Unknown Speaker 00:08 because you can model sexual difference Unknown Speaker 00:15 is not accepted Unknown Speaker 00:19 need to affirm sexual difference in order to support a claim of inferiority, very passionately. Unknown Speaker 00:31 One response to the woman Unknown Speaker 00:36 feeling anxiety Unknown Speaker 00:38 and wanting to reach HEALTH ENERGY. Unknown Speaker 00:43 Bills produced by the World Trade Minister commands of ESA anxiety was produced by the complainant Unknown Speaker 00:53 was not presented Unknown Speaker 00:55 to and effects undermine the entire purpose of respect. Unknown Speaker 01:09 Another ideological apparatus that utilize images of Unknown Speaker 01:14 organized vision in terms of moments Unknown Speaker 01:18 with respect to the artist. Unknown Speaker 01:22 It is not a coincidence that just one day after the opening of the store, great art exhibition and music, I'm delighted to find that 2000 Unknown Speaker 01:35 rubles open Unknown Speaker 01:38 issue in the Unknown Speaker 01:43 same city. Unknown Speaker 01:45 It is estimated that between July 19 and November 30, Unknown Speaker 01:51 the exhibition track Unknown Speaker 01:54 record by Unknown Speaker 01:58 Professor Alex Ziva president of the white chamber Unknown Speaker 02:04 claimed by the Unknown Speaker 02:05 Nazis to people asked her Unknown Speaker 02:17 special orders to confiscate all paintings and sculptures are produced Unknown Speaker 02:25 are in possession for like Unknown Speaker 02:29 30 works by 112 artists including tasty play Unknown Speaker 02:39 is selected and exhibited on the model. Unknown Speaker 02:45 However, not as appropriate, does exhibition format diametrically opposite. Unknown Speaker 03:02 Paintings will have possibly display in small Unknown Speaker 03:08 place close together at weird angles on the walls. Unknown Speaker 03:13 derogatory labels and commentaries Unknown Speaker 03:17 are arranged in line Unknown Speaker 03:20 some of the types of mockery Unknown Speaker 03:26 and destruction of glass Unknown Speaker 03:32 becomes remarkably clear. But looking at photographs, artists additional ways countless negative spectacle Unknown Speaker 03:46 is represented as a sort of Unknown Speaker 03:50 devaluation in both spectacles was constructed for humiliating feet information explained Unknown Speaker 03:59 while the woman remains in our tickets Unknown Speaker 04:03 were placed there Unknown Speaker 04:07 to determine paintings and sells our representation of the large Unknown Speaker 04:13 scale Unknown Speaker 04:15 articulate and potentially Unknown Speaker 04:19 explicitly explicitly works such employment lashes Unknown Speaker 04:28 were absent from the Federal exhibition. Unknown Speaker 04:31 So currently political opposition messages not be suppressed. Unknown Speaker 04:44 That's Unknown Speaker 04:48 an impossibility possibility of suppressing or altering is meeting new context. Unknown Speaker 05:00 Having established this analogy general artists in the second Unknown Speaker 05:08 grade it Unknown Speaker 05:11 is important to recognize different population Unknown Speaker 05:15 paintings and the different conditions are treated as Unknown Speaker 05:20 well. Unknown Speaker 05:56 Much Unknown Speaker 06:01 as Unknown Speaker 06:06 possible Unknown Speaker 06:08 even though it's Unknown Speaker 06:12 a brief definition one which differentiates theatre arts Unknown Speaker 06:18 because something like Unknown Speaker 06:21 a mode of artistic production in which the artist uses body is Unknown Speaker 06:27 instead of Unknown Speaker 06:30 separate however the RS has been found uses more conventional materials you Unknown Speaker 06:36 might even use those materials Unknown Speaker 06:39 and they will return to the schools. So, Unknown Speaker 06:46 this is all to say that those are surgery institutions apart Unknown Speaker 06:52 and not Unknown Speaker 06:54 and are therefore creating conditions Unknown Speaker 06:58 not the least of which is mining as a conveyor of Unknown Speaker 07:03 conduit Unknown Speaker 07:05 as a metaphor. Unknown Speaker 07:20 The 1960s Unknown Speaker 07:24 More people stopped working Unknown Speaker 07:27 one of his good 60s Unknown Speaker 07:31 That was dedicated to Unknown Speaker 07:40 everything is kind of happening in the 60s Unknown Speaker 07:47 futures COVID-19 magnetic declination manifestos in Unknown Speaker 07:57 the 1970s gas Unknown Speaker 08:01 reserves Unknown Speaker 08:07 a legacy Unknown Speaker 08:12 as Unknown Speaker 08:16 the chief ingredient which Unknown Speaker 08:19 itself Unknown Speaker 08:22 year matching decimals causes Unknown Speaker 08:30 all issues Unknown Speaker 08:33 especially Unknown Speaker 08:37 the psychopath Unknown Speaker 08:41 indeed Unknown Speaker 08:44 the use of excuses sensations which is not Unknown Speaker 08:54 denial and hunger Unknown Speaker 08:58 question of anger for the sake Unknown Speaker 09:01 of Unknown Speaker 09:03 the artists only discusses de Unknown Speaker 09:07 repression Unknown Speaker 09:10 that is national stage nationalism Unknown Speaker 09:17 needs something he himself Unknown Speaker 09:21 so, Unknown Speaker 09:22 we'll see sensation Unknown Speaker 09:25 as we pass this class Unknown Speaker 09:34 history of representation Unknown Speaker 09:37 artistic nasty Unknown Speaker 09:40 stirred these things up Unknown Speaker 09:45 by doing just that Unknown Speaker 09:50 suggest ways as audience size and shape Unknown Speaker 09:56 such activities Unknown Speaker 10:00 use Unknown Speaker 10:05 everyday practices Unknown Speaker 10:11 as Unknown Speaker 10:13 a gender Unknown Speaker 10:16 explain masochism Unknown Speaker 10:21 part Unknown Speaker 10:24 of Unknown Speaker 10:26 or rather to share visuals such as Japanese Unknown Speaker 10:36 and American first Unknown Speaker 10:43 essay Unknown Speaker 10:54 in this sad divide Unknown Speaker 11:04 in this inevitable violence Unknown Speaker 11:07 for basic Unknown Speaker 11:10 conditions of child operation estimation Unknown Speaker 11:15 however because there's army essays to signal Unknown Speaker 11:24 it becomes clear that it is unclear All Unknown Speaker 11:31 right ready to quit Unknown Speaker 11:36 on Unknown Speaker 11:37 Mr purchase without because Unknown Speaker 11:41 it doesn't make Unknown Speaker 11:45 sense Unknown Speaker 11:47 in the world that follows identities best naturally require the justice Unknown Speaker 11:57 system Unknown Speaker 12:01 but the real person Unknown Speaker 12:05 is Unknown Speaker 12:07 that you will have Unknown Speaker 12:10 this massive Unknown Speaker 12:17 pleasure Unknown Speaker 12:25 for me Unknown Speaker 12:27 to Unknown Speaker 12:31 this point which is Unknown Speaker 12:40 loosely being spied Unknown Speaker 12:43 on Unknown Speaker 12:46 all those things we do for ourselves Unknown Speaker 12:51 all those good things Unknown Speaker 12:54 for the Unknown Speaker 12:56 space Unknown Speaker 12:58 station Unknown Speaker 13:02 How should I close Unknown Speaker 13:05 is the supposition that Unknown Speaker 13:10 I eat social their email Unknown Speaker 13:15 as I said earlier Unknown Speaker 13:24 so, today we're setting the pace for sets Unknown Speaker 13:41 are Unknown Speaker 13:46 those Unknown Speaker 13:52 Rosenbach Unknown Speaker 14:05 alternatively Unknown Speaker 14:13 you Unknown Speaker 14:27 each of these artists laid out the structure of baskets Unknown Speaker 14:32 first emotional Unknown Speaker 14:36 performance will be interchange the devastation Unknown Speaker 14:45 and the other decrease this was our fantasy which speeds Unknown Speaker 14:50 or buys into test. Unknown Speaker 14:54 Thirdly, suspense, which is the sensation of waiting for Unknown Speaker 14:59 a Unknown Speaker 15:00 A Unknown Speaker 15:01 model of cells Unknown Speaker 15:09 and populations Unknown Speaker 15:11 or systems possibly functions Unknown Speaker 15:17 in some way Unknown Speaker 15:22 in 1971 Unknown Speaker 15:27 extended the right to Unknown Speaker 15:31 contract Unknown Speaker 15:33 prerequisite agreement Unknown Speaker 15:38 this ingredients especially important Unknown Speaker 15:41 as to those Unknown Speaker 15:44 in the testing vessels desire to operate in society that is operate within an Unknown Speaker 15:51 institution Unknown Speaker 15:53 exemplified through the institution Unknown Speaker 15:56 and Unknown Speaker 16:00 the status decided based on that decide yourself as to highlight Unknown Speaker 16:09 all these potential Unknown Speaker 16:13 issues of nasty Unknown Speaker 16:16 artists in assessing trigger of questioning the structure Unknown Speaker 16:22 of fantasy which includes all Unknown Speaker 16:34 our Unknown Speaker 16:43 short Unknown Speaker 16:49 courses Unknown Speaker 16:54 the populace as Unknown Speaker 16:59 interesting things as the gods as an example of optimism Unknown Speaker 17:05 as an example Unknown Speaker 17:10 here is what Unknown Speaker 17:15 he means is to Unknown Speaker 17:19 create a new product to dominate your solutions Unknown Speaker 17:27 channel is congested as Unknown Speaker 17:33 your Unknown Speaker 17:37 husband energy this identity is as natural as opposed to the show Unknown Speaker 17:45 Rosenbach in 1976 Unknown Speaker 17:53 to be seen as going against Unknown Speaker 17:56 President Vice Jones vice versa your boss Unknown Speaker 18:02 she absorbed Unknown Speaker 18:08 basically Unknown Speaker 18:09 and projected income Unknown Speaker 18:21 Rosenbach pieces of advice self functioning which is all Unknown Speaker 18:35 that she has Unknown Speaker 18:44 should see some of this Unknown Speaker 18:48 is Unknown Speaker 18:55 just Unknown Speaker 18:56 immerse yourself Unknown Speaker 19:00 she's actually saved Unknown Speaker 19:02 save Unknown Speaker 19:08 that image from Unknown Speaker 19:12 the documentation Unknown Speaker 19:17 entails to follow. Unknown Speaker 19:21 Now installation functions as well Unknown Speaker 19:27 as inside Unknown Speaker 19:31 the price Unknown Speaker 19:35 days all artists are Unknown Speaker 19:39 patient Unknown Speaker 19:43 via the accurate presentation of their bodies. Unknown Speaker 19:49 Looking the artists were discussing Unknown Speaker 19:55 while the artist is constructing the subjective Unknown Speaker 20:00 She or he is also still but traditionally the object of Unknown Speaker 20:08 this object is promoted by NASA Unknown Speaker 20:15 most peaceful audience Unknown Speaker 20:20 place Unknown Speaker 20:28 wise inner object Unknown Speaker 20:37 wishes Unknown Speaker 20:39 you say things about Unknown Speaker 20:45 how long is Unknown Speaker 20:55 it a lot of suggestions for opposition Unknown Speaker 21:02 party status Unknown Speaker 21:12 sponsor construction playback Unknown Speaker 21:19 stimulate your viewer to recognize Unknown Speaker 21:24 simultaneously Unknown Speaker 21:29 as well as take instructional time Unknown Speaker 21:37 while those Unknown Speaker 21:39 opposition and possible Unknown Speaker 21:48 opposition's passivity Unknown Speaker 21:51 vulnerability Unknown Speaker 21:53 and Unknown Speaker 21:55 masochism Unknown Speaker 22:01 honest self Unknown Speaker 22:07 study part Unknown Speaker 22:10 is of course Unknown Speaker 22:14 the art stuff Unknown Speaker 22:16 onto the slides Unknown Speaker 22:21 that Unknown Speaker 22:23 she made Unknown Speaker 22:33 actions Unknown Speaker 22:43 then Unknown Speaker 22:50 your Unknown Speaker 22:52 body Unknown Speaker 22:54 she highlighted Unknown Speaker 23:00 but obviously Unknown Speaker 23:03 honest Unknown Speaker 23:07 it's not Unknown Speaker 23:09 as as office investing Unknown Speaker 23:12 first up actions to sell Unknown Speaker 23:16 and launch in hopes of breaking through Unknown Speaker 23:22 wishing them like Unknown Speaker 23:25 the everyday Unknown Speaker 23:27 person Unknown Speaker 23:32 is special Unknown Speaker 23:37 I wish delicious assessments Unknown Speaker 23:43 as well as Unknown Speaker 23:49 just how to transition Unknown Speaker 23:53 take place and Unknown Speaker 24:01 D are Unknown Speaker 24:07 demonstrations Unknown Speaker 24:12 action Unknown Speaker 24:14 sports Unknown Speaker 24:16 and it keeps us Unknown Speaker 24:22 stuck in analysis Unknown Speaker 24:25 for what is Unknown Speaker 24:28 or what goes on in space Unknown Speaker 24:33 oddly enough, Unknown Speaker 24:36 but Unknown Speaker 24:39 rather confused Unknown Speaker 24:46 and sad all these instances Unknown Speaker 24:51 in this essay referred to as safe Unknown Speaker 25:00 The most interesting is essays and alliances on Unknown Speaker 25:06 planes Unknown Speaker 25:26 1971 Peaceful Unknown Speaker 25:30 defines performance as Unknown Speaker 25:35 a turning Unknown Speaker 25:37 point Unknown Speaker 25:42 patients Unknown Speaker 25:44 as Unknown Speaker 25:52 arguments precisely reflexive the Constitution Unknown Speaker 26:00 stimulated Unknown Speaker 26:06 or in this complexity Unknown Speaker 26:11 which was Unknown Speaker 26:13 against a subject Unknown Speaker 26:18 and per object Unknown Speaker 26:29 which seems to spin off that Unknown Speaker 26:42 doesn't rotate that Unknown Speaker 26:45 however is this reflexive moment is us behind this Unknown Speaker 26:54 and family struggle Unknown Speaker 27:03 is not a demonstration Unknown Speaker 27:16 know more obviously make use of this request Unknown Speaker 27:22 as providing Unknown Speaker 27:32 one sheet is Unknown Speaker 27:38 listed property Unknown Speaker 28:03 better on his body on Unknown Speaker 28:07 a standard everyday mask into all age and upon Unknown Speaker 28:15 the latter we Unknown Speaker 28:23 modern theories of ethics Unknown Speaker 28:32 as well as theories such as for Unknown Speaker 28:35 the show Unknown Speaker 28:39 or anything Unknown Speaker 28:45 like Unknown Speaker 28:49 that so, the question is Unknown Speaker 28:54 by realizing this you know Unknown Speaker 28:58 your Unknown Speaker 29:01 position as conditions of representation Unknown Speaker 29:06 both positions the most important and many of you Unknown Speaker 29:17 this is the game Unknown Speaker 29:23 like those Unknown Speaker 29:26 that have self Unknown Speaker 29:29 representation would you testify as to gender position Unknown Speaker 29:34 and conversion which Unknown Speaker 29:42 is Unknown Speaker 29:45 as Unknown Speaker 29:48 close Unknown Speaker 29:49 as Unknown Speaker 30:00 This is the Unknown Speaker 30:02 front Unknown Speaker 30:06 side Unknown Speaker 30:19 see Unknown Speaker 30:30 what you're Unknown Speaker 30:32 suggesting you're Unknown Speaker 30:35 working on Unknown Speaker 30:37 our community I feel representation is the same Unknown Speaker 30:44 it's this power Unknown Speaker 30:51 indeed is Unknown Speaker 30:55 probably got slightly Paul's explanation Unknown Speaker 31:01 or lingering questions just once Unknown Speaker 31:05 in a Unknown Speaker 31:09 while we always need to take time Unknown Speaker 31:19 or scream so loudly so shared with a function like Unknown Speaker 31:31 this systems institutions Unknown Speaker 31:57 is Faro Unknown Speaker 32:14 first part of moving through numbers Unknown Speaker 32:25 as far as things Unknown Speaker 32:27 a really emblematic Unknown Speaker 32:51 woman Unknown Speaker 32:54 issues elastic Unknown Speaker 32:57 search for signs Unknown Speaker 33:01 early with Unknown Speaker 33:04 think by now that evolution has evolved just Unknown Speaker 33:08 change itself Unknown Speaker 33:11 the possibility of changing ourselves Unknown Speaker 33:15 tended notions of psychic Unknown Speaker 33:19 customization precisely Unknown Speaker 33:23 the visual arts human body specifically Unknown Speaker 33:28 has been vacant Unknown Speaker 33:32 many Unknown Speaker 33:36 centuries Unknown Speaker 33:38 the female body speaks in Unknown Speaker 33:42 simple language Unknown Speaker 33:45 it's Unknown Speaker 33:49 interesting that it can read Unknown Speaker 33:54 the body of exercising those powers and we're being criticized Unknown Speaker 34:04 in small Unknown Speaker 34:13 bites Unknown Speaker 34:31 you Unknown Speaker 34:45 My question for Unknown Speaker 34:49 you Unknown Speaker 34:54 get some questions posed Unknown Speaker 35:00 In our conception of exactly Unknown Speaker 35:05 the creation of the unconscious Unknown Speaker 35:10 this Unknown Speaker 35:13 can be a consistent disfiguration Unknown Speaker 35:22 permitted Unknown Speaker 35:27 by Unknown Speaker 35:34 showing Unknown Speaker 35:38 of separation Unknown Speaker 35:40 by time and Unknown Speaker 35:43 most important Unknown Speaker 35:49 place Unknown Speaker 35:51 very healthy Unknown Speaker 35:57 more multiple connections Unknown Speaker 36:00 between the body and body for example I will not analyze today's spies Unknown Speaker 36:12 by Unknown Speaker 36:25 the last 15 years Unknown Speaker 36:32 theoretical challenge Unknown Speaker 36:40 generated by feminist scholars Unknown Speaker 36:47 works every Unknown Speaker 36:49 day Unknown Speaker 36:51 really traveled Unknown Speaker 36:57 more than Unknown Speaker 37:00 if they see it as such Unknown Speaker 37:10 subject Unknown Speaker 37:22 by arguing gender is Unknown Speaker 37:27 one category Unknown Speaker 37:43 second time Unknown Speaker 38:41 why do we not use Unknown Speaker 38:44 female Unknown Speaker 38:48 bodies Unknown Speaker 39:00 free to really consciously celebrate Unknown Speaker 39:11 we were after all Unknown Speaker 39:14 you look like Unknown Speaker 39:28 you're swamped Unknown Speaker 39:31 by Unknown Speaker 39:35 but I just want you to look at this image for a moment and ask yourself Unknown Speaker 39:40 whose unconscious is really delivering Unknown Speaker 39:45 the cube in time Unknown Speaker 39:50 expressing any writing napkin Unknown Speaker 39:56 or how I assume it's that much different Unknown Speaker 40:02 forming Unknown Speaker 40:09 culturally Mormon Mormon assets their agenda Unknown Speaker 40:15 is Unknown Speaker 40:17 now Unknown Speaker 40:18 very Unknown Speaker 40:23 valuable without Unknown Speaker 40:31 saying this I have not only reminded that it has never been that hard for me consulted in proper social behaviors Unknown Speaker 40:44 or arrows Unknown Speaker 40:52 and it is of course the site Unknown Speaker 40:56 we want to Unknown Speaker 41:11 make Unknown Speaker 41:13 certain Unknown Speaker 41:17 styles Unknown Speaker 41:23 anyway Unknown Speaker 41:24 however there's something very different is an operation Unknown Speaker 41:30 is very same terms of Unknown Speaker 41:35 presentation Unknown Speaker 41:40 structuring borrow Unknown Speaker 41:49 examples Unknown Speaker 41:52 question in the dominated Unknown Speaker 41:59 terms Unknown Speaker 42:01 you should describe the same person expressing Unknown Speaker 42:06 such Unknown Speaker 42:12 showing Unknown Speaker 42:16 my mouse Unknown Speaker 42:24 right now Unknown Speaker 42:39 sharing Unknown Speaker 42:41 works large almost Unknown Speaker 42:49 feel many Unknown Speaker 42:55 bathrooms are okay Unknown Speaker 43:18 appeals are physical This Unknown Speaker 43:29 is inherently well Unknown Speaker 43:33 outmoded Unknown Speaker 43:39 if you're a binary solution Unknown Speaker 43:43 like active catalyst Unknown Speaker 43:53 for example sharing is not fun Unknown Speaker 44:02 from Unknown Speaker 44:04 inflation of communication Unknown Speaker 44:13 what is the relation with the private is beyond the joys images at random internet famous Unknown Speaker 44:25 the second way in which the chances are associated Unknown Speaker 44:30 with everything Unknown Speaker 44:32 if these figures are Unknown Speaker 44:36 inspired specificity Unknown Speaker 44:42 is not like the Academic Unknown Speaker 44:49 Press recipe Unknown Speaker 44:52 in which universal claims are made male artists and creators really whiten their teeth Unknown Speaker 45:00 So, email Unknown Speaker 45:04 shares where you put some personal relationships providing Unknown Speaker 45:10 shared interest that is essentially Unknown Speaker 45:14 a very Unknown Speaker 45:16 you know our sport or just scratch marks the difference between there Unknown Speaker 45:24 was one question after a presentation Unknown Speaker 45:30 nearly Unknown Speaker 45:33 10 years Unknown Speaker 45:37 ago Unknown Speaker 45:39 over the parts of society Unknown Speaker 45:57 America in fact today's physical paycheck Unknown Speaker 46:09 reminds us Unknown Speaker 46:16 we go try something and then wait Unknown Speaker 46:21 finally given the title of Unknown Speaker 46:26 it would be as Unknown Speaker 46:27 elsewhere seem to speak to the body and that also says Unknown Speaker 46:34 exponential ultimate Unknown Speaker 46:38 historical paradigm social Unknown Speaker 46:43 narrative that is based on fear and anxiety Unknown Speaker 46:50 the danger of Unknown Speaker 46:54 prostitution. Unknown Speaker 48:45 Our country Unknown Speaker 49:00 relationships Unknown Speaker 49:06 on Unknown Speaker 49:13 social media Unknown Speaker 49:21 is going to Unknown Speaker 49:28 be all Unknown Speaker 49:31 about Unknown Speaker 49:34 deal with Unknown Speaker 49:40 you mentioned Unknown Speaker 49:49 emergencies Unknown Speaker 49:59 right Unknown Speaker 50:00 The different? Unknown Speaker 50:18 Reaction Unknown Speaker 50:21 I think that this is the first Unknown Speaker 50:31 and I don't I don't have a conclusion. I'm not reading the labels to works reaction. Unknown Speaker 50:36 I think that I think that's a very, I think it's it. That's what we all want say. But I think until we really take a look at how masochism actually worked within the works, and Unknown Speaker 50:53 examine Unknown Speaker 50:55 it what it evokes in the viewer. And not only imagine what it evokes then but see what he evokes. Now you put the slides up, and when you discuss the classes, yourself Unknown Speaker 51:09 that there's something about that whole structure that is brought up. And it does put up with everyday life in the 70s, or the 60s or whenever Unknown Speaker 51:20 classes was missing. And we talked about Unknown Speaker 51:23 to break the middle Unknown Speaker 51:26 class is the bottom line. Unknown Speaker 51:33 It's absent. Unknown Speaker 51:36 And that's that's the point. Unknown Speaker 51:40 I'm using opposition and reactionary because you're implying the opposite. When you threaten the distance as a way of defining art Unknown Speaker 51:50 and expand Unknown Speaker 51:54 plays into Unknown Speaker 51:57 the way in which I'm I'm calling on Brett is to try to get at what happens in a situation which occurs when you will work. And try to question whether or not a kind of critique is possible Unknown Speaker 52:13 as that is set up. Unknown Speaker 52:17 But let me just ask, but if you can define what you're referring to this class identifications within Unknown Speaker 52:27 the 60s, there was there were a number of performances, Unknown Speaker 52:32 typically about Unknown Speaker 52:35 leisure on art as a mechanism of things that we mentioned. But that was a response to the question of being a worker and an industrial side. So March Unknown Speaker 52:47 29, Unknown Speaker 52:49 running down the staircase, Unknown Speaker 52:51 for even Unknown Speaker 52:54 a very much about responding. This may be totally Unknown Speaker 52:58 naive. But they were responding to what they felt was the oppression of the industry Unknown Speaker 53:05 of labor and industrial society and how they are thought to skirt that oppression. And how in the end, that's a balancing Unknown Speaker 53:19 issue talking about Unknown Speaker 53:23 your Unknown Speaker 53:25 audience identifying subjects to relate that subject. Unknown Speaker 53:32 I have a question about formulation. That doesn't seem formulaic, what actually happens in the position that seems to Unknown Speaker 53:42 take the position of mass, and therefore position in the audience outside either asked between identification or being positioned completely outside? And that's where I think you don't actually have a list of things. I think what you have is a double quality Unknown Speaker 54:03 where you brought it up, but you didn't really carry through that I'll get more information about this. But it seems to me that the audience is either you're complicit in the use of witness tools. And Unknown Speaker 54:19 therefore, you're identified as a sales force Unknown Speaker 54:24 that you can't keep to spare your audience. Unknown Speaker 54:30 Without insurance. Unknown Speaker 54:32 Not be Unknown Speaker 54:37 extremely, but it's statistics to degree because we're presuming. Unknown Speaker 54:46 So it seems to me that the treatment Unknown Speaker 54:49 is much more complicated, Unknown Speaker 54:51 which is not a simple Unknown Speaker 54:54 task. Unknown Speaker 54:57 And and I agree with Unknown Speaker 55:00 but it's not. Unknown Speaker 55:04 It seems rather to Unknown Speaker 55:07 audiences relationship. And it's interesting when it says I have very strong objections to the work. And so when I was Unknown Speaker 55:15 at work, I was trying to Unknown Speaker 55:18 understand trying to be persuaded, because I've always wanted to Unknown Speaker 55:23 have the validity of the sport and wanting. Unknown Speaker 55:28 Knowing that Unknown Speaker 55:30 in this case, I'm disappointed again, I find myself either the super status, which is to say you're doing the wrong thing on the stock, that's experiences of the audience. Or, or identification, or that uncomfortable oscillation between saying, Oh, this poor person, so I didn't find myself position, saying, oh, this person was too weird. That was it. It wasn't an objectifies person. This person was too weird, or rather, incredibly uncomfortable. And so I think it's I mean, it's really interesting what you're talking about, but I think it has to go one step further in a lot of stuff. Unknown Speaker 56:12 But Unknown Speaker 56:17 the double bind issues are very interesting. Unknown Speaker 56:21 And then possibility Unknown Speaker 56:24 I knew I had I am not so sure about the Super status position. I really had to think about that. Unknown Speaker 56:34 As well. Unknown Speaker 56:36 production that was more about what kind of Unknown Speaker 56:42 position could be incredibly authoritarian to European choice. Unknown Speaker 56:49 Yes, I see. And I think Ashley, and this may feel responsible for these lines of inquiry, interaction. And that is, Unknown Speaker 57:01 when we consider this possibility of the of the authority figure out how to intervene or not cetera. That to me is how we're functions metaphorically, as this big institutional issue is Dillards. Coins. Mask is don't operate outside of institutionality. They hype it to the nth degree, they need to contract, whereas Unknown Speaker 57:28 dishonest work was very different. Unknown Speaker 57:33 So although issues of class per se, as the 60s were coming up the address issues institutionality. Unknown Speaker 57:42 For better, or worse. Unknown Speaker 57:46 The questions Unknown Speaker 57:52 that are stuck beside me, Unknown Speaker 57:57 sort of respond to the listing institutionality, we're really interested in what interests me so much, because I think for all of us interested in these issues of the female body, there's always the stage, we're always right at the edge between Unknown Speaker 58:15 Well, following patriarchal dictates, for women to focus on ourselves and our bodies exclusively and outside of say, generating societal change. So that Unknown Speaker 58:29 any of the a lot of the works that we've been talking about doing force, that sort of folk, very self involved, focus, and Unknown Speaker 58:40 that always has to be seen, as I think a lot of us have put out in terms of contacts, and connections to societal power. And I think Cathy's had to bring up some of those issues which we can continue with in terms of Unknown Speaker 58:56 the self, the body and the institution. There always has to be I mean, for me, it's only interesting, they focus on self if they can. Unknown Speaker 59:05 I don't know where to go with it, but I thought that was very exciting. Unknown Speaker 59:18 Have you mentioned now area, and I wonder Unknown Speaker 59:23 if you could elaborate on what that might Unknown Speaker 59:31 have been. Unknown Speaker 59:34 It's interesting that we don't understand the term because, in fact, male stereotype has been around since the 19th century that was articulated by sharks. But at that same time was the kind of moment of erasure that is, it's kind of complete masking females, so that all of those characteristics that you've come to Unknown Speaker 1:00:00 To associate with this area, and they're quite, like diverse and disconnected, Unknown Speaker 1:00:06 kind of its own their whole list Unknown Speaker 1:00:11 of symptoms. But, you know, whatever you think of in terms of female hysteria, I was just reversing, reversing Unknown Speaker 1:00:20 and putting down Unknown Speaker 1:00:24 activating it site. Unknown Speaker 1:00:28 I don't Unknown Speaker 1:00:35 like putting the symptoms on the body, Unknown Speaker 1:00:38 from the psyche. I mean, well, I mean, there are different Unknown Speaker 1:00:44 there are different ways that history is forming on the body. Well, yeah, there were there were certain conscious kinds of performance things that they that sharp co identified that the aptitude test, you know, passionate attitudes that the person would take or carnivalesque attitudes, or Unknown Speaker 1:01:07 epileptic kinds of attitudes, so did play out as a body in this way. And because shark Cove and photographs, these images, and, Unknown Speaker 1:01:17 you know, have these images speak to stages, we do have very physical somatic relationships. Unknown Speaker 1:01:25 But, you know, I was, you know, and the fact that the body is always been up and interrogated. Unknown Speaker 1:01:35 Those referred Unknown Speaker 1:01:37 somatization. Unknown Speaker 1:01:40 In Unknown Speaker 1:01:42 a clinical sense, no. Unknown Speaker 1:01:47 Yeah, but also I mean, yeah. Unknown Speaker 1:01:49 Yeah. Unknown Speaker 1:01:51 Scary, right? Because I mean, hysteria changes definitions from practically decade to decade. I'm a woman and Unknown Speaker 1:01:59 so Walters has been very Unknown Speaker 1:02:04 wonderfully integral COVID female. Unknown Speaker 1:02:16 very naive. Unknown Speaker 1:02:22 But I can feel it, Unknown Speaker 1:02:24 you're doing a marvelous job on trying to introduce new ways of looking at things transparently clinically. Unknown Speaker 1:02:33 And what I'd like to know is, are there any Unknown Speaker 1:02:38 energies and Unknown Speaker 1:02:40 let's begin to go in that direction. What do you want to put in the place of what you're showing when you want to remain with Unknown Speaker 1:02:51 radical revolution, that's why Unknown Speaker 1:02:55 we were stopped with watch. Unknown Speaker 1:03:05 reaction that Unknown Speaker 1:03:09 we have, one of the things is that Unknown Speaker 1:03:12 a lot of the kinds of issues that we're addressing is kind of revision of the way history has been sort of perceived and written. So a lot of it is really a critique of that kind of history. So that's, that's a lot that's that's what we're involved with either your critique and say, This is how Unknown Speaker 1:03:36 you're groping and stumbling, sure, but Unknown Speaker 1:03:44 I have to say, I, I was trying to sell that decides to start Unknown Speaker 1:03:52 with the with ourselves and not denying our own bodies and a certain reclamation with a Unknown Speaker 1:03:58 certain Unknown Speaker 1:04:00 kind of Unknown Speaker 1:04:02 creation of a new way of thinking about more. So, so that I am really you know, I was trying to positive place and in a powerful phrase, you know, to take back and that is why you know, the body is the importance of Unknown Speaker 1:04:21 the importance of women. Unknown Speaker 1:04:24 So, I was hopefully opening up one avenue to serve any. Unknown Speaker 1:04:46 Yes Unknown Speaker 1:04:49 regulation Unknown Speaker 1:04:57 very clearly we Unknown Speaker 1:05:00 In Unknown Speaker 1:05:11 terms of Judge up I wouldn't have Unknown Speaker 1:05:14 known that I never was was Unknown Speaker 1:05:21 ESC Training Center Unknown Speaker 1:05:41 Yeah, well, I've tried to map out a number of different ways that you can think about Unknown Speaker 1:05:55 well, there were just there, there are various Unknown Speaker 1:06:00 things that you can say about her work and Unknown Speaker 1:06:03 all of the things that I saw. But what I found interesting was that were placed with a lot of technical support is very tension inducing for me. And I was trying to after looking at it after saying, Okay, I've been confronted with the real kind of, you know, corpulent by flesh. It's been kind of thrown out there for me, very emblematic way. Then he kept hated and I left them to do something with it. And she often plays with these. Unknown Speaker 1:06:38 I call them opposition's Unknown Speaker 1:06:42 nature, culture, whatever mind body that you know, she, she does, oftentimes she has, you know, the seed gets planted and figure growing, she has Unknown Speaker 1:06:53 Young Roots, she sends up these things, I mean, which for me, are useful to think about and read the in terms of rethinking and re imaging myself, my my, I just want words Unknown Speaker 1:07:06 so many Unknown Speaker 1:07:09 presidents Unknown Speaker 1:07:11 to come up Unknown Speaker 1:07:13 because I wasn't born with this type of Unknown Speaker 1:07:18 tradition. And to try to position that in a more timeless context is really important. Unknown Speaker 1:07:25 Decision you your ideal. Unknown Speaker 1:07:27 So you use the female body and a formalist? Well, not really. No, I mean, it's just come out of that fast Unknown Speaker 1:07:41 patient but it's probably similar. And it's much more Unknown Speaker 1:07:47 ambiguous Unknown Speaker 1:07:50 than saying it's just so darn clear. Unknown Speaker 1:07:58 So I was doing and I felt similarly that your Unknown Speaker 1:08:05 description of Sharon's workforce was also orange Unknown Speaker 1:08:13 shaded you know, I mean, in the sense that when that I'm not I'm not aligning myself with either side. Unknown Speaker 1:08:21 Lining myself with mind or body yeah. Yes, that has Unknown Speaker 1:08:27 been a new dress. Unknown Speaker 1:08:30 I think in ivelina essays spoken discussed me. Unknown Speaker 1:08:36 But yeah. Unknown Speaker 1:08:38 Yeah, is published and Unknown Speaker 1:08:42 icon, parts of it. 1987. And it will be coming up very shortly in an anthology, which I'm sorry I don't. Unknown Speaker 1:08:55 In a fuller, Unknown Speaker 1:08:58 worked out Unknown Speaker 1:09:08 representational surrounded by return, everything we can imagine television, billboards, 70, for everything Unknown Speaker 1:09:17 completely devoid to form into quality and striving for happiness. And how would you feel? Unknown Speaker 1:09:25 Would you say we managed to die form Unknown Speaker 1:09:31 intact after looking at each other in some unmediated way on the national Unknown Speaker 1:09:39 Can you imagine this absence? Please? Unknown Speaker 1:09:54 I think that Unknown Speaker 1:09:57 I'm not sure what the point would be. Unknown Speaker 1:10:00 I have imagining that lack of representation because to me that implies Unknown Speaker 1:10:09 it implies that we can we can exist without representation and that seems analogous to me to questions of Is there anything within culture that's not gender can exist outside gender this outside representation and I think I'm it's interesting to Unknown Speaker 1:10:30 raise the question in this extremity because it sort of bounces back and Unknown Speaker 1:10:37 says says how important it is to address representation Unknown Speaker 1:10:44 and that's my god Unknown Speaker 1:10:51 yes Unknown Speaker 1:10:59 know Unknown Speaker 1:11:01 how things are working Unknown Speaker 1:11:06 and it's very powerful Unknown Speaker 1:11:19 just realized Unknown Speaker 1:11:21 I'm not quite sure what to Unknown Speaker 1:11:28 separate the asteroids Unknown Speaker 1:11:31 are Unknown Speaker 1:11:50 very likely well I think it's an important thing to know Unknown Speaker 1:11:58 is to understand the source and know that that was created by sharing jobs Unknown Speaker 1:12:08 I have a comment I think that I don't Unknown Speaker 1:12:12 I'm not sure you actually need to know who the artist is. You know that Unknown Speaker 1:12:18 mutilated transform party has a toothbrush and call to call the Chinese society. We're here to see a wonderful year Radek recite minimal forces of command and conquer. Unknown Speaker 1:12:33 There's about that being supposedly paraded. There is. Unknown Speaker 1:12:38 So was the liberation, I don't know the exact terms are thinks about exhilaration taking place through her body imagery. It is through the dismantling of all of the pressures, and all of the adjectives we put upon that body. So I think that you're Unknown Speaker 1:12:59 I'm still wondering how Unknown Speaker 1:13:03 the destructive element that what happens in the female body? Unknown Speaker 1:13:07 I mean, it seems to me that you sent me for context. It's too Unknown Speaker 1:13:13 it's too late statement improvement, or, you know, Unknown Speaker 1:13:18 aged for but I'm not sure how I see how it's different from what restaurants are doing in your life. Unknown Speaker 1:13:27 No, it's out of context. I was pregnant. Unknown Speaker 1:13:41 Know, I mean, I, I really in in thinking about her work. Unknown Speaker 1:13:47 And thinking about it. I mean, it's difficult for me to think of it just kind of outside of not knowing, even though Unknown Speaker 1:13:55 I mean, know that it's cool. Unknown Speaker 1:13:58 But I think that when I'm looking at something where I do experience kind of opposition, and that was really interesting Unknown Speaker 1:14:10 that I read it one way and read it whereas it's much more difficult for me to realize to read it more than one way I mean, I don't get the sense that you know, how you have agreed Unknown Speaker 1:14:27 to Unknown Speaker 1:14:31 something Unknown Speaker 1:14:41 connected. Unknown Speaker 1:14:43 But I think we always try to use forms that have a history not just a gender I think the history of male a male history, and the male surreal is very much Unknown Speaker 1:14:58 connected with a certain diet. Unknown Speaker 1:15:00 was added male dominance to try to cut through as women enter this new dialog, using some of the old food, some of the old techniques were always found to be caught up in what to say to myself as women or voices that have been trained and socialized. Unknown Speaker 1:15:22 Yeah, and also, if you think also that worked, the monuments Unknown Speaker 1:15:27 fetish, and there was something very Unknown Speaker 1:15:33 both horrific and trivializing about that. Unknown Speaker 1:15:37 I mean, it was, you know, it was the colors, it was having something as mundane as a toothbrush sitting on top of it, I mean, hardly a pillar of strength, you know, Unknown Speaker 1:15:49 pulled up a toothbrush, right. And so that there was this kind of Unknown Speaker 1:15:54 mockery kind of messed up, as with the French side, I mean, there is this kind of, you know, elegance to it, and you know, marginalization of it, and Unknown Speaker 1:16:07 that kind of stuff. Unknown Speaker 1:16:10 So, I think that there wasn't Unknown Speaker 1:16:13 really use a realtor in ways that are more powerful Unknown Speaker 1:16:18 than I would think. Unknown Speaker 1:16:19 So when she is saying, hey, as surreal, but taking, let's say, the injured side, and really striving for some control over that, I think she stands the ideas really on their head more than than she does, or the way she uses the end of the eyes. Unknown Speaker 1:16:41 Therefore, taking on the idea of the TA and placing it within the woman, there's pieces that we have to come up and suddenly see that there's two eyeballs looking back up here, I'm happy she I could in fact that surreal? Is it site, women artists to return to because of its obsession with femininity, females and laughs and so forth, that I think she's more successful? Unknown Speaker 1:17:09 Made I was very intent on using temporary work, I'm gonna struggle Unknown Speaker 1:17:18 to answer that one. Unknown Speaker 1:17:21 But she asked me about the I'm curious about the green versus the, Unknown Speaker 1:17:26 you know, if you develop the skills, or everybody to know that this is great. And the other piece of advice here for women artists do you could not we have been painted by a Unknown Speaker 1:17:38 woman as a as Unknown Speaker 1:17:42 my head, many has shaped now. Unknown Speaker 1:17:49 We're talking about Unknown Speaker 1:17:51 discourse. Unknown Speaker 1:17:53 We're talking about very historical, disciplinary discourse, feminist discourse that they're trying to read. And we're talking, on the other hand, is a sort of very personal response of a spectator. And I think that, you know, there's a point where they really, it really, Unknown Speaker 1:18:14 they're very different. And I think that, of course, when you look at these things, and you don't know, you're not informed about the state, and Unknown Speaker 1:18:24 you're subjected, in a very different way, and and all of that, but it's very true, that without the data, it's somewhat falls apart, and you get to sort of do your presentation and render it. But what I'm saying is Unknown Speaker 1:18:48 because Unknown Speaker 1:18:55 you Unknown Speaker 1:18:59 one postulates pleasure and Unknown Speaker 1:19:03 engender and that that was Unknown Speaker 1:19:08 also the Marlena Unknown Speaker 1:19:12 relationship. Unknown Speaker 1:19:15 Yeah. Unknown Speaker 1:19:17 I spoke very positively about images of androgyny but actually in the longer piece of that was taken from I also got into very much positions of context. And I think that that's what I would emphasize, rather than returning to that image, is that Unknown Speaker 1:19:33 oscillation between gender positions even between the considerations of the producer, male versus female, art producer. Unknown Speaker 1:19:42 They're there. Unknown Speaker 1:19:45 They're not. Unknown Speaker 1:19:48 They're just great in and of themselves, it has to connection between the personal and the societal and between representation and material existence.