GG_sm Lorna Mills and Sally McKay

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Sally McKay: GIFS / cv and contact

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- sally mckay 2-06-2004 1:49 pm [link] [add a comment]



1974

circa. 2003

- sally mckay 2-06-2004 3:35 am [link] [11 comments]


Hey what gives? Here's the current outgoing message at the Ydessa Hendeles Art Foundation:
We have suspended the foundation's exhibition program and are currently generating books. There is nothing on exhibit at the foundation.
If you know the skinny, please leave a message in the comments below!

- sally mckay 2-06-2004 12:43 am [link] [2 comments]


Got a goodreads email recently with a nice quote from Steven Pinker. It reminded me about this list (below) of traits shared by the Universal People , researched by Donald E. Brown, and transcribed here from Pinker's, The Language Instinct, pgs. 429-430.

Value placed on articulateness. Gossip. Lying. Misleading. Verbal humour. Humourous insults. Poetic and rhetorical speech forms. Narrative and storytelling. Metaphor. Poetry with repetition of linguistic elements and three-second lines separated by pauses. Word for days, months, seasons, years, past, present, future, body parts, inner states (emotions, sensations, thoughts), behavioural propensities, flora, fauna, weather, tools, space, motion, speed, location, spatial dimensions, physical properties, giving, lending, affecting things and people, numbers (at the very least "one," "two," and "more than two), proper names, possession. Distinctions between mother and father. Kinship categories, defined in terms of mother, father, son, daughter, and age sequence. Binary distinctions, including male and female, black and white, natural and cultural, good and bad. Measures. Logical relations including "not," "and," "same," "equivalent, " "opposite," general versus particular, part versus whole. Conjectural reasoning (inferring the presence of absent invisible entities from their perceptible traces).

Nonlinguistic vocal communication such as cries and squeals. Interpreting intention from behaviour. Recognized facial expressions of happiness, sadness, anger, fear, surprise, disgust, and contempt. Use of smiles as a friendly greeting. Crying. Coy flirtation with the eyes. Masking, modifying, and mimicking facial expresssions. Displays of affection.

Sense of self versus other, responsibility, voluntary versus involuntary behaviour, intention, private inner life, normal versus abnormal mental states. Empathy. Sexual attraction. Powerful sexual jealousy. Childhood fears, especially of loud noises, and, at the end of the first year, strangers. Fear of snakes. "Oedipal" feelings (possessiveness of mother, coolness toward her consort). Face recognition. Adornment of bodies and arrangement of hair. Sexual attractiveness, based in part on signs of health and, in women, youth. Hygiene. Dance. Music. Play, including play fighting.

Manufacture of, and dependence upon, many kinds of tools, many of them permanent, made according to culturally transmitted motifs, including cutters, pounders, containers, string, levers, spears. Use of fire to cook food and for other purposes. Drugs, both medicinal and recreational. Shelter. Decoration of artifacts.

A standard pattern and time for weaning. Living in groups, which claim a territory and have a sense of being a distinct people. Families built around a mother and children, usually the biological mother, and one or more men. Institutionalized marriage, in the sense of publicly recognized right of sexual access to a woman eligible for childbearing. Socialization of children (including toilet training) by senior kin. Children copying their elders. Distinguishing of close kin from distant kin, and favouring of close kin. Avoidance of incest between mothers and sons. Great interest in the topic of sex.

Status and prestige, both assigned (by kinship, age, sex) and achieved. Some degree of economic inequality. Division of labour by sex and age. More child care by women. More aggression and violence by men. Acknowledgement of differences between male and female natures. Domination by men in the public political sphere. Exchange of labor, goods, and services. Reciprocity, including retaliation. Gifts. Social reasoning. Coalitions. Government, in the sense of binding collective decisions about public affairs. Leaders, almost always nondictatorial, perhaps ephemeral. Laws, rights, and obligations, including laws against violence, rape and murder. Punishment. Conflict, which is deplored. Rape. Seeking of redress for wrongs. Mediation. In-group/Out-group conflicts. Property. Inheritance of property. Sense of right and wrong. Envy.

Etiquette. Hospitality. Feasting. Diurnality. Standards of sexual modesty. Sex generally in private. Fondness for sweets. Food taboos. Discreetness in elimination of body wastes. Supernatural beliefs. Magic to sustain and increase life, and to attract the opposite sex. Theories of fortune and misfortune. Explanations of disease and death. Medicine. Rituals, including rites of passage. Mourning the dead. Dreaming, interpreting dreams.


- sally mckay 2-05-2004 3:33 am [link] [1 ref] [7 comments]


moon

- sally mckay 2-02-2004 3:52 am [link] [3 comments]




- sally mckay 2-01-2004 1:15 pm [link] [7 comments]


If I were a curator...these would be my picks from Jim B.'s extensive photolog,
shot with a mobile phone and, due to the fact that Jim knows his tech,
uploaded directly to the site.



check the comments below for bigger version

- sally mckay 1-30-2004 1:30 pm [link] [2 comments]


Canadian Art Quote #2
Andrew J. Paterson

From the preface of Money, Value, Art: State Funding, Free Markets, Big Pictures, YYZ Books, Toronto, 2001.

If economic dependency on the United States was already a foregone conclusion by the beginning of the 1950s, then Canadian distinction from the expanding American empire had to be asserted in a different domain. The cultural realm provided an excellent opportunity. Beginning with the 1941 Artists' Conference in Kingston, Ontario, the Federation of Canadian Artists and other arts-funding advocates "invoked the national interest as the best strategy for defending and advancing the boundaries of what they understood as culture" *, perhaps with a utopian fervour and perhaps strategically. Indeed, coalitions of visual and performing artists of the time tended not to position themselves as autonomous modernist artists. Instead, they engaged in discourses concerning democracy, culture, nation building, and public space. They worked alongside agrarian and labour activists, proto-feminists, and even popular entertainers.

*Jody Berland, "Nationalism and the Modernist Legacy: Dialogues with Innis," in Capital Culture: A Reader on Modern Legacies, State Institutions, and the Value(s) of Art, Jody Berland and Shelly Hornstein, eds. (Montreal and Kingston: McGill-Queen's University Press, 2000): 27.

- sally mckay 1-28-2004 3:20 am [link] [add a comment]


If you can stand to hear even more about Howard Dean's so-called "scream," there's an interesting thread going on here at dratfink, including this link to video of the speech shot by someone in the audience.

- sally mckay 1-27-2004 12:25 am [link] [add a comment]