Topic
The Imaginary
About: The Imaginary is a research topic. Over the lifetime, 4807 publications have been published within this topic receiving 87663 citations.
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Dissertation•
01 Jul 2016
TL;DR: In this paper, the authors examine collective art practices in Cuba in relation to the wider collectivised society and ask, "Do the social exist in and of itself at all?" The authors also propose a "Typology of Association" to trace thought on grouping found in political theory, art history, exhibitionary practice and sociology to produce a nuanced interpretation of how it is that we envisage ourselves in relation with group identifiers.
Abstract: This thesis begins with an examination of collective art practices in Cuba in relation to the wider collectivised society. This acts as a counterbalance for engaging with the strategy of artists’ groups in the United Kingdom and the differences between political thinking in Cuba and the West. Practice-based research in the form of curatorial activity has constantly responded to the theoretical underpinnings of this thesis. The multi-platform project 'Assembling' (2013-2015) understands the exhibition to be collaborative from the moment of inception. Through the circulation of material in a process of gathering, electing and making visible objects and ideas, 'Assembling' has brought together artists previously unknown to each other from Cuba and the United Kingdom to find and cluster around a shared sense of social imaginary, a shared issue of concern.
A 'Typology of Association' runs throughout the thesis to trace thought on grouping found in political theory, art history, exhibitionary practice and sociology to produce a nuanced interpretation of how it is that we envisage ourselves in relation to group identifiers. Concomitantly, the main text of the thesis asks, ‘Does the “social” exist in and of itself at all?’. Although this is a wide-reaching question, it is key for understanding artists’ groups as the social becomes a composed (Latour, 2005) space in which elements can be actively distributed (Ranciere, 2000) to form temporal assemblages (Deleuze and Guattari, 1980) making the social 'a practice'. Rather than enquire for example, what is ‘community art’, this research removes an assumptive meaning and asks what is ‘community’ and how does art practice activate its composition? Shifting social space is understood in terms of consistency: solid, fluid (Berman, 1982; Bauman, 2010) and foam (Sloterdijk, 2007, 2011).
15 citations
TL;DR: In this paper, the authors focus on the fact that to date, the projects are themselves largely "imaginary" and globally, there are no full-chain power plants operating in the world.
Abstract: One of the major challenges of risk communications for CCS is the fact that, to date at least, the projects are themselves largely ‘imaginary’ – globally, there are no full-chain power plants opera...
15 citations
01 Jan 2013
TL;DR: This article examined the political geographies of Palestinian children, and the ways in which their everyday spaces and practices are shaped by broader social and political processes, and explored how children reshape the discursive spaces of childhood and child subjectivity through their everyday practices.
Abstract: OF DISSERTATION A CHILDREN’S GEOGRAPHY OF OCCUPATION: IMAGINARY, EMOTIONAL, AND EVERYDAY SPACES OF PALESTINIAN CHILDHOOD This research examines the political geographies of Palestinian children, and the ways in which their everyday spaces and practices are shaped by broader social and political processes. This research begins with an investigation into the role of the child in the moral geopolitics of humanitarianism and the Palestinian/Israeli conflict. From here, the research explores how the competing discourses of Palestinian nationalism and international humanitarianism, and the legacy of forced migration, have shaped the subjectivity of Palestinian children and the spaces of childhood in a West Bank refugee camp, from homes, to schools, streets, and youth centers. Finally, using participant observation, visual methods and guided tours, this research explores how children reshape the discursive spaces of childhood and child subjectivity through their everyday practices.
15 citations
Journal Article•
TL;DR: Sara's story emerged through the combined forces of different media as mentioned in this paper, including drawing, talking, and writing, and it is argued that drawing, like talking, is not writing.
Abstract: Sara's story emerged through the combined forces of different media. For young children are symbol weavers: the imaginary worlds they form on paper may lean on varied symbol systems or media drawing, talking, writing (Dyson 1981). In Eudora Welty's (1984, p. 10) words, young artists "use all their senses to discover the world." How, then, should we label Sara's artistry? Should it be viewed as "drawing"? a "language art"? "writing"? Recently, educators have tended to label children's use of all these media as "writing." And yet, ultimately, drawing, like talking, is not writing. For ex-
15 citations