Young, 'Everyday Visions' (original) (raw)
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What can we learn from a better understanding of the process of daydreaming in an organizational context? That is the main question underpinning this study. Based on a field study with a rural entrepreneur that uses daydreaming as her main strategic tool in the development of her farm, and a reading of Bachelard's work on the phenomenology of 'reverie,' we come to understand daydreaming as an embodied act that emerges at the intersection between relational materiality, vertical temporality and aesthetic space. This conceptualization of daydreaming reminds us that rather than focusing on how to make dreams come true, which is the traditional way of relating to dreams in organizational life, there is a need to enable people to dream anew, because that is when new beginnings can be born, and the particular will to act, through daydreaming, can be released.
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Women & Performance: a journal of feminist theory, 2005
This text emerged out of a performance exercise, working with Helene Cixous 's writing in Veils, by Helene Cixous and Jacques Derrida, translated by Geoffrey Bennington, and with artwork by Ernest Pignon (Stanford: Stanford University Press, 2001). In this collaborative book, Cixous uses her brush with myopia, and her experiences before and after an operation to restore her sight to discuss issues of difference, knowing and loss. She mourns the loss of her non-sight, of her eye's "veil''-only after the sight is restored does "sight" become a material act, something dislodged from "the natural", from the transparency of experience. This productive play with "the natural," and the emotional registers available to thinking the body as a sensual surface in time, became the starting point for me and Sophia Lycouris, a British dancer and media artist, as we were working towards Body Provisional, a show presented at the Perishable Theatre, Providence, Rhode Island, and at Arthur's Dress Shop, NYC, in 2002. In this show, we charted bodily fantasies, looked at images of our bodies that we had collected over the years, and tried to reach out to one another. As a classically trained dancer, Lycouris had many x-rays of injury sites, and ways of dealing with these traces of time on her body. I, a community artist and dancer, have lived with a pain-related disability since birth-and thus I had my own stories and images of diagnoses, operations and medical visualizations. We used Cixous's ambivalence towards her disability to explore disability's ability to evoke contingent and discursive notions of normality, and to set up trajectories of desire. Desire, and difference lodged in the experience of bodies and time, became the motor of our performance. The text above is a remnant of the encounter exercises we wrote, danced, and visualized as we devised our piece: it inserts an other into the story of Veils, and sets up a production machine of desire, trying to come near to Helen's experience. Where will they go from here?
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Young people's relationship with the future is complex and contradictory. Some surveys and commentaries suggest most are optimistic, others that they are pessimistic. Some indicate they are adapted to the postmodern world of rapid change and uncertainty, others that they are anxious and apprehensive. Some of these differences can be readily explained; others require more thorough analysis. We need a better understanding of this relationship if we are to improve both young people's personal well-being and humanity's prospects. It may help if we distinguish between three different images -modern, postmodern and transformational.
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Following Husserl’s analyses of perception and imagination, the paper introduces two basic modes of intelligibility – the normalizing and the imagining – and argues that they are deeply intertwined, despite radical qualitative differences between them. What sets these two modes apart are their distinctive teleological orientations. To show this, the paper looks closely at the ways in which we experience difference in these respective modes. This discussion requires, however, that we challenge Husserl’s own framework for analyzing the imagination, which emerges as non-exhaustive, perhaps even misleading. What transpires is that imagining consciousness exhibits a unique critical dimension, a potentially powerful resource for socio-cultural critique.
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