Synecdoche

Rochester Institute of Technology

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Thesis/Dissertation Collections

5-2-1995

Synecdoche

Isabel Chicquor

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Recommended Citation

Rooobizmaa

RIT LIBRARY

de-fense

(

di

fens',

defens)

n.[ME. <OFr. <LL.defensa <_{fern, of}L.

defensus]

1. theact or power_of

defending,

or_guardingagainst_attack,

harmordanger2. thefactor state_of

being

defended3.a)_somethingthat

defends;

means _ofor resourcesfor protection

b)

a plan or systemfor

defending

4. justificationor support

by

speech orwriting;vindication 5._self-protection,as

by boxing

Uz_{my buba hut}gahatbeytzim

athesis

defense

by

Isabel Chicquor

Tuesday,

May

2,

1995

highnoon

Gannett

Building

7B

seminar room 20 5 0

de-fen-sive

(siv)

adj.[ME.& OFr.

defensif,

ML.

defensivus,

L. defensus:see

DEFENSE]

1.

defending

2._oforfor defense

3.Psychol,_constantly

feeling

under attack andhencequickto

justify

one's actions-_1.

Je!JWeiss, Thesis Board Chair

Rick Hock

Allen Vogel

Michael Hager

Submitted in partial fulfillment ofthe Requirements

for the Degree Master ofFine Arts

Imaging Arts Program

School ofPhotographic Arts and Sciences

Rochester Institute of Technology

PERMISSION GRANTED

Title of Thesis:

SYNECDOCHE

I, Isabel Chicquor hereby grant pennission to the Wallace Memorial

Library of the Rochester Institute of Technology to reproduce my thesis in

whole or in part. Any reproduction will not be for commercial use or profit.

Sign&~:~OC

in 1992IcametoRITwitha specifichistory.Itwas_mystrength,butalso

myweakness.

Ihadan aestheticthathad been

finely

honed

by

24years of arttraining.

Ibelieved inthemodernisttenetof"truthto materials", thateachmedium

haditsown

discrete,

_{self-generating}aesthetic.

My developing

aesthetic

dictatedtheattitiudes andideas I hadabout almosteverything,asit does

today.

Thispaperisan adaptation_ofmy

thesisdefense deliveredon

May

2, 1995.

Asan undergraduate_{in painting in}the_{earlysixties,} Iunderstood what was

beautiful

-materials, surface, style,composition- throughthe_experience

of_studio,nottheory. Subjectmatter was minimalizedinfavorof pure structure.2

AndwhatIlearned becameso

fully

integrated,

itwaslike

breathing.

AtthesametimeI'd had 3years of art

history

which supportedthestudio

work. Itwasthe

history

ofWestern

Art;

nowomen,no

blacks,

andlittle theory.

Someone like

Duchamp,

forexample,wasgivenlittlemention. Formehe

was a mediocre painter whose workI didn't findamusing. Dadaand

Surrealismplayed a_veryminor roleinthescheme ofthingsandifone

were not_{psychologically}minded,one couldfindtheworkheavy-handed

and

illustrative,

whichI did.

If Ihad_{any influences}whenIstarted graduate schoolin

1965,

itwouldbe fromartistslike

Kline, Rothko, DeKooning, Motherwell,

andRauschenberg.

Iwas

fully

committedtoAbstract Expressionism.

Iembraced_everymark and splat. Artists like Bruce NaumanandJohn

Baldessari,

in

1965,

believed paintingtobe deadand sought withinthe milieu ofWest Coastconceptual artists new ways of visual expression. I

mentiontheseartistsinparticularfortheirwork allows metosituate mine

FIRST QUARTER

Itisnowtwenty-fiveyears since

graduate school andIhavethe same aesthetic. _{I have consciously}

ignoredtheworkofthelast fifteen

yearsbecause I didn't like

it,

Ididn't

understand

it,

I just didn'tgetit. Themore non-retinalitwas,the less Icould enterintosomekind

ofdialogue.

Since comingto

RTT,

_{I have strug} gled_mightilywiththerecognition thatgrowth required change. But howtodo it

honestly

and authenti

callyremainedtheproblemfore most_{in my}mind. Forme, the process...the_makingofart, alwaystookprecedence over meaning. While

here,

particular artists and movementshavenot

influenced myworkdirectly. I believe (likethemodernist_{I am)}

that theanswers

lay

within me.

WhenIenteredRIT,mypho tographs ofthelasteight years

werearchitecturalinnatureand emulated aspects of painting. I began

by

using my existingnega

tivesandinvestigatedmanipulat

ing

theformalelements,usingcol

lageand mixed media.

SECOND QUARTER

Much like Ed Ruscha'sprojectin Los

Angeles,

(Every Building

onSunset

Strip),

Iphotographed_{every house}and

driveway

onthe 100 blockof

Rowley

Street.

Formetheact wasnotimportant for itsconceptual or critical

implications,

itserved rather as astrategytosubvertthecompositional_editingthathad formed my relationshipto_photography untilthispoint.

Concurrently

Ibeganworkon an_{autobiography relying}on art

history

and

theprocess of collage.

"GraduatingFromCollege"

11 "First Child"

"

ContemplatingModernism"

THIRD QUARTER

3l

B*2-;

<#!

Inthe_{spring I}stillhada commitmenttoarchitectureandthebeliefthat the

"transformativepowerof scale andthe_ambiguityofthemediatedimage

would allow metoapprehendthepoetic

image..."

Thisisa quotefrom my

DECEMBER

1992

im !-:>'~

m"! _MRn SEPTEMBER 1992

Thesegrids,made afterthethirdquarter of graduate

school were a compression oftheyear's activities.

The imagesusedfortheSeptemberpage were prints

fromnegativestaken_{previously in Mexico}and print

ed_{in my first}quarter.

Thephotos usedfor Decemberwere shot and printed

originally forthe

Rowley

Streetmural.

The Marchpageiscomprised offragmentsof

black-and-whitearchitectural elementstaken_spring

quarter. Forthefirst

time,

words areincluded. Though Iwas not aware oftheir

impact, they

suggest

ed another routeto_{generating images.}

Moving

fromabstraction(pi.

22)

torepresentation

(pi.

21)

tothenon-objective(pi.

24),

Icontinuedto

explore a_varietyofideas

hoping

an_easysolution wouldrevealitself.

\M**W

*n

fiHi^M

NOVEMBER

1992

TlM"!\T MTVfsD\S "

Ui'^LW u">Sf>DAV THURSOU r.Ki[\\-\ >.\ll.RI>\\

FIRSTQUARTER, SECOND YEAR

Becauseof_ongoingperceptual

problems,Iwastestedatthe

Learning

DevelopmentCenter.

By

legal guidelinesIam now con sidereddyslexic. The

faculty

con

gratulated me onthe"fortuitous

handicap."

Iam cognizant of_{switching letters}

whenIwrite,likecharters and

Chartres,

or whenIspeak. _{If I say}

"Alan",

itmight come out"Anal". Calledaphasia, thisphenomenon

prompted_{my pairing}ofFreud

(anal)

with

(alien)

wrenches and

later,

shipwith sheep.

Ibeganwork on whatIthinkof as

binary

oppositions,usingwords as

thebasis for images:evil-live,

meat-team,emit-time. Theasso

ciative path whichconnectedthis

work was not_easilyunderstood

by

others. Thework was seen as

closed and self-reflexive.

Forme,some ofthediptyehswere

not_onlyaccessiblebutseemed obvi

ous.

Juxtaposing

Godand

dog

provokedvariations on thetheme.

Plate 27 isentitled

Catholicism,

themore restrained pairto theright

Lutheranism.

^il>;

-:i

During

fallquarter review all of

thesepairs were shownina con

tiguous

band,

with

Sheep

and

Ship

placed nexttoLiveandEvil

(Elie WieselandNazi Germany).

Recognizing

theassociative rela

tionships:sheep, swatstika,sur

vivor, ship,Iwasremindedofthe

Bruno_{Bettleheim essay in}which

he describedthe_{Jews walking}

'likea nation of

sheep'

intothegas chambers. Irealizedforthefirst timethepotentialforsequencing,

whatMinor Whitereferredtoas a

"cinemaofstills."3

LASTQUARTER, SECOND YEAR

ipiil

11

ipis

Bruce Nauman "Drill Team"

"Irony"

I haveincludedtheworkof

NaumanandBaldessaritoshow

thesimilaritiesthatlend credibility

to_{my ideas. I have}workedina

fairly

isolated way and was not aware of specific worksoftheirs,

or oftheparallel relationshipsthat

existedbetweentheirsand mine.

"A Pair ofBoxers

John Baldessari "Eagle/Rodent"

36 "He Never

Bruce Nauman

"Violins Violence Silence"

"Nijinsky,Stravinsky&_Kandinsky

Like Nauman'sphotographs(pi.

33)

inthe mid-sixties,myworkthissec

ond year wasdependentuponits

verbaltitle formeaning.

The relationshipof picturetoword

isa precarious one. Althoughsome

images basedon word_{play do}

remain openfor

interpretation,

whentitled,theirpotentialfor

interaction diminishes.

All ofthis_activityreflects an

interestinwordsand

humor,

one

whichrelies ontheincongruous

juxtapositionofbothsight and sound.

"Waves,Wasps,&Wacs"

"Marey,Moire,Time&Emit"

"In everythingthatistoexcite a

lively

convulsive_laugh, theremustbesome

thingabsurd.

"_"

Kant

"DesertandDessert

Contemporary

philosophicalthoughtonhumorusesthethree traditional theories

ofhumor:

Superiority, Incongruity,

andRelief. Theconcepts which comprise

the

Incongruity

theory

provideaframeworkformywork and_{lend validity}to

myideas.

Asa pun madevisual,Desertand

Dessertcomparestwodifferentthings

with some common reference. Like

humor,

it looksatfamiliarthingsand

comparestheminan unfamiliar way.

John Morreallexplainsthis_theoryas"theessence of amusementinour_enjoy

ment of_{experiencing something}whichclashes with our conceptual

systems."5

My

prior work(pi.

42)

involvedvisual nonsequiturs,whatIconsiderintrusions

upon_continuity,a violation of expectations. Icontinuedtobepreoccupiedwith

discontinuity. Disparaterelationships weretranslated

by

_{my board}asdesperate

diptychs.

Bruce Nauman

"Run fromFear"

, .; d ifit

c*y

UP

Bruce Nauman "SoreEros'' 45

K

GUV:' -V*

ho*-dM

dk'va.

- _Mid

(MlfA. uUffJ (twfit

hxk. \uk

Wai

(&0M. U!/

4r^>

f

irt-tW

nf<&p

a pagefrom mysketch

book

48

ASHIFTOFWIT

JohnBaldesarri "Gavel"

Baldessari,influenced

by

Man Ray's

seriesintheearlythirties

'Testerday,

Today

&_Tomorrow",blocksthefaces

on

figures,

applying hisconceptualspin.6 I_{don't really}understandthis work,but

gave_{it my}spin andfromtheautobio

graphicalseries reworked several pieces.

"MeastheArtist "Artist_Tryingtobe

Conceptual"

"The_{Sorority "Wanting}tobewith

Like-mindedPeople"

"Motherand

Child"

"MisplacedHalos"

John Baldessari "Team"

BU;-,',i

IS

K!

"Balls'"

HP

an*?

*-*..UI.1AB*

tgj^;

-- i

=rsn; ,,-rs=_....

H

4

* -v

t

i * *

ffln&a

*

W

F

J

y

s

*

W

"Meatballs'

ThesearethelastdiptychsmadebeforeI beganwork

on_my thesisexhibition. Itis alsothefirsttime

words are seen withimages. Althoughtheidea for

thisworkisstilldriven

by

association, thepicturesno

longer merely illustratethewords andtheframeof

referenceis broader.

"PhilosophyandArt" _58.59

THESISEXHIBITION,THIRDYEAR

|320 it

66 24$ "17 5 33

^Wi'40:,,;>l22 125 472 542 3

12 523 j~V . 149

synecdoche

A Photographic Project

with a Premise

by

Isabel Chicquor

Mercer

Gallery-MonroeCOfflnunity College

Building 4 1000EastHenrietta Road

March 27through April 7

OpeningReception

Saturday. April 1 7:00 - 9:00

60

[image:20.591.224.530.144.360.2]

Synecdoche,fromtheGreek,isa

figure ofspeechinwhich apartis

usedtorepresentthewhole.

1

_{he overarching idea}ofthisworkis the construction,or

deconstruction,

of meaning. Thepremiseisthat_anytwoor more

images,

however dis

parate,will create_meaninggreaterthan thesum ofitsparts.

Thegroundworkfromwhichtheseideasevolved was established more

than30yearsago. Thenotion of

"reading

theimage,"from Minor

White,

whobelievedthat theviewershould readthephotograph as one would a

work of_{literature. White's photography "focused}ontheindividual image

or sequence ofimagesas anindependentunit of_meaningunrelatedto

biography,

cameratechnique,or precedents of photographichistory," writesJonathanGreen.7

Nathan Lyonsthought that thenature of sequence"might beconsidered

more naturalistic_perceptuallythan thestraightphotograph."8

WhileSergei Eisenstein heldthat the"juxtapositionoftwoseparate shots

resembles not so much a simple sum asit doescreation."9

(Seeartist state

mentinthe

Appendix)

To

develop

an

inventory

orimage base Iwentto thepicturefilesofthe

Rochester Public Library.

Initially

IwastoldasIembarkedontheprojectthat theverticalfilewas

basedonthe

Dewey

Decimal System. Withfurther

inquiry

I foundoutthe

thefilewas started as aWPAprojectinthe30's. Itwas an

internally

gen

erated systembasedonthesame general collection_policy

they

usedfor

books.

They

said

they

collected what people were_likelyto askfornow

andinthefuture. Thesamelibrarian hasmanagedthisfile forthepast20

years.

r

0

Ichosefromeachsubject

heading

whatIthought tobeprototypical

images,

imagesabouttheworldandfromaroundtheworld. With inten tion Itried tobe inclusive. But anysystem ofthissortis in facta codifica

tionof culture and

by

definitionexclusive.

-5

Vii.J

11

@*

u -J,,.--'- 7-<*Ja _

J 73e>;-/JiVmi4u:

88

Putting

imagestogetherinthe_way

thatI did hasraised more questions

thanprovide answers. Whatkinds

ofimagesarethese? Where did

they

come

from,

what wastheir purpose? _{What editing}process

tookplace? How manytimesdid

ittakeplace? w

Assuming

the_validityof"image astext",what sort of presentation

wouldfurthertheconcept? What

was_{I asking}oftheviewer and

howwould presentation effect

thosedemands?

Ho

>,

h.J:J

.-Ss*

ff

2h

7

i

i~i

/'""/ .

A;v

"9o

<;7r- ;.. .

Whatphilosophicalimplications

werethere?

Whatabout systems: semantics and

syntax,chance and

intentionality,

fixity

and

indeterminancy,

classifi cationand codification?

I becameconcerned withprocess,

presentation, participation,instal

Relying

onthe

history

and_currency of_chance,(Joycewithwords,

Duchamp

with_art,Cagewith music and_{words) I}usedthecom puterto_randomlychoose49

images,

49out of652. The 49that

would_wraparoundthewallsof

the_galleryto_conveya continu um... an

infinity,

spillingout

beyondthe_{gallery into}a public

settingwherea video monitor plays all652images.

Forsixdaysthecomputerdeter minedtheorder oftheworkand

forfive daystherewashuman intervention.

Somepeople pairedindividual

images,

moving fromoneimageto

another. Othersmadegroupings ofseven, eight, ortenormore,

forming

narrativesof_varying

lengths. Toaltersyntax some

photographs wereturnedupside

down.

Theexhibition changed

daily

at5:00.

74

FormandMeaning:

A N'oreonthe

Pheni'rrn.'nolofiy

ofLanguage

76

Inan art reviewColin Gardner describes Baldessari'swork ashonor

ing, acknowledgingand_spoofingthe

philosophicaldebate."

Thetable atthecenter never changed. Itisafunctionaltable;it istheful

crum, thepointfromwhichthe49imagesrevolve. It isan altered altar

whosehorizontalparallel planestwist_{away from its}central axis. As

shrine orhomage itplays withparadox.

Derrida's Margins ofPhilosophyis laidopen,butinaccessible. It floatsas

ifweightless,but is in facta_weightytext. Ittalksof

indeterminacy

but is

fixedinplace. Liketheresininwhichit iscast,ittoois

dense;

yetthe

layering

oftextlikepalimpsestinvitesinterpretation(pi. 76).

"...tosome degree everything isconnectedto everything else.

Forexample,potatocrosses withapple, because bothare_veg

etable and roundinshape. Fromapple tosnake,

by

Biblical association.Fromsnaketodoughnut,

by

formal likeness. From

doughnutto lifepreserver, andfrom lifepreserverto

bathing

suitjhen

bathing

tosea,seato ship,shiptoshit,shitto toilet paper,

toilet to cologne, cologne to alcohol, alcoholto drugs, drugsto

syringe,syringetohole,holetoground,groundtopotato.""

UmbertoEco

Thisquote

by

Ecowas affixedto theglass wallattheentranceto the

gallery. Itintroducedtheideaof association. Itsposition and_relationship

to theimages insidewereasimportantastheplacement and significance

ofDerrida's book.

Iftherewas astrategy,itwasin understandingthat_{meaning is derived}

fromcontext,and once contextischanged,new_{meaning is}created.

Ihavetamperedwith systems_creatingrandomness within

intentionality

andintentionwithin randomness.

Formethiswork represents a

beginning

ratherthanan end.

yVc

OTES

1."Uzmybubahutgahat

beytzim,

hutdabubagaveindazada."

ThisisaYiddishexpressionsaid often

by

_mymotherto teach methe

futility

oflament Translated itmeans_{"If my} grandmother

had

balls,

she'd_{be my}

grandfather."

2. Jonathan

Green,

American

Photography

p. 15.

3. Peter C.

Bunnell,

Minor White The EyethatShapes p. 26.

4. John

Morreal,

"The RejectionofHumorin WesternThought",

Philosophy

Eastand

West, 39,

no. 3

(1989)

248.

5.

Ibid.,

p. 244.

6. Colin

Gardner, "Bewildering",

Art Forum. (December

1989)

p. 109.

7.

Green,

p. 72.

8. Persistence of Vision (New York: Horizon

Press, 1968)

p.l.

9.

Eisenstein,

"Wordand Image"

The Film

Sense,

trans, and ed.

Jay

Leyda,

(New York:

Harcourt,

Braceand

Co., 1942)

pp.

7-8,

quotedin

Gardner,

"Bewildering"Art

Forum,

p. 110

10.

Gardner,

p. 109

11. Foucault's

Pendulum,

(San Diego:

Harcourt,

Brace

Jovanovich,

1989)

p. 618

List

ofPlates

1-2

Stoneware,

glaze,paint.

Clay

slabs made whilein

graduate school atAlfred.

(

1966

)

3-7 Collaged 8xlOin. Cprints,rephotographedand

printed 16x20in.

(1992)

8

Rowley

Street, a3 1 foot

long

color photograph

which utilized54negatives.

(1992-93)

9-14 Allpieces madeforthe_{autobiography}used

collage and xerography.

(1992-93)

15 Two 3x5in.guide prints taken,

Patzcuaro,

Mexico.

(1989)

16 Gelatinsilverprint,34 1/2x48 1/2in.

(1993)

17-19 Gelatinsilverprints,39x41 in.

(1993)

20-24

Calendars,

CollagedCprints, polaroids, calendars,

14x21 in.

(1993)

25-32 Gelatinsilverprints,20x40in.

(1993)

33

Nauman,

Drill

Team, C-print,

19 7/8 x23 3/4in.

(1966-67)

34

Irony,

Tonedgelatin silverprint, 40x 60 in.

(1994)

35 _{A Pair of}

Boxers,

Tonedgelatin silverprint,40x60 in.

(1994)

36

Baldessari, Eagle/Rodent,

twoblack-and-white

photographs,24x60 in.

(1984)

37 He Never

Said,

Tonedgelatinsilver,24x62in.

(1994)

38 Nauman, Violins,

Violence, Silence,

neon_tubingwith

clear glass

tubing

suspensionframe 60 1/2x

66 1/2x6 in.

(1981-82)

39

Nijinsky, Stravinsky, Kandinsky,

Tonedgelatinsilver

print,30x60 in.

(1994)

40

Waves, Wasps,

&

Wacs,

Tonedgelatin silverprints, 20x 100in.

(1994)

41

Marey, Moire,

Time&

Emit,

Tonedgelatin silver

prints,20x 80 in.

(1994)

42 Cprint,detail

43 Desert &

Dessert,

Gelatinsilverprint, 8x15 1/2in.

44

Nauman,

Run from

Fear,

Fun from

Rear,

neon

tubing

with clearglass suspension

frame,

twoparts:

8x46x21/4 in.and7 1/4x441/2x2 1/4 in.

(1972)

45

Nauman,

Sore

Eros,

red, orange, and green colored pencilonpaper, 19 5/8x255/8 in.

(1974)

46 Apagefrom mynotebook.

47 A

Shift

_of

Wit,

Atitleforone of_myreviews, 3x21in.

(1993)

48

Baldessari, Gavel,

Two black-and-whitephotographs with vinylpaint,48 1/2x301/4 in.

(1987)

49-54

Autobiography,

xerographywith colored

labels, (1995)

55

Baldessari,

Team, Colorandblack-andwhite

photographs with vinyl paint and metallicpaper, 69 1/2x88 1/2in.

(1987)

56 Balls ,Gelatinsilver prints withgreen

labels,

20x40 in.

(1995)

57

Meatballs,

Gelatinsilver print with green colored

labels,

20x40 in.

(1995)

58-59

Philosophy

and

Art,

Twogelatin silverprints,42x19in.

(1994)

60 Posterdesigned forthe thesisexhibition

by

Karen Santoro.

61 Mercer

Gallery,

Installationshot ofthesisexhibition.

62-69 Images from

Synecdoche,

Tonedgelatin silverprints, 20x20 in.

(1995)

70 ThurayaCableand_{Mark Johnson reordering}the

photographsonthe thirdday.

71 _{Notes showing}theirsystemfor rearrangingthework.

72 Installationshot_showingtheirbookendsapproach.

73-75 Installationshots,interior.

76 Righthandpageofthechapter"Form and

Meaning,

The

Phenomenology

ofLanguage"from Margins of Philosophy.

11 Weldedsteeltable,

book,

polyester resin

(1995)

78 Mercer

Gallery,

entrance.

79 Alan Phelan rearrangingthephotographs onthefifth day.

ARTIST STATEMENTFORSYNECDOCHE

608,281,864,034,267,560,872,252,163,321,295,376,887,552,831,379,210,240,000,000,000*

Theunderlyingpremiseforthisworkisthat_anytwoor moreimagesplaced side_byside willform_meaninggreaterthan_anyimage individually. Theideaissimple,itsramifications complex.

Ofthe652rephotographed**_images

shotforthis exhibition, thefortynine you see were

randomlychosen_bycomputer. Eachdaythesequence oftheseimageswill changethrough

human interventionor withtheaid of a computer program of pseudo-random numbers:

happeningandhappenstance.

Insupport ofthis thesis:

"...but so _strong is the mind's inclination to turn

juxtaposed images into something meaningful that every

alert viewer will find some _way of _associating and

thematizing these images, even as he or she recognizes

that they were never intendedto be seen together."

RecycledImages,William Wees

When "...text is read_{independently} of the author's intentions,

it remainsindeterminate-that is, capable of an indefinite

diversity of meanings."

A_Glossaryof_LiteraryTerms,M.H. Abrarns

"The meaning of an image is changed according to what one sees _immediately beside it or what comes _immediately after it. _{Such authority} as _{it retains, is} distributed over the

whole context in which it appears."

WaysofSeeing, JohnBerger

*Thisnumber representsthe totalpossible combinations of_arranging49 images.

**_All

appropriatedimagescomefromthe picturefileoftheRochesterPublic Library.

Pseudo-_{Random Number Table}

wall position

day

1

day

2

day

4

day

6

day

9

day

11

1 7 38 13 3 28 26

2 18 32 26 39 20 42

3 1 14 2 47 42 21

4 30 22 38 48 19 23

5 23 27 49 19 29 33

6 2 40 40 4 30 25

7 39 2 33 44 11 48

8 36 41 45 15 45 14

9 5 29 6 43 48 32

10 29 30 7 20 4 37

11 26 44 39 7 13 13

12 22 4 17 1 37 27

13 34 18 23 16 21 17

14 11 16 41 49 17 11

15 15 10 21 18 14 18

16 41 28 32 17 47 15

17 28 3 10 6 36 46

18 14 36 11 31 12 10

19 49 13 30 42 16 8

20 8 17 25 23 7 28

21 42 1 36 32 35 30

22 27 33 5 28 18 34

23 44 21 14 12 3 40

24 24 25 46 26 24 9

25 40 39 12 30 23 4

26 12 49 29 24 40 2

27 46 42 27 10 49 43

28 4 23 24 11 44 44

29 25 12 34 21 34 39

30 37 47 19 34 1 12

31 3 15 16 38 5 45

32 47 11 18 41 10 16

33 32 45 47 33 8 31

34 48 20 22 27 15 19

35 38 35 35 29 38 38

36 9 5 43 22 43 3

37 35 48 37 46 22 6

38 43 37 1 25 6 24

39 19 34 42 40 27 36

40 6 31 15 14 25 29

41 20 24 4 35 31 1

42 45 7 3 36 26 5

43 17 46 31 37 46 22

44 13 43 48 9 2 41

45 10 26 20 5 33 20

46 31 8 44 45 41 49

47 21 9 9 2 32 7

48 16 6 8 8 9 35

49 33 19 28 13 39 47

CHANCE

DAYONE

random

DAY TWO

random

DAY FOUR

random

DAY SIX

random

DAY NINE

random

The_followingfourpages show comparisonsbetweenwhat people chosetoplaceafter certain

imagesand what was chosen_randomlybythecomputer. Iselectedthemiddleimageoflettersand

stampsasa point of reference. Ithoughtofitasneutral,onethatwasnot_particularlyembedded withpoliticalor representationalissues. Ialsothoughtitwas_interestingaesthetically.

INTENTIONALITY

DAY THREE

arranged

by

twofineart students

DAY FIVE

arranged

by

an artistfrom Ireland

DAY SEVEN

arranged

by

ahealtheducator&

afifthgradeteacher

DAY EIGHT

arranged

by

a_philosophyprofessor

DAY TEN

arranged

by

anartist/teacher

CHANCE

DAY ONE

random

DAY TWO

random

DAY FOUR

random

DAY SIX

random

DAY NINE

random

Incontrasttothestamps,Ichose aloadedimage,oneIthoughtwasembedded withissuesof gender

andrepresentation:a woman_havinglipstick;appliedtoheropen mouth. Note inthecomparison

whichfollows (p.31),that_everyphotograph_followingthelipstick imagecontains malefigures

dressed insomeformofuniform,carryingeither a weapon ortool. Onecan_onlywonder oftheintention.

INTENTIONALITY

DAY THREE

arranged

by

twofineart students

DAY FIVE

arranged

by

an artistfrom Ireland

DAY SEVEN

arranged

by

ahealtheducator&

afifthgradeteacher

DAY EIGHT

arranged

by

a

philosophyprofessor

DAY TEN

arranged

by

anartist/teacher

Wc

orksConsulted

Abrams,

M.H. A

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DAY ONE