[Xmca-l] Re: "cultivating Minds

[mike cole]

I have noted the same phenomenon, David. Sometimes we get into Vygotskian
chaining but then the conversation may (or may not) become around again,
and we actually see a spiral of development.

My colleagues at UCSD have often done performance art that is
collective...... for example, as part of a highly contentious protest
against rascism at a frat party. The Occupy movement has/had (?)  elements
of performance art.

Linking the issue to an individualist or collectivist theory of human
consciousness was very helpful to me.
mike

On Tue, Mar 3, 2015 at 1:58 PM, David Kellogg <dkellogg60@gmail.com> wrote:

> Sometimes xmca reiterates.
>
> This isn't always a good thing; it's often because someone (usually me)
> wants to say the same thing a second time and just can't come up with a
> better way of saying it. But sometimes it's a good thing, either becuase
> the list as a whole has forgotten something it once knew or (better) there
> are new people who weren't here for the first part of the conversation, or
> (best of all) a thread has really turned into a kind of Moebius strip and
> is doubling back on itself, but in a way that brings something that was
> only implicit out and makes it explicit.
>
> All of which is an excuse for me to recycle the following posting, which I
> wrote many years ago when my friend the performance artist Shu Yang was
> last in Seoul.
>
> http://lchc.ucsd.edu/MCA/Mail/xmcamail.2010_11.dir/msg00242.html
>
> I think the point I'm trying to make here--but it is implicit and I will
> try to make it a little more explicit--is that we should have predicted all
> the sensationalist and EXHIBITIONISTIC excesses of today's performance art,
> simply from the fact that performance art is ART, and art in a bourgeois
> society will inevitably centre on the all-conquering, all-absorbing,
> all-obscuring individual. So today performance art sees the body as its
> main asset, but by doing this it has turned the body into its main
> obstacle. Seeing performance art as a projection of performance, the body
> denies performance art as an injection of art.
>
> If performance art wants to be art and not just performance, then it has to
> grasp the basic Vygotskyan principle that art is not the socialization of
> bodily feelings, but on the contrary, the individuation of a social
> feeling. That's what made Shu Yang's performance art, and the other
> performances mere performance.
>
> Reiterate xmca...sometimes.
>
> David Kellogg
> Hankuk University of Foreign Studies
>
> On 4 March 2015 at 02:51, HENRY SHONERD <hshonerd@gmail.com> wrote:
>
> > Larry,
> > I am mashing up serveral themes lately in the chat braid:
> > Style and authenticity: Are they compatible? I am thinking about the
> > discussion of performance art. Annalisa posted a radio podcast about
> > professional wrestling. Is it fake, and if so, so what? it’s just
> > entertainment. And makes lots of money. Your three definitions of FREEDOM
> > come to mind (boiled way down, leaving just the salt): 1) autonomy, 2)
> > expression of AUTHENTIC self, 3) collaborative/creaiive hoping. So, I see
> > PLAY saving the day in that third, hopeful space, that sweet spot. Where
> > people play at being both stylish and authentic. That would never go out
> of
> > style. That would be vital. And wouldn’t be dreadfully boring.
> >
> > I look back at the previous paragraph and thought I might try to unpack
> > it, but that would be even more arrogant than having written it in the
> > first place. So, let’s just leave it there. Play with it. Come on, peeps,
> > come out and play!! Snow has melted here in the Break Bad City, all mud
> > puddle luscious. We’re high desert, so this is a real treat. Sorry can’t
> > send some of our mud to Mike in San Diego.
> > Henry
> >
> >
> >
> > > On Mar 3, 2015, at 7:45 AM, Larry Purss <lpscholar2@gmail.com> wrote:
> > >
> > > Henry,
> > > Let's follow further the opening comment of the song [this is an
> > "approach
> > > that has gone out of favour in the scientific world]  Poetry as
> > "metaphor"
> > > but not "mere" metaphor as the handmaiden of the "realistic" and the
> > > "conceptual"  Rather "metaphor AS realistic" and also the reciprocal
> "the
> > > realistic AS metaphorical"  Chemicals as personifications
> > > [anthro-morphisms] "attract" each other.
> > >
> > > I am "implicating" metaphor and valences AND rational conceptions as
> > equal
> > > "partners" in "approaching" the notion of life as "vitality" [another
> > > notion that has gone out of fashion  I am suggesting that this "theme"
> of
> > > "life" as vital/dead seems to "play" out and also
> > > "play" within  internal/external "dramas".
> > > Daniel Stern most recent book is on the notion of "vitality"  Also
> > > Heidegger's notion of "care and concern".
> > >
> > > Just saying -
> > >
> > > Larry
> > >
> > > On Mon, Mar 2, 2015 at 9:43 PM, HENRY SHONERD <hshonerd@gmail.com>
> > wrote:
> > >
> > >> Larry and Mike,
> > >> I think you guys are on to something. Thank goodness for valence, the
> > salt
> > >> of the earth according to the McGarrigles:
> > >>
> > >> KATE & ANNA MCGARRIGLE
> > >> "NaCl"
> > >> Just a little atom of Chlorine, valence minus one
> > >> Swimming through the sea, digging the scene, just having fun
> > >> She's not worried about the shape or size of her outside shell
> > >> It's fun to ionize
> > >> Just a little atom of Cl with an unfilled shell
> > >> But somewhere in that sea lurks handsome Sodium
> > >> With enough electrons on his outside shell plus that extra one
> > >> Somewhere in this deep blue sea there's a negative
> > >> For my extra energy
> > >> Yes, somewhere in this foam my positive will find a home
> > >> Then unsuspecting Chlorine felt a magnetic pull
> > >> She looked down and her outside shell was full
> > >> Sodium cried, "What a gas, be my bride
> > >> And I'll change your name from Chlorine to chloride!"
> > >> Now the sea evaporates to make the clouds for the rain and snow
> > >> Leaving her chemical compounds in the absence of H2O
> > >> But the crystals that wash upon the shore are happy ones
> > >> So, if you never thought before
> > >> Think of the love that you eat when you salt you meat!
> > >>
> > >> https://www.youtube.com/watch?v=CpTzawl3OmI <
> > >> https://www.youtube.com/watch?v=CpTzawl3OmI>
> > >>
> > >> Henry
> > >>
> > >>
> > >>
> > >>
> > >>
> > >>
> > >>> On Mar 2, 2015, at 8:47 PM, Larry Purss <lpscholar2@gmail.com>
> wrote:
> > >>>
> > >>> Mike,
> > >>> I will follow further in Simmels and Urs Furher's footsteps as this
> > >>> theme also brings in Ernst Boesch's theory of "symbolic action" which
> > was
> > >>> developed as a notion that all phenomena [including action] have both
> > >>> objective and symbolic "aspects". Boesch wrote:
> > >>>
> > >>> "This 'pervasiveness' of symbolism may be easy to grasp for a
> > >> psychologist
> > >>> with psychoanalytic experience or with strong artistic tastes; in my
> > >> case,
> > >>> however, although I believe myself to have a bit of both, this
> insight
> > >> had
> > >>> much more 'rational' roots. ... I trace its inception back to the
> 1963
> > >>> article 'Raum und Zeit als Valenzsysteme', in which I formulated, for
> > the
> > >>> first time, the close *interrelatedness of 'valence' *[LP-
> worth/value
> > ]
> > >>> and 'structure': the conceptual structuring of space depends, I said,
> > >> upon
> > >>> the location of valences [worth/values] - it was the *'wish to
> return'
> > >> *which
> > >>> led to the specification and stability of *places.*"  [cited in
> > "reasons
> > >>> For a Symbolic Concept of Action" in Culture and Psychology 1997
> > >>> Volume 3(3): pages 423-431]
> > >>>
> > >>> I am suggesting that Simmel, Urs Furher, and Ernst Boesch were all
> > >>> following in the footsteps of the concept of "polyvalence" [multiple
> > >> worths
> > >>> and  values] as symbolic actions.
> > >>>
> > >>> Larry
> > >>>
> > >>> On Mon, Mar 2, 2015 at 3:23 PM, mike cole <mcole@ucsd.edu> wrote:
> > >>>
> > >>>> Amazing "coincidence" Larry--- I just wrote to Urs who I have not
> > >>>> corresponded with for years as a result of going through his book on
> > >>>> cultivating minds. It has a chapter on behavior
> > >>>> settings as media for promoting children's development that has me
> > >>>> re-thinking a number of issues. Among other things, there is a very
> > >>>> interesting discussion of Roger Barker's research program. Very
> worth
> > >> while
> > >>>>
> > >>>> I could not open that file you sent, but I found the link to the
> > journal
> > >>>> article. Its here:
> > >>>>
> > >>>> http://lchc.ucsd.edu/Histarch/ja93v15n1.PDF
> > >>>>
> > >>>> There are a number of other interesting/relevant articles there.
> "The
> > >> sound
> > >>>> of the violin" is a favorite.
> > >>>>
> > >>>> Thanks for reminding us of Simmel.
> > >>>> Today, March 1, was his birthday!
> > >>>> Coincidence?
> > >>>> mike
> > >>>>
> > >>>> On Mon, Mar 2, 2015 at 3:01 PM, Larry Purss <lpscholar2@gmail.com>
> > >> wrote:
> > >>>>
> > >>>>> Mike,
> > >>>>> I continued to explore Urs Furher's book that you mentioned on
> Simmel
> > >>>> that
> > >>>>> would be potentially beneficial to follow. In my explorations I
> came
> > >>>> across
> > >>>>> this article on the metaphor of "traces" or "footprints" in the
> XMCA
> > >>>>> archives. It was written in 1993 and is an interesting perspective
> on
> > >> the
> > >>>>> metaphor of cultivation AS FOOTPRINTS.  It is the third article in
> > the
> > >>>>> newsletter.
> > >>>>> Urs is pointing to the reciprocal processes of "internalizing" and
> > >>>>> "externalizing" the inner "affective sense" of "place" through
> > >> attachment
> > >>>>> to "home" and "vehicle" as concrete ways to form one's identity
> > through
> > >>>>> attachment/security needs and  autonomy needs.
> > >>>>> Larry
> > >>>>>
> > >>>>
> > >>>>
> > >>>>
> > >>>> --
> > >>>> It is the dilemma of psychology to deal as a natural science with an
> > >> object
> > >>>> that creates history. Ernst Boesch.
> > >>>>
> > >>
> > >>
> >
> >
> >
>



-- 
It is the dilemma of psychology to deal as a natural science with an object
that creates history. Ernst Boesch.