I thought highly of this article's articulation of their presented ideas. It was very clear and distinctive in how they broke down the elements of engagement in a very precise way. One quote that stands out to me is the last sentence, "We need, in sum, a theory of collab- oration and participation that employs an ethics of engagement, not as an afterthought or means by which to deconstruct such practices, but as a way of re-inscribing an aesthetic as a form of sociopolitical praxis". This sentence captures the essence of the whole article, and how to therefore approach the future interactions and artistry on a team effort in regards to community and engagement.
3 questions I may have for this author after reading this piece are:
1. What, if any, ethical category is most important to you and why?
2. How do you see these ethical values shift in the future?
3. How would this have changed art relations in the past if these were shared then?
In regards to scenic design, these truly do carry a lot of weight on how I can or can't proceed in my practice from here on out. Theater is a collaborative effort, so keeping this idea at the forefront of my mind may drastically shift my way of working or interacting with people in that respect.
The Roof is on Fire fits the mold of the participative observation in contemporary art practices. I also feel that it was pretty successful in doing so, as it followed the corresponding guidelines quite naturally.
3 questions I may have for this author after reading this piece are:
1. What, if any, ethical category is most important to you and why?
2. How do you see these ethical values shift in the future?
3. How would this have changed art relations in the past if these were shared then?
In regards to scenic design, these truly do carry a lot of weight on how I can or can't proceed in my practice from here on out. Theater is a collaborative effort, so keeping this idea at the forefront of my mind may drastically shift my way of working or interacting with people in that respect.
The Roof is on Fire fits the mold of the participative observation in contemporary art practices. I also feel that it was pretty successful in doing so, as it followed the corresponding guidelines quite naturally.
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