Post paper reflections

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Well I've submitted my research paper. And it's given me a lot to think about - been thinking a lot of things, a lot. Right now post submitting the paper I'm just please I can still dress myself in the morning. It's been challenging. The logic of writing formal papers is not something that comes easily to me and so it's taken a lot to pull the intuitive understanding into something cogent. I've had to dig deep and put in a lot of late nights.

In no particular order - more a brain dump, the following are the significant things that have arisen from writing the paper.

What I want to research following submitting the paper:

There is a Metric ton of stuff I want to look into further:

Derrida: Differance, Hauntology Spectral - Differance god creativity.

Bhabha: Translation and Displacement

Bhabha: Location of Culture - Read

Benjamin: translation

Reading the language of art through Derrida('s approaches).

Wittigstein

Marxism, and Karl Marx.

I do note that there are no artist listed her, I do find it hard to identify artists who's work I particularly like. Often it's bits and essences of one and then another.

The truth is II really kinda got lost in the research and it was hard to focus in to a specific area. Most of my summer was investigative. I covered a lot of ground and also feel like a discovered some significant commonality across key theory. Derrida, Deleuze, Bhabha, Cixous, Benjamin.

That what Homi Bhabha said about Anish Kapoor connected with what Derrida was saying about 'differance' and that connected with what Deleuze and Guittari were saying in 'Minor Literatures' and that came back to another lecture by Homi Bhabha on 'DIsplacement and Translation' which incidentally I am still working through as it touches heavily on the liminal, language and translation. That translation could be a significant area around the movement of language, meaning and identity. Which all then goes off into post colonial theory, displacement and hybrid identites - again not something I could fit into the paper.

'Sigh'... and then there's Hamlet which has now become way more interesting after investigating Derrida's 'Spectres of Marx', also socialism, Marxism and Karl Marx.

It's was hard for me to finalise on a title, and to be honest the paper was forming as I wrote it and rewrote it. The title came at about 2:00am Monday morning the day of the deadline. Probably not the best way to go about it, but that seemed to be my process - an intuitive understanding and attraction to certain ares of art, language and thinking. Which eventually coalesced.

I'm genuinely pleased with some of the things I've discovered and at the same time at concerned that they are bullshit and will get torn apart by a close reading. The framework for understanding the liminal feels like a really useful tool and I feel better able to work with it as a specific concept rather than a woolly vagueness that it seems to have become.

One thing that has been foremost in my mind, has been the conceptual underpinning of my practice, I’ve wanted it to be clearer and not inchoate. I’ve had a preoccupation about language for a long time and I am happy that it’s further being woven in. I realise that this sphere is huge and I have only just begun however seeing threads of commonality, weaving in is very satisfying.

I'm tentatively thinking about a 'Theory of incompleteness' which is part of the conclusion of the paper and research. And curiously was the subject of a discussion I was listening to today on Ludwig Wittgenstein. The more I research I see increasing variables and uncertainty, may be that's a good thing, being an artist and the state we live and make art work in.

I'd like to collate all the notes I've been making - I figure it could be quiet a useful document, to pull together all notes and thoughts that didn’t go into the paper.

I think especially what's been useful is to collect together specific things that appear in my art work and to begin to better understand elements that are appearing in my own practice. There is growing thought about the history of materials, the history they posses and how that can affect and appear in the work - a hauntology of materials the spectres of materials.

I feel like I need to be back in the studio - to have a time of reflection and meditation. There has been a lot happening and I don't think I have come close to processing it. There has-been change in some of the direction of the work especially around the group criteria we had, were it transpired that a short gift animation was working better than I had realised and this could be a direction that could open out my work.

I keep on wanting to write more as I feel that this has been a really significant experience but I also feel like I’m waffling - which in light of the past 2 months I could do with a break from.

Film I also want to try and investigate film, that this could be a natural extension of my work, what it needs to further explore the thinking behind my work. Portraits of the ritualised tools of passage. I like portraits.

In researching form my paper I’ve found studying in depth Ursula von Rydingsvards practice very helpful to study; her way of making; her freedom - her use of uncertainty deep respect for her materials. I’ve heavily borrowed from her studio practice where she makes what she calls ‘little nothings’, shorter intuitive studies.

I also feel more confident to talk about my work my critical enquiries. Conceptual underpinning that integrates with my instincts, the connection to language through Derrida’s approaches to text and meaning. Then in a general notion to make as much as I think, rather than over think and not make. Which is a great temptation.

Movement and Passage

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Notes whilst cycling home...I've found my processing happens at interesting moments and not always the most convenient! I've learnt to record messages to myself to scribe later.

An aperture opens up through/by the interstices, and can connect to any number of possible apertures, the rhyzomic, with no guarantee where it will end. This is the 'Unknown' the 'fluid', the 'frustration' of 'being in passage'.

To pass through requires movement, and this is fundamental, movement must always occur, because to not move is stasis, a 'little death' and that is the structure, the structure does not move, it cannot take passage through the Liminal, for it is an aberration.

The structure has an 'illusion' of movement because it has a centre (((Derrida Structure sign play)))and everything (((WHAT? All that is termed/defined by the binary of the structures definition))) is tethered to the centre, and it can only circumscribe a circle of a given diameter, territory. A false moment, an ersatz movement, a 'performative'.

Where as once displacement has occurred for an agent, then there is a' line of flight' as Deleuze describes in Minor Literatures. This displacement can come through two sources, either structural violence where somebody is ejected - removed form the structure for failing to fullfill binary demands, or violence to the structure where somebody rejects the structure and remove themselves. Rejection and Ejection - this trajectory requires 'movement' through new boundaries new borders new apertures, new interstices.

Other thoughts

The trouble with the Binary is that it is a 2 dimensional in it's approach. It lacks holistic thinking and fails to acknowledge the differance, the movement, the third dimension, or third space as Homi Bhabha describes.

AK makes work that sets up perameters that manifest the void. It messes with the binary logic, rational. Making the untenable - the untouchable

UVR makes work that stands in defiance of ejection the weigh and size, the oversized. Defiance of authority. (Often self elected authority)

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Displaced artists of occupied territories

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Displaced artists of occupied territories

Displaced

From occupied territories

Liminal- third space

Essay Title?

How does the legacy and immediacy of occupation and displacement translate into the liminal through the artwork Anish Kapoor and Ursula von Rydingsvard?

How does the immediacy and legacy of occupation and displacement translate through the artwork Ursula von Rydingsvard and Anish Kapoor?

Key Notes/Words:

Structural violence

Displacement of structural violence - how is it translated to another form, offset? What does it offset itself.

The Offset = Derrida Suplimental?

Translation occurring through the dual aperture of hybridity creating the interstices.

Liminal = Differance movement between interstices.

UvR- Liminal

Kapoor - Void - Colonisation robs a culture if it’s history,  identity,  and culture, intellectual resources, cultural resources, historical resources, destabilises, erases, aborts any knowing of a possible independent developmental future, which is even more perfidious as no nation who occupies another really sees its occupation in the long term, but as an opportunistic engagement.

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Minor Literature in a Major Culture Language - Deleuze

Minor Literature in a Major Culture Language

Cathedral Machine

Cathedral of Capitalism

Vectors of resistance

Deterritorialisation - Deleuze

Naustalgia

Does no the digital world lend itself to control and observation

Art might be absurd but is the status quo any less?

If Kafka's work is a rhizome, then its expression does not crystalize into a unifying form; instead the expression is a proliferation of different lines of growth. The work resembles crabgrass, a bewildering multiplicity of stems and roots which can cross at any point to form a variety of possible connections. Reading can participate in these connections; a reader makes connections as he reads. He need not interpret and say what the text means; he can discover where passages in the text lead, with what they can be connected. The result is not an interpretation but a map,a tool with which to find a way. The map is the production of an experimental reading, the word experiment being used here as John Cage uses it, "not as descriptive of an act to be later judged in terms of success and failure, but simply as an act the outcome of which is unknown."I The reader becomes a nomad; to borrow a phrase from Lyotard, reading becomes "a nomadic of intensities."7 As such it does not threaten minor perspectives; instead it entertains them, and minor literature works to produce a reading which will constitute its own affirmation.

Deleuze and Guattari - What is a minor Literature

In Kafka: pour une litterature mineure, Deleuze and Guattari enter Kafka's work by considering his mode of expression. What they discover is that expression in Kafka evades the linguistic models that might interpret it-in particular Hjelmslev's distinction between the form of the content and the form of the expression.' Kafka works toward an "unformed expressive material" which, on the one hand, leads to "less and less formalized contents" and, on the other hand, turns the most resistant formalizations into unformed contents as well. Kafka works toward a deterritorialization which cannot be reterritorialized by an interpreter: what he expresses are "states of desire independent of all interpretation," and he expresses these states not in a universal way but as a Jew in Prague, as the writer of a minor literature who finds that if expression provides an escape, it does so in connection with a specific cultural context

Deleuze and Guattari - What is a minor Literature

So Deleuze speaks of territoiralisation and interpretation, Bhabha also speaks at length on interpretation and then Derrida writes to a Japanese friend. In regards to language and it's codification - interpretation is a significant machine who's output is...dubious. How then do we approach the minor literature of art making? Interpreting Art?

Kapoor repeatedly presents us with an ambiguity of locating the self in space and time. The void is cast before us in multiple iterations, refusing to abate.

The liminal and void are the same, not the same

The liminal and the void are the same, not the same. They share qualities essences sensibilities and lacking. Yet the void by its nature must be empty. The liminal is thick and soupy,. In both locations references become null, maps Undraw themselves and time frays.

In both codes and coordinates unravel, like nets cast upon the world to create order. To locate the self.

But to exit the void leaves what?

To exit the liminal leaves the old behind and ushers forth the new, change, transformation.

There are a number of references which need to be kept apart and should not be used interchangeably. The liminal, the void, the in-between. The non place. The Third Space. The middle.

Specifically the liminal has a vectorality of the passage.

The liminal is full.

The void empty

Maybe in Kapoors work the void correctly identifies what is generated by imperialism, a consuming absence. Where as UvR’s work identifies the marginal liminal experience - not so removed. Not empty but ambiguous.

With my artwork things are the same not the same. I use an objects history to locate a vector, but replace it in time establishing another vector. In the materiality I am using its history. It’s Hauntology. With the fence panels I have in my work I am engaging in the history of a friend who’s now passed.  It’s  purpose haunts. A fence a boundary a margin. The materials history , purpose and materiality become part of the minor literature.

Same, not the same

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In the introduction to Foucault’s book ‘The order of Things’ the author references an old encyclopedia with various classifications, in which is a category of ‘Things that from far away look like flies’.

Whilst it is tempting to make comparisons, we must remember our positionality, not just spatially but temporally, conceptually, socially and critically.

Homi Bhabha describes that there are differing scalar effects of different angles of view through the intersticies. And perhaps I wonder - that one can be so far off that perception is skewed and really comparisons cannot be made.

Perhaps imagine a toy cow 🐄, go to a field of cows hold it up and they might even look the same, in colour, form and scale. However one is not a cow, you won’t get milk out of it. They are the same but not the same.

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Rabbit Holes

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In thinking and researching about ‘Belonging’, ‘Boundaries’, ‘Transformation’ ‘Formation’

I have been looking at Derrida a lot, his exploration of ‘Differance’ ‘Trace’ Deconstruction’, ‘Spectres’ and ‘Hauntology’. I have now discovered Homi Bhabha. I see similarities of thought and approach, descriptions and models. I don’t know either work well enough to specifically state what exact differences or similarities they share. However I do feel the readings I have already made around Derrida - help me to being to approach Bhaba’s work.

I am also aware that Bhaba criticises Derrida’s work in falling short and failing to address Ethnocentricity and yet…

I do find the exploration of Space more specifically the third space and linguistics very interesting and return to my own enquiries to the language of art, navigation of change and the liminal.

Translation, Afterlife, Ghosts.

It’s a Rabbit hole I fear to go down, the depth of both authors work feels beyond me.

Translating transformation by documenting change. Looking back at the afterlife.

https://www.youtube.com/watch?v=TVQcdbSV6OI

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On the floor

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I’m sat in the library, although I might as well be sat on the floor. It feels a more comfortable place. I’m dizzy. In researching for my paper I’ve journeyed a lot with Ursula von Rydingsvard and her making from marginality. This is all in concern to the liminal and transformation. Derrida haunts me all the time with notions of difference and Hauntology, the phenomena or not of spectres. And now I’ve taken a sharp left and have started looking at Homi Bhabha. He speaks of the ‘Third space’ and ties it to creativity and making in concern to Anish Kapoor.

Kapoor repeatedly presents us with an ambiguity of locating the self in space and time. The void is cast before us in multiple iterations, refusing to abate. But I haven’t studied Kapoor so much and some days I find him pompous. Yet I do see the significance of his work.

So now I have books surrounding me on Kapoor, Bhabha, Derrida oh and Deleuze I’ve been avoiding him but it was unavoidable. I keep on finding connections with "‘Terrain’ and ‘Territory’ ‘Translation’ - the connections make me wonder if everyone is all speaking about the same thing, or are they nuance or completely different and deserve the nomenclature, and dense books assigned to them?

I feel like I’m on to something but I can’t quiet pull it all in. This formlessness that is the generative. The Difference that permits us to create, be, not be. Make some sort of meaning.

It’s 14:55 I need to write more - write an intelligible draft. But then there’s my work too. I see more threads between my making and preoccupations. I’d draw a map yet I fear it will be of no use the moment I finish it.

Deleuze says;

The map is the production of an experimental reading, the word experiment being used here as John Cage uses it, "not as descriptive of an act to be later judged in terms of success and failure, but simply as an act the outcome of which is unknown."
Deleuze and Guattari - What is a minor Literature

There is a thread at least, of time and space and thought. That in the fluidity there is movement, a freedom to create. In creativity there is the power to imagineer and realise the new. Ownership is hard in the liminal.

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Bhabha, Kapoor, Space and the diagonal

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I’m excited to have discovered a relationship between the sculpture Anish Kapoor and the Critical Theorist Homi Bhabha, There have been a few key conversations between the two and especially around the Liminal, they are using phrases like the ‘In-between’,’Third space’, looking at the way meaning is and isn’t made, how boundaries and identities are influenced, constructed, negotiated. This has interesting parallels with Derrida and ‘time being out of joint, hauntology and difference. I can’t quiet put my finger on the key connections but I feel like there are important resonances with my research, von Rydingsvard and my art work.

However I am also aware that Bhabha is talking about issues of identity forged against a white colonial background, and I want to be careful of my positionally and not to dilute or hijack the dialogue.

HB This in-between space is something that, for a moment, I want to bring back to our particular locations as artists or writers linked with a certain history. A history of migration, a history of coming from India, a history of cultural hybridity in our own lives. I think we constitute a particular genre of the producers of meanings and symbols and arguments. We have a trajectory that has been produced by the often unacknowledged cosmopolitanism of colonial cultures. I think there is something about the mixture of cultural traditions and ethnic boundaries, so that what actually happens in the interstices, in the in-between, is neither a simple interaction, consensual or disensual, of two given traditions, but the opening up of a space of “thirdness”, that reveals the “doubleness” of the self or one’s cultural provenance. I would like to ally that space to the occurrence of the not-there or the void. It’s not a space of inversions or reversals of previously given polarities or values or hierarchies. I think it is space where we are much more aware about how boundaries or identities are complex negotiations.

https://anishkapoor.com/976/homi-bhaba-and-anish-kapoor-a-conversation

On another note with the jointed paddle - adding a universal joint to the paddle then alters it's planes, lateral vertical and or other? Liminal navigation in the diagonal.

Also the importance of surface Bhabha and Kapoor discuss surface and it’s roll, which could connect to von Rydingsvard who so heavily investigates surface in her work.

Submerging on the other hand would do ...a deferral of surface? Secondry removal?

HB Would it be a simplification to say, first of all, that the strategy of this space, to put it in concrete terms, is not dissimilar from the strategy of the space when we actually see it physically in the work. It is not just darkness versus light; or the smoothness of the black versus the wrinkling of the stone; or the frangible surface of the pigment versus the hard shape inside. It is much more the way in which the void is unavoidably present in all the surfaces of presence. To look for a positive statement of this shape, of the void, we will not be able to find it in the way in which other positive presences and positive forms of naming are found. There is a sense in which it is thought that clarity of thought lies in making statements in the affirmative, not in the negative. Don’t tell us what a thing is not, tell us what it is – but that is so complicit, with a certain historical and cultural notion of knowledge. I often say to people, why? Why can’t I say things as a gathering of negatives, and why can you not accept that it is somehow rhetorically, and even formally, in-between the saying of the one thing and the re-saying of it that something may exist? There is a particular philosophical tradition of putting things in the positive, so I think we should try, but I don’t think we should be overly hung up on that..

https://anishkapoor.com/976/homi-bhaba-and-anish-kapoor-a-conversation

The diaganol///

In voicing the void, Kapoor returns us to the discourse of the diagonal. How does the transitional nature of true making – spatially out of balance, temporally in between – relate to the myth of 'originality'? I have argued that the shape of the void and the sign of emptiness must be conceived of in a logic of doubling; like the transitional object, they are unified at the point in space and time of their separation and differentiation. Such a mode of representation does not contain, deep within its being, an 'object' that unfolds, in its own time, to reveal its unitary presence. Kapoor's elision of the 'first instance' or the 'very first moment' does not lead to a final reckoning in which all will be revealed. In this instance, presentness is not grace, to take liberties with Michael Friedes's striking modernist dictum, for there is no promise in the work of 'a continuous and entire presentness… a kind of instantaneousness… [because] at every moment the work itself is wholly manifest'.33 The 'delay' in the presence of the work discloses faces, aspects, elements or media that do not metonymically signify some immanent whole, or some complete, though repressed, narrative.

https://anishkapoor.com/185/making-emptiness-by-homi-k-bhabha

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Translation

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Translation can be more than just. language:

Objects, people, time, thoughts, feelings, beliefs

Many things can be translated, their location and nature moved.

Categories are a important but not essential structure and often articles can 'bleed' through into another. Poetry can become a film, a book can become a painting. Death can become life.

In the moment of translation, something new and generative can happen. Through the interstices - Homi Bhabha.

There is a poetic sense that can be felt around the phenomena of translation, in addition it almost feels divine. That as an act it is the will of a deity becoming manifest.

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Decay

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Digital naustalgis - old school music and games

Safety of familiar

A structure that cannot decay is a structure that cannot provide space for the new. (Ref from video)

Also a structure that cannot decay cannot transform or have an afterlife, discover the new( (Depression of computers - Baudrillard))

Dragging behind the present

UvR’s work is decaying, but can have an afterlife.

Decay death transformation afterlife

brb

Video: Jonas Čeika - CCK Philosophy

https://www.youtube.com/watch?v=gSvUqhZcbVg&t=1s

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Age and time

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In researching Ursula Von Rydingsvard for my research paper - I've come across a some ideas and material that connects with my practice - I'm curious about time, how it is perceived, approached and explored by the artist. Process is a key part of my practice and I see often that this relates to ideas of time and history. The layering of materials, techniques and processes. Building up and breaking down.

“Levi Strauss remarked on the laborious working process of layer-by-layer marking, sawing, and grinding, noting that “at each stage of the process, hundreds and thousands of marks were inscribedon the mass with pencil, saw, grinder and a variety of hand tools, adding up to a wearing down.” This ”adding up to a wearing down” Levi Strauss saw as “the back and forth of actual time, the time taken to mean it” and he added”

“Though this sculptor does not practice mimesis (her
humility precludes it), these human inscriptions
of eventfulness are echoed in the formation of tidepools, tree stumps,and river beds - minute quotidian world formative acts.
Thousands of marks made consciously,
leavened with kind cutsand crual, then leaded
down, blackened to absorb the light. A topology of
chambered need. An apparition of the dark.”

The Sculpture of Ursula Von Rydingsvard P 46 The Sculpture of Ursula Von Rydingsvard P 46

Also:

”Positioning her sculptures at the midpoint between metaphor and concreteness, she deliberately multiplies narrative possibilities through a va-et-vient of memory and action.” The Sculpture of Ursula Von Rydingsvard P89

And:

“Time puts all back into equalibrium, which is more in keeping with natural laws. I would like my work to be as though time acted upon it---avery long time.” UVR from her journal - (taken from The Sculpture of Ursula Von Rydingsvard) p 82

Basic to her technique- which she surely developed in answer to a deep and indefinable need - is the element of repetition, the implicit statement that there are situations in life that have no beginning and no end. The arts in human history are threaded through with the impulse to escape calendar time (surely the basis of Islamic art), and many of von Rydingsvards routines suggest her need to enter the timeless universe of mythology. In casual remarks she has revealed her deep respect for ritual - the repetition of eternal gestures, always the same, in orderer to propriate the gods who themselves are always the same.” The Sculpture of Ursula Von Rydingsvard p 60

To Ponder:

Time is variable and I don’t believe it can be considered constant, even atomic clocks cans show variance when subject to different gravities.

In addition the Ethiopian calendar and Persian calendar both differsto the Gregorian calendar commonly used by the west, what does this mean a global and then universal understanding of time? The Gregorian calendar cannot be the standard by which everything is measured.

By recycling and repurposing material like wood it’s age becomes multiple, the initial growth of the wood will have been progressively accumulated (demonstrated by the rings), then there will be the first intervention where it is constructed into an item - a chest of draws or scaffold plank, then the 2nd visitation rePlacing, rePurposing and refashioning where it can be made into another item, and then decomposition. Which age applies then tot he item and by what/who’s calendar? This relates again to Derrida and Spectres and time being ‘out of joint’

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There is nothing new

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In researching for my art and paper - I am on an interesting/infuriating and yet somehow not surprising route. By ‘interesting’ I actually feel like none, a non route, nowhere. The more I read the less sure I am what it is I am doing. (Standard MA Fine Art emotion)

Frustratingly, but then perhaps mercifully I see work that I am making, or about to make, or want to make. With Theaster Gates I see the shingled roofs I begun to explore. The RePlacement of materials, I like to choose. Especially reclaimed wood.

With Von Rydingsvard, I see the paddles I have been drawing and want to carve out of wood.(She make shovels to be specific, but they are so close I can’t ignore them).

Repetition feels like a little death. I need there to be a significant departure from what has gone before to justify my making. Especially If I am going to ask others to view the work.

I also struggle as an artist, with the continual re-presentation of objects and images to be interpreted again only slightly differently, with the burden of interpretation on the audience to discover the newly imbued meaning. Especially with my own work. Originality is a troublesome notion. Very little is new, yet creativity for me requires a healthy does of originality, rather than a nuance one.

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The Forest

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Been thinking about ‘The forest’ as a ‘place of non place’, of unbelonging.
Of being lost.
Also does the Forest as a site resist colonialisation? Especially in it’s resistance of structure and the centre. An anti-land (Cixous)

The strong vertical presence marks a from of time - yet time also looses it’s bearing here. Bodies grow tall and then yield themselves to the ground.

Hamlet encounters the Ghost - the Spectral in the forest. His father pulled out of time in his orchard. ‘Time is out of joint’ Hamlet.

Ursula Von Rydingsvard’s work rooted in the body of the forest, her life a liminal existence.

What else does the forest offer as a site, no site. Does it reflect the essence of Derrida’s enquiries, of the nature of Differance, the spectre, and so on.

Is it a site of transformation? The passage through summing change. After all the forest is a site of constant change, growth and decay.

On a practical level - I keep returning here to dwell, think and work. I feel like there is an obvious connection that I am blind to.

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Spectres of Marx

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https://www.youtube.com/watch?v=TJr0NwXWb6Q

Hamlet -”Time is out of joint”
Really useful video investigating Derrida’s concept of the Spectral. I’ve come back to this a couple of times. The idea of time manifesting in a non liar way creates space for reconsidering passage. And therefor the passage and place of transformation.

In looking to land on a specific line of enquiry for the research paper, I find this interesting. It sits well with the liminal and belonging. Expressions of the outsider and questioning who is on the inside, and how are these locations decided? Agreed upon and policed?

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Transformation and Thought

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I’ve been pondering transformations, the working title of my Study Statement. What territories therein might I explore. Historically I’ve looked at death, however this area is a little heavy handed, prone to cliche, it potentially lacks subtlety and therefore limits the capacity of my research…potentially.

In my feedback from the assessment I was encouraged to consider smaller transformations and what they might look like. One that has come into view is that of our ‘thoughts’. Changing our mind. Changing out thoughts - changes us, can transform us and can even manifest physically. Although ‘thought’ also covers such a huge discipline and field of enquiry. However the mind is very interesting, it’s still an uncharted territory, with neurological breakthroughs and discoveries regularly being made, the sphere of our thought also holds its own great mysteries.

I find it interesting as Dr Caroline Leaf talks about how thoughts turn into real estate, chemicals and proteins, in her book ‘Switch On Your Brain’. Which connects to the idea ‘from nothing comes something’. Belief into substance. Similarly in Derridas work touches on the formless space/non space of Khora and differance.

Earlier I asked the question where is the nursery of our beliefs, where do beliefs herald from? Now I begin to wonder if beliefs are born of a seed thought sustained. A choice. We choose our beliefs. Yet such a small essence that can have global implications

So how does this play into my practice based research? What am I trying to say or explore? What is the passage and place of a thought?

Maybe more neurological research? However the fills me with dread - more dense text…

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