This session went through a number of iterations before finding its home.
The journey is as integral as the final product, a key learning and pedagogical pillar.
(Lots more to come)
First, a melange of images, a create your own lecture/tutorial.
*But no, not enough time for the required depth, less is more*
An image of the singer Adele wearing a Jamaican Bikini top & Bantu Knots
*In testing, one viewer did not realise it was a famous English musician.
Consider the potential audience member, it may trigger defensiveness.
Lets not go there*
Dragonball Z – 4+ images
*Less is more, consider the anti-blackness inherent in sharing blatantly racist caricatures
will the audience know the series, is it juvenile? does this hinder or help?
Do I want to talk about white supremacist ideology in Japanese culture?
This is heavy stuff, I would rather save this for a more appropriate setting.
Character design is appropriate for BA Illustration, but less so for a PGCert.
Let’s go less confrontational.
There is value in choosing the past of least resistance.
The decision to veto DBZ (for now) was fuelled by a desire to listen to the annoying voice in the back of my mind. Often when taking a creative risk I have ignored this feeling, perhaps deluded and blind to a conceptual flaw, masked by an egotistical desire to centre my will.
Here the lesson was to listen to your own advice.
It is often mentioned that we’re able to give better advice to others resulting from our lack of emotional attachment. It is important to look within for the signs of self deception and pull at the thread. Often we see the same loose thread thinking it’s a mirage, after a few times…pull at it, see what happens.
Note: as this goes to submission and I reflect, the decision was in some ways a good one. Perhaps many of these images suit particular audiences. There is an inherent risk when playing with fire. In retrospect, I’d consider Tony Bliar. (No typo).
The following paragraph was delted from my TPP Case study. Let it live in this graveyard….
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Perusing my personal archive of affective images, I considered the cult-classic Japanese animation, Dragonball Z. A folder of GIFs and JPEGs could spark conversations over character design, appropriation and eurocentricity. But given the length of the session, it felt more important to simplify, go deeper and closer to home. Next, English musician Adele’s carnival costume appropriation was considered, but as the reading of this image was too closed, I settled on an image of Air Force One trainers feeling a resonance with Artaud’s ‘Physical Knowledge of Images’, believing the concrete ambiguity would precipitate nuanced conversation with less potential to trigger and greater opportunity to be read openly.