Experiments in Expression · Miscellany · Relational Aesthetics

New Cuizines

Check out ‘Zines & Cuisines’ at this link.

There are 40 views already on this page about our next project, Zines & Cuisines.


Van Tran cooked this food. And also, made these A6 one-of-a-kind notebooks, these are the last two in the limited edition of four. ‘‘Food tastes better when you make it from your heart,’ he says. ‘When we eat, we feel love.’ Book for Zines & Cuisines to try his cooking. Details at this link.

Make that 41. I just checked it again.

Forty-one is more views on that page than for any other portfolio page I’ve ever posted on that platform. And I mean I’ve been kind of ambiently on there since 2017, not really seriously, though, not like now. I guess I just want to show people the context of S P A C E instead of just pointing them to my store. Ha, oh, I just pointed you to my store. Well, it’s a nice little collection, I feel:)…

But back to our story. About connexion, conversation, spacemaking, and now, food.

It’s exciting to me that it’s kind of interactive, too. It’s not just a ‘look at what I did’ thing but a co-created, on the spot, in real time, synched conversation space, too. With those who browse and read all the way through to the ends of paragraphs with links, then click the links, something happens. A conversation. And that, ladies and gentlemen, is the entire raison d’être of S P A C E. To connect. To converse. To make that exchange… It’s starting to happen more and more, digitally, now, because… well, you know why. But yeah. Let me reflect now for a moment. On perhaps why the other projects for Atelier S P A C E were less interesting to view.

Maybe the earlier stuff I had posted, for example, stuff like this..


Browse all our seasonal collections from Sept.2020-June 2021 at our real life ‘Zines & Cuisines’ event.

… was too…. er. Abstract? Hm.

[moment of insight slooowwwwlly dawns on DK, as the penny drops]

Wow. Quite possibly, eh.

I can see it now.

I guess I was caught up in the thing itself and forgetting to communicate about it, clearly, but that is natural when a thing is starting and it doesn’t know what it is yet. It rolls along and gathers momentum, rounds up, becomes more wheel-y and not as clunky as a square wheel. Ooh. More abstractness. Sorry, lads.

Let me try to articulate it simply. I guess, I just wanted to do it. Atelier S P A C E popups around the world, to co-create. I did this for a few years. You know, I really did. For 2017-2020 I was very interested in gathering people in remarkable moments for connexion. But I don’t think I knew exactly how to communicate what that looked like, in actual fact. Somehow people meeting and talking together over a meal is easier to digest. Haha, see what I did there, digest.

So let me change gears.

Instead of zines. Something else. Something new.


New cuizines..


 


‘Và có lẽ ta nên dành ít thời giờ ở trường đại học làm đầy đầu óc của học sinh với các nội dung qua các bài giảng, và nhiều thời gian hơn thắp lên sự sáng tạo của họ, sư tưởng tượng và khả năng giải quyết vấn đề của họ bằng cách thật sự nói chuyện với họ.’

//

‘And maybe we should spend less time at universities filling our students’ minds with content by lecturing at them, and more time igniting their creativity, their imagination and their problem-solving skills by actually talking with them.’


Let’s make S P A C E for just such conversations. Check out ‘Zines & Cuisines,’ a project of Atelier S P A C E, in Vietnam. Here’s a link. https://www.behance.net/gallery/120909493/Zines-Cuisines.

Found in the Field · Relational Aesthetics

物の哀れ

Mono no aware (物の哀れ, もののあはれ[1]), literally “the pathos of things”, and also translated as “an empathy toward things”, or “a sensitivity to ephemera“, is a Japanese term for the awareness of impermanence (無常, mujō), or transience of things, and both a transient gentle sadness (or wistfulness) at their passing as well as a longer, deeper gentle sadness about this state being the reality of life.[2] [wikipedia]


Been talking. Been quieting. Been sharing, but only very selectively. Rekindling with a handful, and learning that sometimes the best thing to do is… start again.

Ergo, I’ve been mulling.

The next things are next.



Above is a piece of work by Matt Shlian. I found ‘Swire’ while perusing this article. In which Shlian shares personal thoughts about what makes a piece of art great: ‘A piece of art needs to connect. It needs to have some element of truth to it that resonates with the viewer and leaves them something after they’ve left the piece.


‘A good piece asks questions,’ he says, ‘and teaches you something you didn’t know or shows you something you didn’t know you knew. It articulates something we’ve felt, and we connect to that thing in a way where words aren’t necessary. It’s a feeling that’s hard to describe but makes us feel less alone in a way—that someone else understands us and gives a voice to this thing inside us. ‘A piece of art extends beyond its frame and becomes part of us…’


Source: https://mymodernmet.com/what-is-great-art/

And you? What are you making lately? What about just-for-today?

Cool.

Discover and connect with us, if you’re curious about how it all works, to get conversations going in a way that illuminates… us… to each other, and ourselves. Our reflection-oriented conversions happen through Kismuth, with the 2014-2020 program called The Cojournal Project, and more design- and philosophy and other thinky thinky goes on while we co-create in S P A C E. Together.


Instagramming…

Relational Aesthetics

‘Powers of 10’


Powers of Ten (film)


From Wikipedia:
The Powers of Ten films are two short American documentary films written and directed by Charles and Ray Eames. Both works depict the relative scale of the Universe according to an order of magnitude (or logarithmic scale) based on a factor of ten, first expanding out from the Earth until the entire universe is surveyed, then reducing inward until a single atom and its quarks are observed. The first film: A Rough Sketch for a Proposed Film Dealing with the Powers of Ten and the Relative Size of Things in the Universe[1] — was a prototype and was completed in 1968; the second film: Powers of Ten: A Film Dealing with the Relative Size of Things in the Universe and the Effect of Adding Another Zero[2] — was completed in 1977. The Powers of Ten films were adaptations of the book Cosmic View (1957) by Dutch educator Kees Boeke.[3] Both films, and a book based on the second film,[4] follow the form of the Boeke original, adding color and photography to the black and white drawings employed by Boeke in his seminal work. The 1977 film has a number of changes from the prototype, including being entirely in color, moving the starting location from Miami to Chicago, removing the relativistic (time) dimension, introducing an additional two powers of ten at each extreme, a change in narrator from Judith Bronowski to Philip Morrison, and much improved graphics.[1] ‘In 1998, Powers of Ten (1977) was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant”.[5][6]’
16N · Relational Aesthetics

Dear D

Bongiorno.

It’s been a hell of a morning, D. I know you probably are like, why are you writing me a letter on your blog? Well. That is the nature of ‘N’. And I am inviting you. Starts here. The picture? That was me with a ticket from ‘N’ London, hanging out at a pub there, no wait, Sheffield, it was, right, just there, just talking to no one in particular, and, well… waiting for people to ask me, ‘So, what’s that?’, so I could invite them. Haha. (Yes, I do things like this.)

The journey of ‘N’, which began in 2014 in Phnom Penh, involves this sort of brute-force method of simply doing something, in this case sending point-blank invitations like this, over and over and over and over until you get it to ‘take.’

On the shape of uncertainty

I must have invited 116 people to that first ‘N’, and in the end we had a lovely group of opting-in people who made our 16-person blind date one of the most memorable ones of the lot, so far.

‘N’ photo by guest of ‘N’ KGM

 

Who comes to ‘N’? A mix. A surprise. Every single time. And that’s exactly the beauty of it.

The people who come to ‘N’ are exactly the right people. I’ve hosted this in Bangkok, London, and Copenhagen (kind of), and so, now, here I am. In Vietnam. Again. Did it once, in 2017, in Hanoi too, forgot to say.

It’s not about who’s the most this or the most that. When I make these invitations, and yes, there are a lot of them, there is one thing that all the guests who say ‘yes’ will have in common. They are curious people. They want to know what it is. They want to take a chance. Maybe just once, this year, ‘go out of my comfort zone,’ as so many people tell me. ‘N’ is something people talk about, or hear about, and it changes some of us (me, included) and we go on with our lives like, Huh, that can happen.

In a world overwhelmed with communication channels but void of deep relating, in my opinion, I made ‘N’ because I wanted to host a space for people to really be there, together, really and truly in a way that I love: which is simply being there, being included, being seen and heard, and being welcomed. Welcome. That’s me: welcoming you to ‘N’. Not just you. You and about 30 people I have mentioned this to in Ho Chi Minh City, of whom, I hope, 4 will say ‘yes.’

One of them I met in the very place where I met you, for example. Another I just wandered in to her place of work and struck up conversation. This happens often for me. I did this also to invite the guests who are part of that 30-person list and today we will close the registration because I like advance bookings and if I know everyone personally I will host it at my house. Cause yeah. Personal. And I will make snacks. If I can find out what dietary preferences… and that’s why, too, I like to have plans in advance… who is coming, what will we make for them? Planning and anticipating, for me, is as much of the fun of making something happen as the thing itself happening. I guess that’s why I love ‘N’ so much.

And why, you may ask, is it it designed like this? All ‘just once’ and for ‘just four’, and stuff? Because: personalizing it, and small scale. I like that. It’s usually in semi-public space but I am getting tired of public spaces in Vietnam and my house has a semi-public spot in it, the Common Room, which is where I’ll do this. There is also some art. Art that isn’t mine. So yeah. Come and talk to us. It’s just… people showing up to talk. Together. But briefly, and once.

Want to join us, D?

It’s tomorrow.

If yes, email me.

Cool.

'S' is for Sincerity · 100 Conversations · Miscellany · Relational Aesthetics

Wikipedia in Vietnamese on ‘Maturity’

Trong tâm lý học, trưởng thành là khả năng thích ứng được với môi trường xã hội, nhận thức được:)) Thời gian và địa điểm chính xác để có những cư xử đúng mực và biết được khi nào nên làm gì, tùy theo hoàn cảnh và phụ thuộc vào nền văn hóa xã hội mà ta đang sống.  Tuổi thành niên. Tuổi trưởng thành. Người lớn.

The translation on that page is this…
Mature
In psychology, maturity is the ability to adapt to a social environment, awareness :)) The exact time and place to behave properly and know when to do, depending on circumstances and depending on the social culture in which we live. Age of adulthood. Manhood. Adults.
And. That’s all.
In giant contrast, below is the English entry. But before I get to that, um.

Can someone reading this page, who follows this blog, and has native Vietnamese, can you, um. Please go and add more to this page on Wikipedia in Vietnamese? I think the emojis detract from the serious nature of the reportage, too. No?:)) I mean I love this:)))) emoji stuff but, on Wikipedia, about ‘maturity?’ Come on. Hãy nói về điều đó.

It’s one hell of a big topic and I think… important. Personally. What do you think though? Gosh I really want to know.
Perhaps we Western-educated lot overthink this thing but you know, look at this. The same idea, in the English entry, on Wikipedia, is miles and miles long. Seriously look. I’ll just paste it here.
Below is the English entry.

Maturity (psychological)

From Wikipedia, the free encyclopedia

Jump to navigationJump to search

In psychology, maturity is the ability to respond to the environment being aware of the correct time and location to behave and knowing when to act, according to the circumstances and the culture of the society one lives in.[1][2] Adult development and maturity theories include the purpose in life concept, in which maturity emphasizes a clear comprehension of life’s purpose, directedness, and intentionality, which contributes to the feeling that life is meaningful.[3]

The status of maturity is distinguished by the shift away from reliance on guardianship and the oversight of an adult in decision-making acts. Maturity has different definitions across legal, social, religious, political, sexual, emotional, and intellectual contexts.[4] The age or qualities assigned for each of these contexts are tied to culturally-significant indicators of independence that often vary as a result of social sentiments. The concept of psychological maturity has implications across both legal and social contexts, while a combination of political activism and scientific evidence continue to reshape and qualify its definition. Because of these factors, the notion and definition of maturity and immaturity is somewhat subjective.

American psychologist Jerome Bruner proposed the purpose of the period of immaturity as being a time for experimental play without serious consequences, where a young animal can spend a great deal of time observing the actions of skilled others in coordination with oversight by and activity with its mother.[5] The key to human innovation through the use of symbols and tools, therefore, is re-interpretive imitation that is “practiced, perfected, and varied in play” through extensive exploration of the limits on one’s ability to interact with the world. Evolutionary psychologists have also hypothesized that cognitive immaturity may serve an adaptive purpose as a protective barrier for children against their own under-developed meta-cognition and judgment, a vulnerability that may put them in harm’s way.[6] For youth today, the steadily extending period of ‘play’ and schooling going into the 21st century comes as a result of the increasing complexity of our world and its technologies, which too demand an increasing intricacy of skill as well as a more exhaustive set of pre-requisite abilities. Many of the behavioral and emotional problems associated with adolescence may arise as children cope with the increased demands placed on them, demands which have become increasingly abstracted from the work and expectations of adulthood.

Socio-emotional and cognitive markers[edit]

Although psychological maturity is specifically grounded in the autonomy of one’s decision-making ability, these outcomes are deeply embedded in not only cognition, but also in lifelong processes of emotional, social and moral development.[7] Various theorists have provided frameworks for recognizing the indicators of maturity. Erikson’s stages of psychosocial development describe progression into adult maturity, with each maturational stage characterized by a certain kind of psychsocial conflict.[8][9] The “Identity” stage is characterized as being mainly concerned with issues of role exploration and role confusion, and also the exploration of sexual and other identities. Adolescents navigate a web of conflicting values and selves in order to emerge as ‘the person one has come to be’ and ‘the person society expects one to become’.[10]Erikson did not insist that stages begin and end at globally pre-defined points, but that particular stages such as “Identity” could extend into adulthood for as long as it took to resolve the conflict.[11][12] Piaget’s theory of cognitive development defines the formal operational stage as a plateau reached once an individual can think logically using symbols and is marked by a shift away from “concrete” thought, or thought bound to immediacy and facts, and toward “abstract” thought, or thought employing reflection and deduction.[13] These theories have shaped the investigation of adolescent development and reflect the limitations of cognition prior to adulthood.

While maturity is often termed as a label awarded to a child, research has revealed that children themselves hold a clear sense of their own autonomy and personal jurisdiction. For instance, American elementary-aged school children demonstrated an acknowledgement of the limits of their parents’ authority over their choice of dress, hairstyle, friends, hobbies, and media choices.[14] But this constrained earlier concept of personal autonomy later develops into a broader understanding of individual freedoms, with an understanding of freedom of speech as a universal right emerging by elementary school age.[15] However, younger children do have difficulty with maintaining a consistent view on universal rights, with 75% of first-grade children expressing uncertainty about prohibiting freedom of speech in Canada.[16] But this same study also found that 6- to 11-year-old Canadian children rejected nondemocratic systems on the basis of violating principles of majority vote, equal representation, and right to a voice, which provides evidence for an emerging knowledge of political decision-making skills from a young age.

Biological and evolutionary markers[edit]

Where maturity is an earned status that often carries responsibilities, immaturity is then defined in contrast by the absence of serious responsibility and in its place is the freedom for unmitigated growth. This period of growth is particularly important for humans, who undergo a unique four-stage pattern of development (infancy, childhood, juvenility, adolescence) that has been theorized to confer a number of evolutionarily competitive benefits (Locke & Bogin, 2006). In infancy, motor development stretches long into the early years of life, necessitating that young infants rely on their mothers almost entirely. This state of helplessness provides for an intensely close bond between infant and mother, where separation is infrequent and babies are rarely out of a caregiver’s arms.[17][18] For non-human primates and all non-human mammalian species the growth of the first permanent molar marks the end of lactation and the beginning of foraging, setting an early requirement for independence. Human children, on the other hand, do not have an advanced motor control capable of foraging and also lack the digestive capacity for unprepared food, and so have always relied on the active involvement of their mother and other caregivers in their care into childhood.[19]

The pre-frontal cortex, which is responsible for higher cognitive functions such as planning, decision-making, judgment and reasoning, develops and matures most rapidly during early adolescence and into the early 20s.[20] Accompanying the growth of the pre-frontal cortex is continued synaptic pruning (the trimming of rarely used synapses) as well as increased myelination of nerve fibers in the brain, which serves to insulate and speed up signal transmission between neurons. The incomplete development of this process contributes to the finding that adolescents use their brain less broadly than do adults when asked to inhibit a response and show less cross-talk (communication across diverse regions of the brain).[21] The brain’s “cross-talk” may be related to decision-making concerning risk-taking, with one study of American adolescents finding delayed reaction time and decreased spread across brain regions in a task asking them to determine whether a dangerous action is a good idea or not.[22] Steinberg observes that there is close overlap in the activated brain regions for socioemotional and reward information, which may pose a challenge when making decisions in the most high-risk peer contexts.[23] One study found that preference for small immediate rewards over larger long-term rewards was associated with increased activation with regions primarily responsible for socioemotional decision-making.[24]

Problems with alleged negative correlation between plasticity and critical thinking[edit]

One problem with the notion of mental maturity as in adults being both more critical and less plastic than children is that it assumes a negative correlation between plasticity and independent critical thinking. This assumption is criticized as the ability to clearly distinguish ideas from each other and critically assess them would increase the capacity for self-correction and not decrease it, making the correlation between plasticity and independent critical thinking positive and not negative.[25]

Legal and political issues[edit]

The definition and determination of maturity has been applied to the issue of criminal responsibility of juvenile offenders and to a number of legal ages. The age of majority, the most broadly applied legal threshold of adulthood, is typically characterized by recognition of control over oneself and one’s actions and decisions. The most common age threshold is 18 years of age, with thresholds ranging from 14 to 21 across nations and between provinces. Although age of majority is referred to as a jurisdiction’s legal age, the legal ages of various other issues of legal maturity like sexual consent or drinking and smoking ages are often different from the age of majority. Aside from age-based thresholds of maturity, restrictions based in a perceived intellectual immaturity also extend to those with a variety of mental impairments (generally defined as anyone with a mental disability that requires guardianship), with laws in place in most regions limiting the voting rights of the mentally disabled and often requiring the judgment of a court to declare fitness. Similar to those restrictions placed on children, persons with mental disabilities also have freedoms restricted and have their rights assigned to parental guardians.

One reason cited for why children and the mentally disabled are not permitted to vote in elections is that they are too intellectually immature to understand voting issues. This view is echoed in concerns about the adult voting population, with observers citing concern for a decrease in ‘civic virtue’ and ‘social capital,’ reflecting a generalized panic over the political intelligence of the voting population.[26] Although critics have cited ‘youth culture’ as contributing to the malaise of modern mass media’s shallow treatment of political issues, interviews with youth themselves about their political views have revealed a widespread sense of frustration in their political powerlessness as well as a strongly cynical view of the actions of politicians.[27] Several researchers have attempted to explain this sense of cynicism as a way of rationalizing the sense of alienation and legal exclusion of youth in political decision-making.[28][29]

Another reason cited against child voting rights is that children would be unduly biased by media and other societal pressures. On the whole, this view is unsubstantiated, with interviews with youth revealing that they often have a great deal of knowledge about news programming, media bias, the importance of evidence, evaluation of arguments on the merits of their evidence, as well as a preparedness for forming arguments of one’s own using available evidence. In cognitive research, some studies conducted in the 1970s offered a skeptical view of adolescent understanding of democratic principles like freedom of speech.[30] However, this research is now recognized to have used challenging and contradictory vignettes that placed a high demand on still-developing verbal and metacognitive skills[16] which are not recognized as requisite to an understanding of individual political rights. More recent research[16][31] has unveiled that even elementary school age children have a concept of freedom of speech and that by ages 8–9 this concept expands beyond a concern for personal autonomy and onto awareness for its social implications and the importance of the right to a political voice.

Maturity has also been taken into account when determining the fairness of the death penalty in cases involving mentally retarded or underage perpetrators. In Atkins v. Virginia, the U.S. Supreme Court decision banning the execution of mentally retarded persons, was decided on the grounds that “diminished capacities to understand and process mistakes and learn from experience, to engage in logical reasoning, to control impulses, and to understand the reactions of others” was cited as the evidence supporting a reduced view of criminal culpability.[32]

Cultural and religious issues[edit]

In Jewish religion, the “becoming a Bar or Bat Mitzvah” (literally “an [agent] who is subject to the law”) refers to the ceremony declaring that a Jewish child is morally and ethically responsible for their actions, is eligible to be called to read from the Torah, as well as responsibility to abide by the 613 laws written in the Torah.[citation needed]Traditionally, this ceremony awarded adult legal rights as well as the right to marry. Similarly, Christian churches hold Confirmation as a rite of passage in early adolescence. The rite holds fewer practical responsibilities than the Bar/Bat Mitzavah, but carries ethical and moral consequences. In all churches, of age Christians are responsible for going to church on Sundays and for confessing their sins periodically; within certain denominations it is also a common practice to warn children that it would be a mortal sin (an act punishable by banishment to hell) to lapse in these responsibilities.

Prom is celebrated throughout many countries of the world following or prior to final coursework for the year or after graduation. Various parties, ceremonies, or gatherings are held, ranging in their focus on academics, bonding, or as a farewell. In some Western European countries a post-degree party consists of burning notebooks and final projects. In certain countries, such as Colombia and the United States, the prom has come to take on a dual role of celebrating both academic achievement as well as sexual maturity. Quinceañera, in parts of Latin America, Début in the Philippines, Ji Li in China, and Sweet Sixteen in the United States coincide closely with graduation, which highlights the importance and broad recognition of the transition; however, these celebrations have been most prominently celebrated only by girls up until recently.

A number of traditions are associated with the earlier critical maturation point of menarche. A girl’s menarche is commemorated in varying ways, with some traditional Jewish customs defining it as a contamination, with the customs shaped around cleaning it away and ensuring it does not make anything or one unclean.[33] This served a historical purpose of blocking women from taking part in economic or political events.[34] The Maori of New Zealand, the Tinne Indians of the Yukon, the Chichimilia of Mexico, and the Eskimos, among other groups, all hold varyingly negative beliefs about the time of menarche and what dangers it brings.

For boys and young men, practices such as scarification and hazing act as a rite of passage into a group. These practices test and assert the expectations for pain tolerance and allegiance for men in those groups. Various branches of the military hold similar formal proving rituals, such as boot camp, that, aside from serving to train entrants, also demarcate an initial recognition of maturity in the organization, with successive experiences building upon that. Many occupations and social groups recognize similar tiers of maturity within the group across many cultures, which emphasise maturity as a form of status.

Age[edit]

While older persons are generally perceived as more mature and to possess greater credibility, psychological maturity is not determined by one’s age.[35][36] However, for legal purposes, people are not considered psychologically mature enough to perform certain tasks (such as driving, consenting to sex, signing a binding contract or making medical decisions) until they have reached a certain age. In fact, judge Julian Mack, who helped create the juvenile court system in the United States, said that juvenile justice was based on the belief that young people do not always make good decisions because they are not mature, but this means that they can be reformed more easily than adults.[37] However, the relationship between psychological maturity and age is a difficult one, and there has been much debate over methods of determining maturity, considering its subjective nature, relativity to the current environment and/or other factors, and especially regarding social issues such as religion, politics, culture, laws, etc. [38]

See also[edit]

References[edit]

  1. ^ Wechsler, David (1 March 1950). “Intellectual Development and Psychological Maturity”. Child Development. 21 (1): 45–50. doi:10.2307/1126418. JSTOR 1126418. PMID 15420813.
  2. ^ W.A., Hunt (1941). “Recent developments in the field of emotion”. Psychological Bulletin. 38 (5): 249–276. doi:10.1037/h0054615.
  3. ^ Adler, Nancy (November 1997). “Purpose in Life”. Psychosocial workgroup. MacArthur. Retrieved 2011-11-03.
  4. ^ University, Johns Hopkins (1885). “Circulars”. 4. The Ohio State University: 106.
  5. ^ Bruner, Jerome S. (1 January 1972). “Nature and uses of immaturity”. American Psychologist. 27 (8): 687–708. doi:10.1037/h0033144.
  6. ^ Bjorklund, DF (September 1997). “The role of immaturity in human development”. Psychological Bulletin. 122 (2): 153–69. CiteSeerX 10.1.1.453.8039. doi:10.1037/0033-2909.122.2.153. PMID 9283298.
  7. ^ Johnson Ph.D, M.P.H, M.D., Ph.D, Giedd, M.D, Sara B, Robert W, Jay N. (2009). “Adolescent Maturity and the Brain: The Promise and Pitfalls of Neuroscience Research in Adolescent Health Policy”. Journal of Adolescent Health. 45 (3): 216–221. doi:10.1016/j.jadohealth.2009.05.016. PMC 2892678. PMID 19699416.
  8. ^ Erik H. Erikson (1968). Identity: Youth and Crisis. W. W. Norton. ISBN 978-0-393-31144-0. Retrieved 9 June 2013.
  9. ^ Kemph, John P. (1 March 1969). “Erik H. Erikson. Identity, youth and crisis. New York: W. W. Norton Company, 1968”. Behavioral Science. 14 (2): 154–159. doi:10.1002/bs.3830140209.
  10. ^ J. Eugene Wright (1 October 1982). Erikson, identity and religion. Seabury Press. ISBN 978-0-8164-2362-0. Retrieved 9 June 2013.
  11. ^ Francis L. Gross (1 February 1987). Introducing Erik Erikson: an invitation to his thinking. University Press of America. ISBN 978-0-8191-5789-8. Retrieved 9 June 2013.
  12. ^ Roweton, William E. (1 April 1988). “Gross, F. L., Jr. (1987). Introducing Erik Erikson: An invitation to his thinking. Lanham, MD: University Press of America. 148 pp., $23.50 (hard cover), $10.75 (paper)”. Psychology in the Schools. 25 (2): 209–210. doi:10.1002/1520-6807(198804)25:2<209::AID-PITS2310250218>3.0.CO;2-B.
  13. ^ Herbert Ginsburg; Sylvia Opper (1988). Piaget’s Theory of Intellectual Development. Prentice-Hall. ISBN 978-0-13-675166-3. Retrieved 9 June 2013.
  14. ^ Nucci, Larry (21 March 1981). “Conceptions of Personal Issues: A Domain Distinct from Moral or Societal Concepts”. Child Development. 52 (1): 114–21. doi:10.2307/1129220. JSTOR 1129220.
  15. ^ Laupa, Marta (1 March 1995). “Children’s reasoning about authority in home and school contexts”. Social Development. 4 (1): 1–16. doi:10.1111/j.1467-9507.1995.tb00047.x.
  16. ^ Jump up to: a b c Helwig, Charles C. (1 April 1998). “Children’s Conceptions of Fair Government and Freedom of Speech”. Child Development. 69 (2): 518–531. doi:10.1111/j.1467-8624.1998.tb06205.x. JSTOR 1132181.
  17. ^ Kim Ronald Hill; A. Magdalena Hurtado (1996). Aché Life History: The Ecology and Demography of a Foraging People. Transaction Publishers. ISBN 978-0-202-36406-3. Retrieved 15 June 2013.
  18. ^ Robert Alan LeVine; Barbara Bloom Lloyd (1966). Nyansongo: a Gusii community in Kenya. Wiley. Retrieved 15 June 2013.
  19. ^ Lancaster, Jane B; Lancaster, Chet S (1983). Ortner, Donald J. (ed.). “Parental Investment: Human Uniqueness Compared to “Great Apes”: Likely Difference”. How Humans Adapt: A Biocultural Odyssey. Washington: Smithsonian Institution. 967 (2): 33–66Proceedings of the Seventh International Smithsonian Symposium
  20. ^ Johnson, Sara B.; Blum, Robert W.; Giedd, Jay N. (31 August 2009). “Adolescent Maturity and the Brain: The Promise and Pitfalls of Neuroscience Research in Adolescent Health Policy”. Journal of Adolescent Health. 45 (3): 216–221. doi:10.1016/j.jadohealth.2009.05.016. PMC 2892678. PMID 19699416nihms:207310
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Continue reading “Wikipedia in Vietnamese on ‘Maturity’”

Experiments in Expression · Relational Aesthetics

What is relational art? What are relational aesthetics?

I.
What Wikipedia says about relational art

 

Relational art or relational aesthetics is a mode or tendency in fine art practice originally observed and highlighted by French art critic Nicolas Bourriaud.Bourriaud defined the approach as “a set of artistic practices which take as their theoretical and practical point of departure the whole of human relations and their social context, rather than an independent and private space.”[1] The artist can be more accurately viewed as the “catalyst” in relational art, rather than being at the centre.[2]

Source: Wikipedia

 

II.
What ‘Happenings’ are and what Situationism was

American artist Allan Kaprowcoined the term “happenings” in 1959 to refer to ephemeral, somewhat theatrical, but also participatory, art-related events, many of which were conceived in such a way as to be intentionally open-ended, allowing for improvisation. Artists honored this sense of spontaneity by creating rough guidelines, rather than strict rules or scripts, for participants to follow. The particular social contexts/dynamics and groups of participants (which included the audience members) involved in each happening were integral to the form the events took, causing the same performance to develop differently each time it was carried out. The central belief held by artists involved in creating Happenings was that art could be brought into the realm of everyday life.

The Situationists, a group active from 1957 to 1962, were heavily influenced by Marxist theory, which purported that while living under capitalism, individuals experience alienation and social degradation in their daily lives. They were equally informed by Guy Debord‘s theory of “spectacle,” which states that under capitalism, the mediation of social relations occurs primarily through objects. Wanting to offer solutions toward both these concepts, Situational artists focused on creating works that brought people into direct, immediate encounters and experiences with each other.

For example, they used the strategy of détournement (defined as “turning [preexisting] expressions of the capitalist system and its media culture against itself”) to enact “Situationist pranks,” such as distributing misinformation through false broadcasts, pamphlets, and even church sermons. Another strategy used by the Situationists was the “dérive,” defined by Debord “as a mode of experimental behavior linked to the conditions of urban society: a technique of rapid passage through varied ambiances.” In other words, a dérive was an unplanned journey, like walking through a city’s streets, during which the individual (referred to by Debord as a “psychogeographer,” and also commonly understood as a sort of “flâneur” or romantic wanderer/stroller) allowed himself to be fully aware of, and engaged with, the surrounding environment. They also organized “situations” which were very similar to “happenings.”

Source: https://www.theartstory.org/movement/relational-aesthetics/history-and-concepts/

 

III. Nineteen-Ninety-Eight and Nicolas Bourriaud‘s book

The French curator Nicolas Bourriaud published a book called Relational Aesthetics in 1998 in which he defined the term as:

A set of artistic practices which take as their theoretical and practical point of departure the whole of human relations and their social context, rather than an independent and private space

He saw artists as facilitators rather than makers and regarded art as information exchanged between the artist and the viewers. The artist, in this sense, gives audiences access to power and the means to change the world.

Source: https://www.tate.org.uk/art/art-terms/r/relational-aesthetics

A Philosophy of the Moment · Miscellany · Relational Aesthetics

Of angular velocity [ω]

I.

A high rate of proper motion can indicate that a star is located nearby, as more distant stars must move at higher velocities in order to achieve the same rate of angular travel across the celestial sphere.

Tốc độ chuyển động thích hợp cao có thể chỉ ra rằng một ngôi sao nằm gần đó, vì các ngôi sao xa hơn phải di chuyển với vận tốc cao hơn để đạt được cùng tốc độ di chuyển góc trên thiên cầu.

Source: https://glosbe.com/en/vi/angular%20velocity

 

II.

Particle in three dimensions

The orbital angular velocity vector encodes the time rate of change of angular position, as well as the instantaneous plane of angular displacement. In this case (counter-clockwise circular motion) the vector points up.

In three-dimensional space, we again have the position vector r of a moving particle. Here, orbital angular velocity is a pseudovector whose magnitude is the rate at which r sweeps out angle, and whose direction is perpendicular to the instantaneous plane in which r sweeps out angle (i.e. the plane spanned by r and v). However, as there are two directions perpendicular to any plane, an additional condition is necessary to uniquely specify the direction of the angular velocity; conventionally, the right-hand rule is used.

Let the pseudovector be the unit vector perpendicular to the plane spanned by r and v, so that the right-hand rule is satisfied (i.e. the instantaneous direction of angular displacement is counter-clockwise looking from the top of ). Taking polar coordinates in this plane, as in the two-dimensional case above, one may define the orbital angular velocity vector as:

where θ is the angle between r and v. In terms of the cross product, this is:

From the above equation, one can recover the tangential velocity as:

Note that the above expression for is only valid if is in the same plane as the motion

Source: https://en.wikipedia.org/wiki/Angular_velocity

Experiments in Expression · Relational Aesthetics · The Muse

MP3 | You Push People Away

I just added this to the store. It’s part of the download bundle for the issue we made about Solitude. I’m really happy with that one. It’s probably one of the best ones we’ve made for the Atelier S P A C E } Spring 2021 collection. I’ll also be sharing it in real life today at 3-4.30PM at our first popup show for this year. I’m excited! See you in the spaces and talk to you in the cloud if that’s where we meet. Happy day, after a big rain, not as hot and I think we’re past the heat wave.

Sound. Art. Collage. Thoughtful writings. Most of this work is by Akshay Harake, who answered the question on Quora, ‘I always push people away?’ I edited parts of it and made it into this shortened auto version; but the full text is in our zine, along with other DK-esque curated snippets. The text for this audio is also of course in its original and unedited form, on Quora. Cool. Checkit.