Allein-- GREJOS/SYMBIOT6

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symbiot6

An exploration of an artist's journey into language.

Tecnologia Arte e fotografia

ALLEIN: THIRD PAINTING MANIFESTATION; THE BURDEN OF FATE ,[object Object]

ALLEIN: THIRD PAINTING MANIFESTATION; SOCIETAL AVERSION ,[object Object]

ALLEIN: THIRD PAINTING MANIFESTATION; THE LESSON ,[object Object]

The beginning of the SYMBIOSIS series ,[object Object]

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APPENDIX A “A Blank Stare or Active Engagement? Toward a Christian Approach to the Arts” By C. Scott Shidemantle, Ph.D.1 Introduction I remember one of the first times that I visited the Carnegie Art Museum in the Oakland section of Pittsburgh. As I browsed the various rooms, observing people looking pensively at the various works of art hanging on the walls, this question went through my mind: “What am I supposed to do while I’m here? Should I just sit and contemplate each piece with a blank stare like many of the other people in the room seemed to be doing? And, if so, what should I contemplate? Should I contemplate the brush strokes? Should I try to get into the head of the original artist who produced the piece? Should I focus on how the artwork ‘makes me feel’?” I felt like I needed some guidance! These questions became even more profound when I began to add to them the issue of whether or not my Christian faith should or should not interact in some way with my experience with the arts. Perhaps you have had similar experiences. The purpose of this brief essay is to give some reflections on what art “is” and what art “does,” and to propose some ideas on how you as a Christian might engage art meaningfully—beyond simply the “blank stare” approach. Situating Art in the Cultural Mandate After creating Adam and Eve, God instructed them to, “Be fruitful and increase in number; fill the earth and subdue it. Rule over the fish of the sea and the birds of the air…” (Genesis 1:28 NIV). This “filling” of the earth with humans, and cultivating the creation by drawing out its potential through developing it, is called by theologians “the Cultural Mandate.” What is the “Cultural Mandate”? Simply put, it is the call on all human beings to link together with shared values to communally cultivate God’s creation in God-honoring ways. Generally speaking, how does the Cultural Mandate relate to “art” and the call to some to be artists? We might say that art, and the call to be an artist, is “creational.” That is, God built into particular humans the ability to create “art” as one of the means by which we create and sustain human culture. In fact, we find that in the subsequent chapters of Genesis, where the playing out of the Cultural Mandate is portrayed, there are references to individuals who initiated various types of artistic expression. For example, there are Jubal (the father of music; Genesis 4:21) and Tubal-Cain (the father of metal working; Genesis 4:22). Behind the first of these two individuals we can perhaps picture in our minds groups of humans gathered together to hear music played on lyre and flute for the first time and being drawn together by that shared experience. This shared experience served to forge a “link,” or a shared “culture,” between those humans. 1 C. Scott Shidemantle (Ph.D. Trinity Evangelical Divinity School, Th.M.

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10 DEFINING REALITY A Powerful Tool Dale Spender FOR REASONS I EXPLORE in this essay, too little attenti on has been paid to the role of language in the construction of inequality. This reluctance on the part of many to consider language and power issues is itself worth attention. As evidenced by the essays in this collection, there are many ways of approaching the topic of language and power; the one I am going to use is that of sketching my own route to the in- tersection of language and power . It is an idiosyncratic route, but one that helps map out the terrain, and leads to some of the reasons for the long tradition of separating questions about language from questions about power-a separation that has implications for every speaker in every conversation. To attempt to itemize the properties of language in terms that would be satisfactory to all those who focus on language as an area of research would be to take on an impossible task; to attempt to categorize definitively the properties of power would be to assume an equally impossible task; at the very least this makes language and power an area of debate and contention. However, despite the many differences of opinion that may exist about the nature of language and the nature of power, it may be possible to arrive at a consensus that will help formulate the parameters and permit discussion . For example, it is likely that, regardless of one's background or in- terest, there would be little disagreement with the statement that language is a means of organizing and structuring the world. It is also likely that most people would accept both Suzanne Langer's thesis (1942, 1976) that language is a means of symbolizing and representing experience, and Peter Berger and Thomas Luckman's thesis (1972) that it is the vehicle for constructing reality. And perhaps there would be little quarrel with a broad definition of power as the capacity of some persons to produce effects on others, effects sometimes contrary 194 Dale Spender 195 to their interests. If these claims can be accepted, then there is a basis for bringing language and power together and for formulating the focus of this chapter: I will consider how some people affect others through the means of organizing and structuring the world, through symbolizing and representing experience, through the construction of reality. To begin, I am going to address myself to the issue of men having the capacity to have effects on women, through language. I am going to discuss the negation of women's experience in a male-dominated society fro m inside that framework, from within the context of male domination. As a woman, I am going to describe the experience of women in a society where women's experience is frequently denied or dismissed . If I were a man, speaking for women, or if I were describing men 's experience, then my case would probably be seen as representative, but-because I am a w ...

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