Calgary, Alberta. His work explores issues of representation, related on the one hand to the construction of personal and cultural identities, and on the other to perceptual/cognitive illusion — both interests critically underpinned by a disarming and inventive sense of humour. He has exhibited widely around the world, including shows at 49th Parallel in New York City (1992), Taejon Expo ’93 in South Korea, and the Fourth International Painting Biennial in Cuenca, Ecuador (1994). The twentyyear survey exhibition, Chris Cran — Surveying the Damage, 1977 to 1997, curated by Clint Roenisch, was organized by the Kelowna Art Gallery and toured nationally from 1998 to 2000. A catalogue accompanied the exhibition, with essays by Dr. Roald Nasgaard and art critic Nancy Tousley. Cran’s paintings are included in numerous collections, such as the National Gallery of Canada, the Canada Council Art Bank, the Mendel Art Gallery (Saskatoon), the Glenbow Museum (Calgary), the Art Gallery of Alberta, the Nickle Arts Museum (University of Calgary), the Kelowna Art Gallery and the Museum of Canadian Contemporary Art (Toronto). He has also ventured into a variety of other related activities, including teaching art, curating exhibitions, and designing theatre sets. Cran was inducted into the Royal Canadian Academy in 2002. He received the ACAD Alumni Award of Excellence in 2011, and the Doug and Lois Mitchell Outstanding Calgary Artist Award in 2014. In 2015 and early 2016, his work was on view in Sincerely Yours at the Art Gallery of Alberta and Inherent Virtue at the Southern Alberta Art Gallery. These two exhibitions are combined in the special exhibition Chris Cran: Sincerely Yours, on view at the National Gallery of Canada until September 5, 2016. Surveying Cran’s artistic production over the past forty years, Sincerely Yours features over 100 paintings and drawings from the national collection, other institutions, and private lenders, and is the most comprehensive exhibition on Cran ever produced.
Your earliest memory of art: A watercolour by British artist A.E. Chaton, R.A. from 1830 that hung in my family home. Also, watercolours by my great-grandfather, George Lingford, and my great-uncle, Ernest Ehlers. When you knew this would become your vocation: About twenty years later, when my friend Herald Nix put a canvas in front of me, and a paintbrush in my hand, and suggested I try it. After the first painting I was hooked. Your greatest influence: Mom. Occupation you would have chosen (other than art): Filmmaking. Favourite pastime (other than art): Doing whatever I wanted. Favourite artists: Roy Lichtenstein, Agnes Martin, Juan Gris, Laurie Anderson, Fernand Léger, Henri Matisse, Raoul Dufy, Rita McKeough, Vikky Alexander, Ron Moppett, Christian Eckart, John Will, Michael Morris, Hyang Cho. Favourite writers and musician/composers: William S. Burroughs, Cormac McCarthy, Gabriel García Márquez, Jorge Luis Borges; Bob Dylan, Miles Davis, Howlin’ Wolf, Fred McDowell, Blue Sky Boys, Carl Stalling, Alejandro Escovedo, Jason Moran, Herald Nix, k.d. lang, Mary Gauthier, Tom Waits, George Jones. Favourite colour, flower and bird: The grey of a shadow; daffodil; crow (I had three as pets when I was young).
Favourite food and drink: Roasted almonds; black tea. Favourite smell and sound: Freshly cooked dinner, and the voice that says, “Dinner’s ready.” Favourite object: My f—ing computer. Favourite environment or landscape: Outside. Favourite weather or season: Spring. Favourite expression, catchphrase, proverb or word: “Di’n’t neither.” Pet peeve: False accusations. Best quality: Ability to get over false accusations. Worst flaw: Delighting in false accusations. Your definition of happiness: Here right now with my wife, Denise.
Ideal place to live: Here. A recurring dream: I have to pee. One wish: That I didnâ&#x20AC;&#x2122;t have to pee right now (while I am dreaming). Aspirations before you die: To keep on going and going and going. To me art is: The most fun.
Originally printed in the National Gallery of Canada Magazine www.ngcmagazine.ca / www.magazinembac.ca With thanks to Nina Berkhout, Managing Editor NGC Magazine
Facul ty School of Cr i ti ca l + C re at i ve S t u d i e s Chris Frey, Associate Professor, English In [cCrw]duction What cares these roarers for the name of king? - Shakespeare, The Tempest 1.1.16-17 Prefatory Remarks [“Crosseyed Heart” – Richards] Good morning students. I’m titling today’s lesson, Father, aRe you mi mother?: a tempestuous affair, for reasons soon to be revealed. But first let me remind you that [cCrw] is pronounced “crow” (“work” spelled backwards, almost) and is an a“crow”nym for criticalCreative reSearch & wriTing. And don’t forget that in order to [cCrw] anything, or [cCrw]edify something, you must connect with the thing in question in a meaningful, thoughtful and thoughtprovoking way. Familiar noises must be dampened in order to keep you seeing newly and to allow the thing to stir your empathy and mix ennoblement with joy or compassion or even hate and fear. Familiar noises enable writer’s block but unfamiliar ones, like a crow’s eternal, unnerving caw, invite “intermingling of phantasy and reality with love and hate” (Britzman 57), and establish unfamiliar terrorstories, interzones of chiasmuses, that foster eXperiences of mystery // my story. In chiasmatic interzones we relEARn how to hear with our eyes and see with our ears. Through eXperiences of reversal and nonsense we understand that things in our world include us in theirs and realize that criticalCreative transformations are evolutionary and represent pedagogics of unlearning. Interzones of chiasmi exist on flux (// xulf) and flow (// wolf). They draw us out of ourselves as we commence figuring out and connecting with an awareness of being that is comparable to what novelist, short story writer, and essayist Thomas King calls, “All my relations.” “All my relations,” he explains, . . . is at first a reminder of who we are and of our relationship with both our family and our relatives. It also reminds us of the extended relationship we share with all human beings. But the relationships that Native people see go further, the web of kinship extending to the animals, to the birds, to the fish, to the plants, to all the animate and inanimate forms that can be seen or imagined. More than that, “all my relations” is an encouragement for us
to accept the responsibilities we have within this universal family by living our lives in a harmonious and moral manner (a common admonishment is to say of someone that they act as if they have no relations). (ix) [cCrw] represents an embodied, native approach to teaching, learning, research, and writing that engages “webs of kinship,” including those “animate and inanimate forms that can be seen or imagined” (King). It simultaneously is and taps into interzones of chiasmi with intention to intervene, interrupt, and positively enhance and enliven familiar research methods and goals. In the company of [cCrw]s time becomes no time at all and combinations of “space” and “place” evolve into s(play)ce. S(play)ce is a wor(l)d where we touch wor()ds and they touch us, “Research” becomes “reSearch,” and values of grace, dignity, humility, patience, kindness, and courtesy bloom. [cCrw]s see “mEYEself” outside of “yOURself” and transform negative notions of complacency, isolation, and anti-social tendencies into compositions of positive opportunity and kinship. [cCrw]s thrive in s(play)ce and their murders “aim to preserve the indeterminacy of [it], keeping [s(play)ce] available for sitting [or] walking, discussing [or squawking], or just doing nothing” (Rancière 43). The black birds feast on carrion, dig “rank,” and strut “the stupidity of the standing man who symbolizes the creation of [s(play)ces for experimenting with] new uses of time and new demonstrations of equal capability” (Ibid). [cRow]s un-explain, un-learn, and are avatars for entirely negative and entirely positive relEARning processes. “I am the house,” caw cRrows, tenaciously, reluctantly, lovingly belligerent, and out of choir, and then they continue, cacophonicly, “and the house is not me.” [cCrw]etic discourse manifests disciplined undisciplinarity. It revolts without revenge to the tune of Poe’s pied piper, The Raven, “Nevermore,” who is perennially hopeful, optimistic, good humoured, and interested in the well being of those around him yet also committed to undermining the notion that an essential underlying harmony is inherent to the cosmos. [cCrw]s are classic crooners who croak concordia discors albeit in reverse. After all: 1) [cCrw]etic discourse unpacks neoliberalism’s unspoken and covert theory of education – its specific vision of teaching and learning – “in short, its pedagogics” (Chambers 73); 2) [cCrw] murders upset prohibitions against collaboration in reOrder to overcome and understand // understand and overcome, and pin down, ephemerally at least, “Unbearable Lightness[es] of Being[s]” (Kundera); and 3) “[[cCrw]etic] writing reminds us of things no longer and the return to [(// reTurn of)] words involves the estranging work [(// krow)] of attaching existence to non-existence. . . . [And] the writing assignment and our sense of the order to write, the anti-social tendency, however schizoid, will be our best resource, provided that we can overcome the prohibition on touching and being touched” (Britzman 67). All( ) gory allegory, that’s what [cCrw]s squawk about and yet “in storms of acclamation they remain qui[e]t() solitary” (Curie 365).
“All [write], that’s all I’ve got” (Richards). Let’s get on with mi relations. Let’s get the lesson started.
Relations Cited Britzman, Deborah. “Phantasies of the Writing Block: A Psychoanalytic Contribution to Pernicious Unlearning.” The Pedagogics of Unlearning. Punctum Books, 2016. 45-69. Print. Chambers, Samuel A. “Learning How to be a Capitalist: From Neoliberal Pedagogy to the Mystery of Learning.” The Pedagogics of Unlearning. Punctum Books, 2016. 71-107. Print.Curie, Eve. Madame Curie. Trans. Vincent Sheen. New York: Cardinal Edition, 1959. Print. King, Thomas. “Introduction.” All My Relations: An Anthology of Contemporary Canadian Native Fiction. Toronto: McClelland & Stewart, 1990. ix-xvi. Print. Kundera, Milan. Unbearable Lightness of Being. New York: Harper and Row, 1984. Print. Mendelsund, Peter. What We See When We Read. New York: Vintage, 2014. Print. Nancy, Jean-Luc. Being Singular Plural. Stanford: Stanford UP, 2000. Print. Poe, Edgar Allen. “The Raven.” Great Short Works of Edgar Allen Poe: Poems, Tales, Criticism. New York: Perennial Classics, 2004. 73-78. Print. Rancière, Jacques. “Un-What.” The Pedagogics of Unlearning. Punctum Books, 2016. 23-44. Print. Richards, Keith. “Crosseyed Heart.” Crosseyed Heart. Republic Records, 2015. Music. Seery, Aiden. “Learning to Unlearn.” The Pedagogics of Unlearning. Shakespeare, William. The Tempest (1611). New York: Signet Classic, 1964. Print. Steinhart, Peter. The Undressed Art: Why We Draw. New York: Vintage, 2004. Print.
The submission is excerpted from a forthcoming publication, titled “book of isa[BAla]: a future historical postApocalyptic manuscript authored by survivor of the accident, topherO’shea; now discovered, [cCrw]edified, and introduced by dr.chriSTopher.frey, Associate Professor, Alberta College of Art and Design; for the delight of merry Time-spenders.”