Social Art Series - A Social Document [1]

Social Doc 1 Metaphor Matters

Social Doc 1 Material Matters

Social Doc 1 Metaphor & Material Matters

Social Doc 1

S ocial S

Laura Harris NSP 2021 SELA* – Social. Emotional. Langage. Affects.

A publication of reflective foresights from the social art series exhibition: Metaphor & Material Matters.

“I only ever meet with one person at a time either my husband and I, or, one friend; I never work or do anything in a group. I have been out socially twice in the last two years.” People think being in a group is a therapy but it’s more an essential way of functioning from a place of creative intuition that is from a person’s essence. Why is the commune or communality not a regular thing? Why was social distancing the norm before the threat of Covid came into existence? This is the void in which people don’t dare enter in case they discover like in Plato’s Cave people are social creatures who need daily human touch, laughter & joy.

People’s interactions encompass meanings; of what it is to be human that surpasses prescriptive conditions. To come into contact with alternative modes of living and above all else to feel alive, the social value here is the art.

Social learning aids transformation and transformation in turn leads to social change. The art-lead participant process from putting together a digital exhibition meant people could experience change as a transformative evolution as opposed to change as uncertainty and archaic. The perception of adjusting to change is invalid when people are communicating in a way when they govern the change from their own personal, intellectual, and bodily inner states.

Knowing from the depths and sharing experiences raised the social awareness week-by-week. There were gestures of appreciation, heated moments, and comfortable silences for reflection.

From exhibition to uninhibition, in the group social gestures (a craft - doing with the hands) were unconsciously performed between people and created quality time.

The exhibition delivered the gestures through the participant’s displayed content: images, making of objects and conversation that took place.

The more receptive to gestures the stronger the relationships and shared autonomy became within the group.

I used another exhibition gallery format to compliment & convey living images within the body and performed them externally alongside PowerPoint slides that contained photographs linked to feminine myths.

Asemic notes: ^shared perspectives. connecting in isolation online >

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>>> motional

The making of conservation relies on the emotive content to activate psychophysical and psychosocial responses.

The people in the first social art series stayed attuned in the current situation because my body remembers.

I have memories not in my These emotions in exchange mirror the parts of ourselves in head but in my organs, these people know my skin, they others and vice versa. mirror my gestures as I account When people say what they for theirs. want, how they feel, and swap thoughts whilst doing something creative they get to Muscle memory holds the know each other as they are, by group together long after the being their unexpected interactions have passed. unadjustable unapologetic self.

Mixed feelings about our views made way for the tolerance of differences between us. This allowed creativity to show up in the unlikeliest of places to thread all the emotions into an emergent display of culture.

Colour play shaped the mood and extended the rooms from where people were sat in front of their screens. The location for the meeting was on Zoom, although the colour added a correlation between individuals, there was a physical dimension added to the When someone affects another, postage stamps in the boxes. an emotion stores itself in the My cells is in your cells, No longer was the frame body of the person as a pocket performance has shaped our inhibiting. Colour diffused into of time. Time is held within language, our purpose is a the unconfined unknown. emotional states lined inside discipline standing in the the body. context of warmth. Our biology Conversation happened by osmosis. and neurology are not the same, but they are shared from our experience.

Asemic notes: New Hair Do-s, You & I trying to undstand our P.O.Vs, uncensored tongue

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anguage “If language isn’t ours then what’s the point?”

Asemic notes: < I hear you loud and clear—hear me NOW! < Publication,  I don’t know what I’m doing though it’s meaningful.

World power works in the abstract and so does the social imagination which ties things together. To take back power for self to transmute to other is to use abstraction to generate new meanings. The social and object relations can connect not merely through words but from the basis of underlying emotion seeping through sounds in letters from a flow of consciousness, such as present in poetry for example. A word in a dictionary has a definition namely a reference to something but is cut off from context. A solo word is not a language because there’s an absence of relationship there. However, throw the word onto the page, perform or utter then action brings forth an unveiled image that speaks for itself. Welcome to realities from the devoted fictional objective forms.

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AL Meet the people at the art commune.

L S

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Laura Harris NSP 2021

a* ffects

The known affective participant outcomes from the Social Art Series Metaphor & Material Matters are as follows: L who has a long-term health condition ran for Regional Vice President Higher Education at the UHI students’ association HISA. Although thousands of votes were spoilt due to a crash in the online voting system, she got over two hundred votes from writing a manifesto for peer support focus groups to be held across the university. L also performed internationally using the interactive PP digital exhibition format during an international storytelling event held on Zoom.

AL mentored L throughout the entire intellectual and creative process. He helped her remove her blocks and procrastination tendencies by showing examples of his work and getting her to clarify and develop her ideas further. L would argue that she mentored A in becoming an actualised mentor being his first conceptual, psychoanalytical & media mad mentee. AL currently mentors the MA Art & Social Practice students at UHI. J had desired to dye her hair red for a while yet was unsure about the spectatorship. Having been part of the exhibition process & having experienced what it takes to put something together as a member of as and on par with the audience; spectatorship was overthrown.

J went straight to the hairdressers and got her hair dyed an unforgettable vivid scarlet red. By Christmas her hair speaks to be Green.

# Encouraging # Constructive # Communication S took on more painting commissions and reflected critically on the context of her artwork for the first time during an in-depth analysis and dialogue with L in her living room. From this S could clearly envision how her work could add immense value to ecology and create positive change in making environmental improvements in her future projects. Immediately S applied to study art & design at Inverness college, UHI. L edited her portfolio based on their discussion to help her through the bureaucratic selection process. S got an unconditional offer and began the course the week after her interview.

S’s original document C+P in browser:https://issuu.com/northgalleryand ruraljetty/docs/portfolio S & L’s collaborative editorial publication:https://issuu.com/northgallerya ndruraljetty/docs/sp_portfolio_finalxxx.docx

Womenfesto, (man is ok, men are not ok): Sela*, an art commune for integration & dialogue.

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Documentation of publication design & exhibition editorial.

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*artist/ art affects Text and asemic writing by Laura Harris References Romberger, K., Wesley, G., Cooney, N., Downing, L. and Yanas, R., 2021. Publishing as Practice. Inventory Press LLC. Burkitt, I., 2014. Emotions and Social Relations. SAGE Publications.

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