Tim Ingold: Anthropology Between Art and Science: and Essay on the Meaning of Research
Q:
“I Speak the heart’s discourse because the heart is never far from what matters. Without the heart pumping its words, we are nothing but an outdated dictionary, untouched.” Ronald Pelias
“The aim of these approaches is resonance, understanding, multiple meanings, dimensionality, and collaboration. Pelias suggests that all research offers first-person narratives.”
C:
The connection between art and science’s goal to further understand aspects of our existence reminds me of the book Art and Physics by Leonard Shlain. In the introduction he proposes that one of art’s purposes is to prepare people for that which hasn’t happened yet or that we don’t yet grasp. For example, he compares cubism to space-time.
Q?:
As a society, why are we so focused on removing the emotional when it can be so effective towards “true” understanding? Why do people outside of the arts not see art making as research when its goal is exploration and knowledge? “Meaning-making.”
Mark Anthony Arceño: Walking, Talking, and Tasting
Q:
“There thus exists an incoherence between scientifically-grounded forecasts and on-the-ground localized knowledge.”
C:
The author highlights small descriptions, giving importance to the minutia in understanding any larger whole. The article feels like a call to “take note”, which leads to learning.
Q?:
How is this article connected to narratology? How does the way winegrowers position themselves in relation to climate change differ from the author’s ideas? When does experience trump language?
Roger Sanjek: Fieldnotes
Q:
“Yet fieldnotes are written, usually, for an audience of one.”
C:
This essay made me think about the note’s inherent connection to memory and remembering. The “real” interpretation and thought is saved for later, where the note is the immediate, raw material. Both can be wonderful. Consider an artist’s sketch of his model versus a finished painting. (Like Bonnard)
Q?:
Do scratch notes get “cold” in art making the same way they do in scientific research? When making art, can the removal from initial motive create equally valid outcomes?
Chantal, I’m thinking about the “thickness” of description that Mark Anthony spoke about when I read your questions and your field notes. Both the scratch notes that are particular have a thickness and you keep that in the field notes – when the writing is at its best. So, in the end, one is not better than the other, just both need to be “thick”. How does the concept of “thickness” translate to painting?
Now I’m also wondering about your yellow note pad, writing instrument, organizational strategies when you make your jottings. I wonder if they could be even more freely jotted?
Finally, I like that you might return to your backyard or to the rain at another time for some more notes!
Your first field note is especially beautiful.