coloring between the lines has not been a functional advantage
in exploring cultural production or in art foundations for as long as i can remember (ok well that is not all that long) except within environments that primarily emphasize compliance, though I do recommend driving between the lines (compliance in this case is about survival).
the lines should be recognized, understood in terms of their function, even used as needed, but futures lay at and over these edges, in the borderlands of production.
“an ongoing attempt to get the students to learn from each other, to decenter the power in the classroom (studio), to challenge disciplinary borders, to create a borderland where new hybridized identities might emerge, to take up in a problematic way the relationship between language and experience, and to appropriate knowledge as part of a broader effort at self-definition and ethical responsibility. border writing (production–art) in this case became a type of hybridized, border literacy, a form of cultural production and pedagogical practice where otherness becomes comprehensible, collective memory rewrites the narratives of insurgent social movements, and students travel between diverse theoretical and cultural zones of difference, and in doing so, generate a space where new intersections between identity and culture emerge.” — giroux’s border practice
“while the anti disciplinary actively challenges the taxonomic effort to organize, categorize, and delimit knowledge into discrete, sanctioned modes of inquiry, the post-disciplinary (trans) functions as if those discrete modes no longer matter.”
the emerging trend in art foundations is trans-disciplinary–facilitating process, thinking, collaborating, and meaning making with intent to explore the borderlands of cultural production. what are the implications for what is happening in the studio environment of academia?
just reading and thinking and naturally reading texts that feed my own paradigm. human nature.0