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Lee's CLST 431 mind map - Coggle Diagram

- - - - 09/17/21
        I want to envision and build a digital platform where art workers can commiserate and champion one another – to encourage community building within art worker groups because so much of the culture divides us in astonishingly manipulative ways.
    - - 09/17/21
        To do:
        Research different platforms where art workers could meet. Maybe unconventional spaces? There is that app Clubhouse but that is like riding too hard on the early Facebook years elitism.
        https://www.joinclubhouse.com/
    - - DISCORD ART WORKER SERVER
- - - - Syncretism is the logic of how cognitive beings engage and evolve with their physical environment; recalling Jemisin’s example, a culture with humanoids with tails may venerate tree imagery–even though they may have adapted beyond tree dwelling, “their culture will still reflect their ancestral environment.”
      - Differentiation as a sociological element is described as how different cultures develop alongside one another once they become aware of each other. Competition, collaboration, hybridization–identity becomes shaped through becoming aware that “we aren’t those people.”
      - Cosmogony is the sociological element where cognitive beings become aware of space, the stars, and planets beyond our own and find answers to the existential questions “where do we come from?”
      - INTERVIEW WITH N.K. JEMISIN WHERE SHE DISCUSSES THE BELOW
    - - ALEXIS PAULINE GUMBS LECTURE
        
        Alex Pauline Gumbs’ concept of sociopoetics
        Glissant, poetics of relation/relational poetics. The language of colonialism can only reproduce the conditions of colonialism.
        Sylvia Winters’ answer to the question of what is ethnopoetics, she said there is no such thing. And if there is, there should not be. Ethnos does not mean the people or the culture; it means the other. It is a particular moment in European historical thought that man cannot be imagined without an Other. What we need is a sociopoetics; poetics for the society we need; poetics for a possible relation; the situation we have is one of separation, the dominant story and the language in which we produce it say we are not related. We don’t have a relationship to the environment or people, we have a relationship to a means of production and to a deadly force and that is what connects us in this story. That is what tells us who and what we are….We need a poetic practice that finds a way to center our relationships, to displace the natural violence of what it means to be human in patriarchal capitalism insists that we be.
      - adrienne maree brown's Emergent Strategies
        
        From adrienne maree brown’s elements of emergent strategy, really all elements feel extremely useful. I feel as though choosing between these elements is like choosing a tool to tend to different situations and contexts. Some tools feel like they are best used for planning, for resolving interpersonal conflict, for creating hope, for balancing perspective. My favorite is Resilience and Transformative Justice, as we all carry trauma to recover from and to learn how to transform that energy into something fruitful is an incredible gift.
        The structure of brown’s text feels very interdisciplinary, centering vulnerability through thorough description of positionality/her bio. I feel most inspired by this and want to learn from it in how she handles non-fiction (from theory to personal experiences) and critical analyses of fiction to define and refine an intent to work outside of existing social structures. This reminds me of Glissant’s relational aesthetics, where “the language of colonialism can only reproduce the conditions of colonialism.” I am inspired brown’s dedication to Grace Lee Boggs’ asking her and her cohort “what our movements would look like if we focused on critical connections instead of critical mass.” (20) This nugget from Boggs is the spirit to the function of brown’s inspiration from Nick Obolensky, “‘Emergence is the way complex systems and patterns arise out of a multiplicity of relatively simple interactions.’” (13)
    - - Where I'm From
      - I come from the conditional positives of U.S. Imperialism in the ROK
      - I come from two ends that share the same stars one day apart
      - I come from the in-between space; I am an in-between space torn into single-faceted dimensions. Assimilation.
      - I come with the comfort that nothing is so easily defined
      - From contrasting cultures and Don’t Ask, Don’t Tell
      - From making kimchi and mandoo with loved ones
      - I come from stable instability
      - I come from deconstruction to cut My bullshit
      - I come from aligning my truth and being
      - I come from adaptations, bearing faces of coded contexts
      - impact, survival, continuation
      - Refinement, Strength, Chances
      - Finding Community(ies), Family(ies)
      - Finding edges in centers
      - Blending harmonies and opening melodies
  - - - sociopoetics within the context of Doro and Anyanwu's power dynamic
        In this collection I find that Doro relies on capitalistic methods of cultivating his human crops; his collection of peoples like that of Wheatley are his accrued capital to feed himself the finest souls to his taste and ensure he is always welcome among a community he controls. Doro is a competitively capitalistic entrepreneur eager to expunge himself of his underlings if he cannot get them to obey and if they are no longer useful – kind of like a lot of shitty employers. Sidenote, Doro is a colonizer of colonizers. And he is Anyanwu’s character foil, better accentuating the indeterminable value of connecting with other cognitive beings found in Anyanwu’s character. Anyanwu is easily a representative of sociopoetics. Anyanwu is a healer of broken and divided beings, communities.