CREATIVE TIME: Shanthi Shanmugam
The term I would like to explore is “Making”. What does is it mean to make and to be made? Creation is very subtle because every action induces or “makes” another reaction.
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The term I would like to explore is “Making”. What does is it mean to make and to be made? Creation is very subtle because every action induces or “makes” another reaction.
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We are constantly making to survive, learn, earn, and experience. Making is one of the fundamental activities for us which happens every second. We make our own food daily; we make friends; we make notes to study; we make art and music to enjoy; we make mistakes; we make achievements, and we make thoughts and perspectives.
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Not many people think about making. That is, the act of creation; both intentional and unintentional. While most people prioritize that which they create with willful agency, they often overlook what is created as a side effect of their actions.
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To make something is to extend oneself. The making of things contradicts man’s ever-present fascination with death and transience. The Flemish Renaissance theme of vanitas warns that our life is transient, but the paintings, with their brilliant bouquets and subtle symbols of death and decay, outlive its warning.
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I have made and given away 14,000+ ceramic cups since 2001. All of the cups have something to do with war, violence and the places military and civilian cultures collude and collide.
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I just returned from a wild working weekend with Sojourn Theater at an unlikely location in St. Louis. We were invited to the Catholic Charities Annual Conference as their artists-in-residence – this is a convening of about 100 local chapter organizations who all share a social justice mission.
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This word– MAKING — appears to be the most neutral of Creative Time’s keywords this year. But I think I want to use it to reflect upon the not entirely neutral factors that prompt some artists, critics, art administrators, and activist citizens to feel hailed by the Creative Time Summit while others barely know that it exists.
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On September 12th I woke up to the news that hundreds had died in a factory fire in Pakistan. It took me a moment to realize that the report was not about the all-too-similar tragedy that took place 101 years earlier in New York. The Triangle Shirtwaist Factory Fire killed 146 workers, mostly young women from immigrant families who either burned or jumped to their death from the 8th floor of the building since the workers had otherwise been locked in.
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My thoughts on inequity, making, occupation, and tactics are currently entangled. I am thinking through a recent paper by Daphne Plessner published online via Art & Education. At the moment, I cannot say anything better than she, so please forgive the cheap trick of supplying a quote and a link as my application into the Summit viewing party.
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Sweet etymology reveals that the root of Poet is a Maker. In the historical sweep of what we say and do, this linguistic link from the practical to the lyrical, embraces our survival, management, creativity, resourcefulness, connections, communications and all that jazz broadly labeled “culture”.
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