Dr. Soyang Park specializes in contemporary art and visual culture theory, critical theories, and cultural history. Park has engaged in a progressive and interdisciplinary inquiry into art historical and visual studies research and its teaching for more than two decades. Working across the globe at various renowned academic institutions in East Asia, UK, and US before her arrival at OCAD U in 2007, Park’s research was supported by Goldsmiths College (University of London, UK), Oxford University (UK), and Carnegie Melon University (US).
Thursday, October 23, 2014 - 4:00am to Sunday, October 26, 2014 - 4:00am
In Fragments is a collection of new media works by Lindsay Fisher that break down and critique perceptions of the deviant body. Through youTube videos and digital self portraiture, Lindsay utilizes the style of animated GIFs to investigate a visual culture of “spectacle” in the form of feminism, freakery and the everyday act of performing ourselves.
Friday, October 24, 6 p.m.
Accessible, free, and open to the public
This exhibition is part of the University Arts Association of Canada on disability arts and culture; and the Common Pulse Festival and Symposium funded through SSHRC. This event is co-sponsored by Tangled Art + Disability.
Susan Ferguson, Manager of OCAD University’s Writing & Learning Centre and Centre for Innovation in Art & Design Education presented her paper “Embodied Writing and Decolonizing Knowledge Production” at the annual conference of the Canadian Sociological Association last week. The conference is part of the larger Congress of the Humanities and Social Sciences, held at Brock University.
Abstract: “Embodied Writing and Decolonizing Knowledge Production”
This paper explores the possibilities of embodied writing for social research and its implications for decolonizing knowledge production about and of the body. While there has been considerable interest in issues of subjectivity and embodiment in social research, much scholarly writing about the body, health and subjectivity maintains the normative orders of Western academic knowledge production through its reliance upon dominant understandings of embodiment and writing practices that (re)produce disembodied relations to text. Drawing on my research regarding the social production of bodily pain, I will describe how I brought together feminist autobiography, phenomenologically-informed interpretive sociology and mindfulness meditation to develop an understanding of embodied writing practice and consider how it can support a project of decolonizing knowledge production.