About female
But not just female
Sally Davies
'Man is not a natural species: he is a historical idea,' she said, paraphrasing her fellow philosopher Maurice Merleau-Ponty.The very idea of the Human is not some universal given, de Beauvoir claimed, but a byproduct of how societies have systematically degraded women. 
“A body enervated by the duties that attend on being a woman affects one’s capacity to think”
The best we can hope for is what the American biologist and feminist theorist Donna Haraway calls ‘staying with the trouble’: not flight and transcendence, but remaining with our messy bodies, and transgressing them.​​​​​​​
We transformed anxiety about determinism of nature into an equally untenable claim about determinism of culture​​​​​​​. --Martha Nussbaum
As the philosopher Amia Srinivasan of Oxford University has argued, the unexpected events and challenges in our lives shape us.As human beings, we have to be constrained by the limitations of biophysics.  So acknowledging our vulnerability and always maintaining that kind of calm introspection is the pass to gain more awareness.As human beings, we have to be constrained by the limitations of biophysics.  
Therefore, to admit our vulnerability and to maintain that kind of calm introspection is to obtain more permits for other status and identities.  empathy as our license for new experiences Simultaneously。
Related person:Plato,Francis Bacon, René Descartes(dualism)/Simone de Beauvoir/ Donna Haraway/Martin Heidegger&Merleau-Ponty (embodied phenomenology )
Related movements:modernity/ the Enlightenment/  Feminist
posted on  September 20, 2020 

 "Untitled #466" (2008)

How to see Cindy Sherman - with Eva Respini


Cynthia Morris Sherman/Cindy Sherman 1954
In a series of works in the video, she painted flamboyant makeup, dressed in expensive clothes, and constructed false scenes. These images are huge, so you can clearly see every detail including flaws. Cindy emphasized the artificiality of these fabrications and made no secret of it. What I am interested in is the social language in her works.
She explained to The New York Times in 1990, "I feel I'm anonymous in my work. When I look at the pictures, I never see myself; they aren't self-portraits. Sometimes I disappear."  <Cindy Sherman Biography, Art, and Analysis of Works". The Art Story..>
Sherman was always interested in experimenting with different identities. As she has explained, “I wish I could treat every day as Halloween, and get dressed up and go out into the world as some eccentric character.”<https://www.moma.org/artists/5392>

“I'm disgusted with how people get themselves to look beautiful;I'm much more fascinated with the other side,” Sherman subverts the visual shorthand we use to classify the world around us, drawing attention to the artificiality and ambiguity of these stereotypes and undermining their reliability for understanding a much more complicated reality.

Related to the work I have tried recently, I am thinking about how to critically connect my identity to social media.
Pictures Generation: Richard Prince , Louise Lawler , Sherrie Levine , and Robert Longo
posted on  September 13, 2020 ​​​​​​​
posted before September ⬇️
As a woman
How do i define my identity
Under the general patriarchal thinking in China
I am relatively lucky one
But despite this, I still feel the unfair treatment just because of being a woman
Even these pressures come from women themselves

can be found on kanopy
Part one is titled On Cultural Criticism and is divided into seven sub-categories including Why Study Popular Culture?,Critical Thinking as Transformation, the Power of Representation, Motivated Representations, an Example of Motivated Representation: Leaving Las Vegas & the Backlash Against Feminism, Why "White Supremacist Capitalist Patriarchy?", and Enlightened Witness.
Part Two is titled Doing Cultural Criticism and consists of eight subcategories: Constructed Narrative, Dealing with O.J., Madonna: from Feminism to Patriarchy, Spike Lee: Hollywood's Fall Guy, the Voyeur's Gaze, Rap: Authentic Expression or Market Construct?, Color Coding Black Female Bodies, Consuming Commodified Blackness.
"I related something very concrete in popular culture to the kind of theoretical paradigms that I was trying to share with them through various work, people seem to grasp it more and not only that, it would seem to be much more exciting and much more interesting for everybody. Because popular culture has that power in everyday life."
How art can be more closely connected with the public is a topic I have always been interested in, and it is also a direction I will explore this semester.
posted on  September 10, 2020 ​​​​​​​
Kraus,C2018,  KateNewby’sBones
When I first read this article, I did not understand what the author wanted to express. So I repeatedly sorted out the relationship between the characters and realized that the author interlaced the stories of several friends who died and the illustration of Newby's artworks. In these stories, these women are tragic: Bettina was beaten to death by her mentally disabled son. Jennifer died of suicide. Lauren's death was even more frustrating. She was suffered from life, career, and emotion, causing her to be tortured by drugs and depression. In the middle of these stories are interspersed with Newby's literature describing the form as restrained and firm as her works. She does not force something enlightenment to be a sign, and maintains this slight sense of pleasure, nor does it weigh the importance of falsehood. In the author's view, Kate seems to be a modelling of life. Through the intense contrast in between, Kate's detailed sculptures originating from life experience resemble to create skeletons for these images. It shows that things around have become more straightforward, and there is a hint of immortality.
[Kraus,C2018,‘KateNewby’sBones’,SocialPractices,Semiotexte,pp.76- 84.]
Scum Ballet, Image Catherine McElhone
"A mood is something atmospheric, temporal and with seeping borders.A mood is feeling that produces conditions."
posted on  September 7, 2020 ​​​​​​​
Insight about  The Red Pills (Cassie Jaye)
By watching the red pill, my initial impression is that it does provide a whole new perspective on the unequal encounters between gender rights and privileges of men and women-When feminist filmmakers started recording male rights activists, she got answers that shook her beliefs. This recording method with different perspectives reminds me of an old Chinese saying: knowing your navy better then you can know how to fight. These patriarchal activists did let me understand the unjust gender treatment they experienced currently, and they are suffering. The red pill is based on “a compassionate heart”.
On the other hand, Jaye is talking about women’s equal rights, but she does not reflect this in the documentary, at least not the same proportion.  This is one of the reasons why this documentary scored four to ten. The documentary did not follow the system cause. It only talks about the unfair treatment of men, but it is not all caused by women, most of which are due to social prejudice, so at this point, its expression is not accurate.
In addition, The concept of red pills and blue pills comes from the film <Total Recall>. The blue pill symbolizes the beautiful fairyland and the joy of returning to ignorance.  The red pill symbolizes an uncertain future. This film also references a series of uncertainties of existentialism, nihilism, and Zhuangzi dreamed he was a butterfly. The red pill represents the confusion of not only Jaye but also many people who suffer from unfair treatment.
I remember my mother once told that when I was born, she was anxious that I was a girl because it meant that I had to experience the pain she had experienced. So a thought suddenly appeared in my mind while watching: Is this the world where you want your child to live?  Therefore, This series of phenomenon deserves our critical introspection.
Finally, before I have enough information and relatively rational judgment, I cannot say that I am a feminist. What we need is to defend against injustices, whether male or female.
Nicol,B2010,‘TheStalkingArtists’,SheffieldHallamUniversity, <https://extra.shu.ac.uk/transmission/papers/NICHOL%20Bran.pdf>​​​​​​​
This article is a reference recommended to me for my current work in a conversation between Steven and me. In this lecture, the author mainly talks about the insights of tracking art and related events.  Coincidentally, the artist Sophie Calle mentioned in it is also the artist of my recent research. The article mentioned that ‘misplaced intimacy’ is a word I am not familiar with, but strangely, it quickly made me feel the resonance. I think this is because, in our lives, there are a lot of symptoms of spreading culture.  People excessively display their private lives or extreme attention to the personal affairs of celebrities.  The article also pointed out that contemporary cultural invitations even implored us to indulge in others.
On the other hand, the article takes Sophie Calle and Tracy Emin as examples, citing them as similar-looking works of art, which are actually very different. Emin’s work revolves around herself, exposing her bravery and impulse.  Most of Calle’s works are intertwined with others. And she is not interested in the people surveyed in work. She wants to know what the result might be.
The intimacy in their works is what I am interested in.  We are obsessed with observing a person or an object, this is a question of identity, as what the psychiatrist J. Reid Meloy has called ‘the narcissistic linking fantasy’. In my works, The camera is peeping and recording as the third person, which is also an extension of the visual line.

This article describes ideas and stories about tracking in recent years. The author starts with an unseemly war of words between conceptual artists Tracey Emin and the novelist Philip Hensher, who accuse each other of stalking. It turns out that Hensher is addicted to a fantasy version of Emin. Another similar case is the artist Jillian McDonald's artwork. She is infatuated with the actor Billy Bob. She implies that contemporary culture encourages us to indulge in fantasies about others.
The author emphasizes "misplayed intimacy", "the narcissistic linking fantasy" and "violent appropriation" in the article. Moreover, mainly based on Sophie Calle, discusses the similarities and differences of other tracking artists. For example, the works of Calle and Acconci are similar to real cases tracked. His Venetian Suite and McDonald's Me and Billy Bob broke the boundary between stalking-as-art and stalking-as-stalking. Furthermore, the difference with Emin is that Emin's works are more about nature, while Calle is an impulse of self-expression.
Ivey Wawn
From the recommendation of tutor Martina, I was fortunate  to learn about three female dancers, independent choreographers.  One of them is Ivey Wawn. In her work, she combines her political economics and microbiological background, reflecting the ideas of power, control and consent in labour organizations. Express the body as liquid architecture.
One of the works that caught my attention the most is<Greyness and Infinity>Using poetics to visualize the transformation and symbiosis of the microbiological world.  Infinity and transient are contradictory, just as I try to capture short moments in my works.  Perhaps the moment is another form of eternity?
“Up to and Including Her Limits”
Carolee Schneemann began her career as a painter, stating, “I’m a painter. I’m still a painter and I will die a painter. Everything that I have developed has to do with extending visual principles off the canvas.”
“I wanted my actual body to be combined with the work as an integral material,” she wrote at the time.
-Michel de Certeau
 The blueprint of the city is traceable, but our lives are complicated.
How should we face up to the constraints or rules in life.
In the influential chapter “Walking in the City”, de Certeau asserts that “the city” is generated by the strategies of governments, corporations, and other institutional bodies who produce things like maps that describe the city as a unified whole.
De Certeau uses the vantage from the World Trade Center in New York to illustrate the idea of a panoptic, unified view. By contrast, the walker at street level moves in ways that are tactical and never fully determined by the plans of organizing bodies, taking shortcuts in spite of the strategic grid of the streets. This concretely illustrates de Certeau’s argument that everyday life works by a process of poaching on the territory of others, using the rules and products that already exist in culture in a way that is influenced, but never wholly determined, by those rules and products.
In this book, de Certeau considers the use of social representation systems and social behaviours by individuals and communities. Describe the available strategies for people to regain individual rights from the ubiquitous power of business, politics, and culture. Moreover, re-examined the pertinent theories of Kant, Foucault, Detienne. The author first points out that although social science can study language, symbols, art, and exchange to constitute a culture, it lacks a formal method to check people's living conditions.
In one of the chapters, "Walking in the City" (Chapter 1,1998)he asserts that the "city" is the result of the strategies of governments, companies, and other institutions, which produce maps and other objects that describe the city as a unified entity. At the same time, the book uses the advantages of the New York World Trade Center to illustrate the idea of a panoramic and unified view. By contrast, pedestrians on the streets move tactically and are never entirely determined by the organization's plans, despite the strategic grid of the streets, shortcuts are still taken. This point illustrates Certeau's argument that daily life works through poaching in other people's territory: using rules and products that already exist in culture but never being determined by them.

[De Certeau, M & Mayol, P 1998, The Practice of Everyday Life: Living and cooking, vol. 2, U of Minnesota Press, viewed 9 April 2020. Retrieved from <https://books.google.com.au/books?id=NHJNScWvV70C&printsec=front cover&hl=zh-CN&source#v=onepage&q&f=false>.]
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