| The research revolves around six excavations representing my journey into the digital of both corporeal and binary digits. These six digital, sensual and performative art-I-facts or excavations---Barbie/Me, Hand/Foot, Exhumation, Soil/Ground, Deposition/Cauldron, Land/Lament---represent interrupted investigations into education, trauma and the virtual. This research especially focuses on an intimate digital inquiry into traumatic and educational space. I employed a/r/tography and performative inquiry as a methodological means of offering space to myself in order to stop my addiction to the myth of my disappearing and the codependent structures built around this myth. Hence, this research is particularly interested in the digital dynamics of appearings and disappearings. Engaged with the digital as a means into autographic possibility, I used the hand and foot (and its reflection in the digital) to form a refractive envelope in which I could unfold. Thus I followed fingers and toes into a 'collective possibility' of being and becoming. I came to speculate that curriculum is practiced as a circuit, conduit or containment that renders the body as separate from knowing and knowledge's varied media. In particular I noticed my own curriculum was tattered with an amnesia regarding the body, which meant that its capacities were vulnerable. As I found my 'self' in need I was directed to Barbie, a doll configured with the interests of a subliminal culture (and unable to be read by a more problematic predatory culture). Here around this doll, a space for autographic work formed. This research represents an agile use of positionings, repositionings, depositionings, juxtapositionings and impositionings, wherein I stumbled into curriculum as a complex memory---an actuality/virtuality that excavated me (as I excavated Barbie). Part of what was thus performed in my excavations was a release of my body/mind/voice into a nomadic ecology, a circle of interrelations with public space. I described this kind of 'breathless impossible' as 'a casketing', but this naming/narrating also became an opening in part because of the nomadic space of the screen, the screen that reflects a contiguity of the liminal space between body and machine. |
