Same same but different: A creative investigation through ceramics and glass into women with neurodiversity who experience distorted body awareness/pe

相同但不同：通过陶瓷和玻璃对经历扭曲的身体意识/pe的神经多样性女性进行创造性调查

• 批准号: 2618754
• 金额: --
• 依托单位: University of Sunderland
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2021
• 资助国家: 英国
• 起止时间: 2021 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2618754
• 关键词: Same; same; but; different; creative

The proposal is following on from my BA Ceramics in 1990 in which I investigated eating disorders and body image: Dissertation titled 'Images of weight' and my MA research into the relationship to self, body, environment: Title 'Humanity is experiencing a breakdown and loss of self: Does the creative process and especially clay, play an integral part in the reintegration and reparation of the self, other, world? This was born from my own lived experience and over 20 years working in the art and ceramics department of a Specialist college for young people with complex needs and an interest in phenomenology. This research aims to fill to a gap in the field with regards to arts practice and neurodiversity in women. In my research I would use my own lived experience and also engage case studies with neurodivergent women artists (in person or zoom) through the medium of clay to explore their association and relationship with their own body and agency, to identify whether the haptic creative process with clay can alleviate this unease and develop a more embodied experience. Ultimately I would develop a body of artwork based on the outcomes from this research, with the hope of answering why neurodivergent women fall under the radar of diagnosis? What leads them to experience distorted self/body awareness, disordered eating and hoarding? As part of the contextual review I would investigate relevant Museum collections and archives including The Wellcome Collection to establish if theses issue have been documented by artists in the past. I believe that early Upper Paleolithic figurative artefacts were created by women looking down at their own bodies in self realisation and exploring the idea of self and other; as embodiments of experience as described by Women of the world at the British museum women of the world blog https://blog.britishmuseum.org/women-of-the-world/ Often the work of female artists relates to unease, where the body is used as a metaphor and this can be seen in the work of Modern artists Lousie Bourgeois, who described her artistic process as 'Technologies of the self' Micheson. K. (2015) where she was re-creating her-self in tangible form, through domestic materials. Today, many female artists including Sarah Lucas, Jenny Saville and Rebecca Warren and glass artist Emma Woffenden create ambiguous figurative work, where hyper focus on body parts rather than wholes are used to emphasize sensation. The "Modernist period and even beyond, the visceral and vulnerable body is now a potent signifier of lived experience as well as a medium of formal aesthetic enquiry"(O'Reilly, 2009; 8] The Body is expressed as an object with agency and as a lived experience. Where there is fragmentation or the Western idea of Cartesian mind and body split there is an obsessive need for objects or feeding to define the self. Freud (1930) described this as 'The prosthetic god'. More recent research into Disordered eating. Springer (2017) Current psychology reports that "there is growing interest in the relationship between anorexia nervosa and autism spectrum disorder" and Political theorist Jane Bennett in Vibrant matter (2010) describes thingness, the agency of things or non human bodies and the special relationship that people with ADHD have with objects that they may have a deeper sensory awareness of the pull of the object or an affinity with the speed or slowness of things (2012) which could be one explanation for hoarding and eating disorders. She describes the agency of things, objects or food calling to the individual. "She understands the hoarder as uniquely able to heed the "call of things" thus eroding the boundaries between him/herself and challenging the entrenched duality between subject and object." Falkoff (2021) In a culture of dualities, us and them and same and difference of hierarchy of objects,discrimination and fear of other, more people are being diagnosed as Neurodiverse although fewer women with ASD

这个提议是继我1990年的陶瓷学士学位之后，我研究了饮食失调和身体形象：论文题目是“体重的图像”，我的硕士研究是关于自我，身体，环境的关系：题目是“人类正在经历自我的崩溃和丧失：创造性的过程，尤其是粘土，在自我，他者，世界的重新整合和修复中发挥了不可或缺的作用吗？”这源于我自己的生活经历，以及我在一所专门为有复杂需求和对现象学感兴趣的年轻人服务的专业学院的艺术和陶瓷系工作了20多年。本研究旨在填补艺术实践和女性神经多样性领域的空白。在我的研究中，我会利用自己的生活经验，并通过粘土的媒介，与神经发散的女性艺术家进行案例研究（亲自或变焦），探索她们与自己的身体和代理的联系和关系，以确定粘土的触觉创作过程是否可以缓解这种不安，并发展出更具体化的体验。最终，我将根据这项研究的结果创作出一系列艺术作品，希望能回答为什么神经发散型女性会被诊断出来？是什么导致他们经历扭曲的自我/身体意识，饮食失调和囤积？作为背景审查的一部分，我将调查相关的博物馆收藏和档案，包括惠康收藏，以确定这些问题是否在过去被艺术家记录在案。我认为，旧石器时代晚期早期的象征性人工制品是由女性在自我实现中低头看着自己的身体，探索自我和他人的概念而创造的；作为经验的体现，正如大英博物馆世界女性博客https://blog.britishmuseum.org/women-of-the-world/女性艺术家的作品通常与不安有关，身体被用作隐喻，这可以在现代艺术家Lousie Bourgeois的作品中看到，她将自己的艺术过程描述为“自我的技术”Micheson。K.(2015)，她通过国内材料以有形的形式重新创造自己。如今，包括莎拉·卢卡斯、珍妮·萨维尔、丽贝卡·沃伦和玻璃艺术家艾玛·沃芬登在内的许多女性艺术家都创作了模棱两可的具象作品，在这些作品中，过度关注身体部位而不是整体来强调感觉。“在现代主义时期甚至更远的时期，本能和脆弱的身体现在是生活经验的有力象征，也是形式美学探索的媒介”（O'Reilly, 2009; 8）。身体被表达为具有代理的对象和生活经验。有分裂的地方，或者西方笛卡尔的思想思想和身体分裂的地方，有一种对物体或食物的强迫性需求来定义自我。弗洛伊德（1930）将其描述为“假神”。最近对饮食失调的研究。b施普林格（2017）当前心理学报告称，“人们对神经性厌食症和自闭症谱系障碍之间的关系越来越感兴趣”，政治理论家简·贝内特（Jane Bennett）在《充满活力的物质》（2010）中描述了物性，事物或非人类身体的代理以及ADHD患者与物体的特殊关系，他们可能对物体的吸引力有更深的感官意识，或者对事物的速度或慢速有更强的亲和力（2012），这可能是囤积和饮食失调的一种解释。她描述了事物、物体或食物对个体的召唤。“她认为，囤积者是唯一能够听从‘事物的召唤’的人，从而侵蚀了他/她自己之间的界限，挑战了主体和客体之间根深蒂固的二元性。”Falkoff（2021）在二元文化中，我们和他们，物体等级的相同和差异，歧视和对他人的恐惧，越来越多的人被诊断为神经多样性，尽管患有ASD的女性较少