Inspired by the soundsuits of the artist Nick Cave, and produced for The Kick-About No.64, a few more photographs with a dancing ‘glove puppet’ as their subject.
Produced in response to the dancing soundsuits of the artist Nick Cave – our inspiration for The Kick-About No.64 – another set of images, the subject of which is, perhaps improbably, an ad-hoc dancing glove puppet…
A final set of Lamplough-inspired golden-hour grasses.
A last hurrah courtesy of The Kick-About No.56 and Sandy Nelson’s percussive powers. My unrequited print and textile brain insists I do something with some of these images (“To the loom with you at once!“), but I lack the skills, stuff and wherewithal to act on these impulses!
The final few images coming at the end of my splurge of activity in response to The Kick-About No.38 – dense layerings of Powerpoint-originated shapes brought together in Photoshop to produce some impressionistic effects.
A fourth collection of abstract compositions with their provenance in the cookie-cutter toolsets of Powerpoint, inspired by Matisse’s use of scissors and paper and produced as part of my response to The Kick-About No.38. Again, I found myself rather enamoured by the vintage-vibes coming off some of these examples, that sense of something ‘modern’ being dreamed up by a mid-20th Century imagination. I look at these and wish I had the reserves to explore them as large-scale prints on expensive papers, or as textiles, or as floor-plans for rather wondrous ‘futuristic’ architecture.
A third set of images produced between Powerpoint and Photoshop, produced by way of a response to the cut-outs of Henri Matisse, this week’s Kick-About prompt. Something pleasingly opalescent getting started in some of these layerings, but reminded too of satellite images, and mid-century modern textiles and wall-coverings.
More images produced as part of my response to The Kick-About No.38, which took the cut-outs of Henri Matisse as its prompt, and more images resulting from an improbably happy marriage between Powerpoint and Photoshop. In contrast to the these previous images, I enlisted one of Powerpoints ‘ready-mades’ – an off-the-peg icon of some seaweed with some passing resemblance to some of Matisse’s own plant forms. Different visual chemistry this time around, with the layerings resulting in mosaical effects, putting me in mind of Gaudi.
Henri Matisse turned to scissors and coloured paper for expediency to produce his celebrate cut-outs, which surely derive their energy from that directness. In thinking about my approach to The Kick-About No.38, I wanted to identify an equivalency for Matisse’s scissors – a ubiquitous tool – and the speediness of producing shapes, for then combining in different ways. So it was I began my image-making with Powerpoint – oh yes, the infamous ‘presentation-maker’, notorious as software for producing will-sapping slides to be shown in under-ventilated rooms.
One of the application’s off-the-peg tools is ‘Insert Shapes’ – which allows you to draw simple shapes with a quick drag of your mouse, and then colour and outline them as you see fit. I used Powerpoint to produce collections of basic shapes – circles, rectangles and squares (and later, some of Powerpoint’s cookie-cutter plant form icons) – and then brought these ‘cut-outs’ into Photoshop, where I set about layering them one on top of the other with as much immediacy as I could muster.
I started simply at first, with just circles and squares and some dotted outlines, and very quickly lots of nice things happened, with the layering producing some effortlessly nostalgic effects. My mouth began to water a bit, wishing I could occupy a few more timelines, wherein I was a textile artist, or designer of vast tiled murals in brand spanking-new tube stations, or Great Exhibition-style posters celebrating the ‘shock of the new’.
It perhaps won’t surprise you to hear I got rather carried away, so there’s a few more examples of my fantasia on a theme of Matisse-meets-Powerpoint to share over the coming days.
There’s a reason why the sympathy cards we buy don’t include, above their sombre, understated images of flowers, statements like; ‘Your Feelings Are Wrong! This Isn’t A Loss, It’s An Opportunity!’ or ‘Buck up! You Need To Regard This Moment As A Challenge!’ or ‘Shame On You, Whinger! Your Feelings Of Grief Constitute A Failure Of Resilience!’
Of course, we wouldn’t accept those sentiments from a sympathy card. We’d know them to be unforgivably insensitive, inaccurate, and crashingly stupid. I wonder why we accept these retractions of empathy elsewhere?
Grief is the response to the loss of something to which a bond or affection has been formed. We establish these bonds whenever we take an idea deep into our care. Grief is a consequence of making values-based commitments. Grief is a consequence of deciding to belong. Grief is the price we pay for identifying strongly with someone or something. Grief is a measure of quality time invested, of the number of f**ks given.
Back when I was working as a course leader for a successful undergraduate degree programme, I grieved surprisingly often. These were the micro-bereavements; the introduction of yet another new credit framework satisfying some arcane efficiency-or-other, with its immediate effect of killing dead all the amenities of my existing units and the nuanced teaching and learning cultures they’d come to support; or whenever senior managers pressurised my staff to ‘revisit’ their assessments to ensure they aligned more readily with the institutional bell curve, a measurement surely as doltish as any wayward algorithm; likewise, senior management’s relentless emphasis on the narrowest possible definition of student satisfaction and its – shhhhh! – magical effects on grade inflation.
All the many moments like these – unremarkable, ubiquitous, bureaucratic, impersonal – would nonetheless elicit real sadness from me, not the boo-hoo variety, but a much more insidious grief, triggered by the casual depreciation of my heartfelt values as an educator.
I recall weightier bereavements too: sitting through the grand unveiling of the university’s ‘Business Plan’, which disestablished my job role, and that of every other experienced course leader in the organisation. I sat quietly in my seat, holding an imaginary bingo card, experiencing a strange mixture of jubilation and disappointment each time the Vice Chancellor used the word ‘opportunity’ to reconfigure the bereavements coming our way. I was reminded of the scene in Star Wars, when Alec Guinness’s Obi-Wan Kenobi waves his hand in the face of a busy-body imperial stormtrooper, intoning, ‘These are not the droids you’re looking for’. The Vice-Chancellor partook in a similar sleight of hand, as with one flash of a desultory PowerPoint slide, he seemed to say, ‘No one is being made redundant today! You’re just being invited to participate in a process of change, adaptation and personal growth.’
In my role as co-director of an online learning design agency specialising in supporting other educators to deliver exceptional online learning, I find myself conflicted. These past strange months, I’ve talked with, Zoomed with, and mentored a large number of teachers, who are meeting the changes wrought by Covid with varying levels of enthusiasm and confidence. In some ways, I find myself in the role of the ‘smiling face’ of change management, as I work with tutors to help them feel more at home in the online teaching space – even going as far as suggesting how some of the characteristics of online learning might enhance their teaching more generally, which I believe. A large part of the successes of my tenure as course leader stemmed from my early embrace of online communities in support of learning and student engagement, and from ‘flipping the classroom’ through making available a rich curricula of quality online video resources.
So my conflict stems, not from insincerity, but from a failure of hypocrisy. I recall very well how often I wanted to slap the smiling face of my own ‘change-managers’ for their breath-taking insensitivity; for the glib way they’d dispense with my feelings of loss by characterising them as recalcitrance, as bloodymindedness, or as pitiable ingenuousness in the face of the irresistible sweep of neoliberalism.
My conflict stems from all those recent conversations with teachers of different kinds in their various institutions, like the late-night email I received from the passionate, highly experienced teacher in textiles, who simply couldn’t stomach the thought of her imminent Google Classroom training, in all its pale comparison with her actual classroom. It wasn’t stubbornness. It wasn’t sloth, and it wasn’t technophobia. It was all much simpler than that. She was being expected to muster enthusiasm for taking on a new pet after her own beloved dog had just been flattened by a car.
More recently, I talked with a senior lecturer, who admitted to feeling physically nauseous at the thought of another day in front of his laptop; another day, on his own, in his room, on his laptop, his face pushed up against the faces of his students, yet devoid also of contact with them, and likewise his colleagues, and with all the smaller, less tangible things once combining to produce the culture of his course and its successes. Green around the gills and exhausted, he sees all of this from his strange remove, as all the things that once felt certain struggle to remain so, his own identity included.
This is the special hopelessness of the bereaved, the secret they keep for fear of appearing weak or uncooperative. Despite the acuity of their loss, despite their discombobulation, they still get up, get dressed, feed themselves, feed the cat – and teach on Microsoft Teams to a classroom of learners with their cameras off.
I’m seeing bereavement everywhere. Sure, individuals are grieving the way things ‘used to be’, but not, I think, because they’re Luddites, or dinosaurs deserving of a jolly big meteor, but rather because their identities are in crisis. They are not who they used to be, and yet the speed of change in the sector insists they bury these feelings in order to satisfy everyone else. Worse, there is as much shame around as you want: shame, because you don’t know how to use Zoom or Teams or Classroom or whatever; shame, because a part of you cannot be bothered to grow, or learn, or adapt, while your heart still smarts; shame, because you suspect your students are unhappy (which they likely are, because, yes, they’re grieving too); and shame, because you just want things to go back the way they were, while other bright and shiny people proselytise about the future; and where there’s shame, there’s resentment, and where there is resentment, there is anger, and so it goes.
Now, before I meet other educators in my role at Ding, I make myself remember sitting quietly in my chair at the presentation of the university’s Business Plan, being cheerled into ‘seizing opportunities’ at the very same moment my incumbent identity was being effaced. I remember to empathise, which is to listen, and extend condolences by showing patience. So I never think, ‘Oh no! Here is another late-adopter’. I don’t think, ‘Why are some academics so bloody difficult?’ I’m thinking, here is just another someone estranged from who they once where and what they once knew how to do, and I’m minded to read frustration, reluctance, resistance and ‘shut-downness’ for what it likely is; bereavement working its way out.
There’s a reason the sympathy cards we buy don’t say ‘Your Feelings Are Wrong! This Isn’t A Loss, It’s An Opportunity!’
There’s a reason change takes time.