Playground: Finding Resilience Through Applied Creativity

By Sophia Holland

In an age where modernity in itself is questioned and the fabric of reality is recontextualized by the looming threat of nature's unravelment and revenge, how do we go on? As mere individuals confronted with a situation of global proportions and a generation brewing of escapists removed from reality, where are we to start? My thesis synthesizes perspectives according to content from Rose Simpson, with contextualization from Karl Marx on alienation and reflections on our concept of modernity and how that shapes the cycle of denial, consumption, and social and spiritual deficits. Understanding a problem in the mental and spiritual state of modern Western society illuminates the problem with those indoctrinated into consumer culture and a society that feeds the fire of capitalistic overconsumption, corporate brainwashing, misinformed historical narratives, and an alienation from nature.

Through texts and analyzing artwork introduced and discovered throughout this course, I have researched a key element of healing in the climate crisis. Sustainable change must resonate with the individual and their capacity to mentally commit to solutions and their ability to work together to achieve this world wide goal of saving our future. My focus remains on the individual as a building block of progress from the perspective of a young student in university, as we are collectively handed a problem of astronomical proportions.

Looking at artworks through the lens of creative innovation exposes the positive side of humanity's “Janus-faced” nature and that is our empathic impulse and ability to be inspired through art, love, connection, and creation. Through my project, I plan to illustrate how mistakenly small acts contribute to building resilience to a grander problem and how we as people can begin to put our heads together and commit to bettering the world by becoming better individuals ourselves through practicing applied creativity and paying kindness forward.

An abstract approach

I would like to preface my project by acknowledging that the links between my approach and how it relates to climate change may not be clear instantly. The purpose of my approach is to look at the abstraction of what influences have gotten our world to this point today; as the cumulative climate of the modern day is the result of cause-and-effect events to this point in time. Humans being the source of the Anthropocene and all of its negative effects means that it is our behavior that must change and be channeled towards a solution as we have caused an unnatural interference, unprecedented in the earth's millions of years of history. Our thoughts, beliefs, and motivations being a massive determinant of our actions means it's time to take inventory of ourselves as individuals and a society to find out how to become creatures capable of the change necessary to save the earth from complete deterioration. The individual is essential to climate change because we are animal life forms, dependent on what the earth offers us, yet, alienated from the true understanding of that. Years of compartmentalization of nature from humanity have led us to this point of psychological removal. To get people to make change, we need to help people wake up to this truth and see ourselves as interconnected to the problem enough to take action. Approaches of potential angles for solutions have led me to look into various artworks, cultural perspectives, and human nature through the lens of psychology; topics I will delve into throughout my work.

Utopia

To better illustrate my emphasis on transformation purely in principle, I want you to imagine a utopian society where everyone gets what they need. Plants, animals, and humans live in harmony as we practice a form of modernity that utilizes and maximizes nature's potential allowing a flourishing society and ecology where no one or organism is neglected. Humans utilize their consciousness and empathic capacity to become stewards of nature, tending to the animals and their homes as well as others. We all play parts to help take care of each other and needless suffering and death disappear altogether. Instead of constant consumption of products, media, junk food, over-self indulgent recreational drinking and other vices; we exist together making the things we need and harvesting our food, making art and music and connections simplistically.

As utopic as this future may seem, I want you to now ask yourself if you believe that if in the world today, we were to suddenly inherit this system and ideal society, the people of the world would be able to sustain this. Now as this is a practice of thought designed to provoke questions rather than a literal answer, maybe you have different ideas, but knowing we have people so far removed from the empathic impulse like billionaires willing to sacrifice the world's future survival for money and power, politicians who orchestrate genocides, a plethora of racist ideologies, and more; I'm not convinced all of humanity is universally altruistic in practice in the present day. That is not to say we are represented by a small set of machiavellian individuals but even speaking to the lesser extent of evils that exist; do people of the present world even want to give up their endless cycle of consumption and way of life? To many humans, it's all they have ever known. People love their things, something I am guilty of myself. The modern world and the Internet of Things present us with virtually anything we want at our fingertips, and that's hard to turn away from. Commodity fetishism has permeated every corner of our society as corporate conglomerates hold a large percentage of power in the world and can direct our attention where they want through an influx of media if we are unconscious of its effects. The citizens of society today placed in a utopian world with utopian people would be almost two different alien species as our mentalities and ways of being are made up of entirely different motivations. Living in a world practically built around capitalism has hijacked our thoughts, beliefs, and perception of the way the world “works”.

James Bridle in his book “Ways of Being” describes the German word “Umwelt” and its role in our perceptions of the world. One’s umwelt is the collection of motivations and necessities for life that drives us that goes into the version of the world perceived by a particular organism. For example, beetles, with entirely different internal and external systems have a more chemical based umwelt while humans typically have a very visually based umwelt. Part of locating and developing solutions to the climate crisis will involve a deep dive into our own umwelt and how our own desires and motivations affect our perception of society and the world we live in. Perhaps in dissecting our own workings we can learn a bit about limiting beliefs and begin to question how to see the world for all its complexity. Expanding on this principle begs the question of how we can expand our empathic impulses by extending it to organisms of all sizes.

Age of Resilience and Psychological Revolution

Empathy is a human impulse driven by the evolutionary benefit of our hunting and gathering times and has evolved with our species alongside our societies. By the shared understanding of the hardships we all experience and joint solidarity with others, humans were able to keep each other alive and grow surpluses allowing humanity's expansion and further evolution. Jeremy Rifikin, an economist and sociologist speaks to how a utopia would be the opposite of empathy because empathy does not exist without mortality(7 & 3). Knowing this about empathy, our goal is not to create a utopian society, nor is it possible to, but this highlights a more feasible goal of understanding how to direct us towards a truly empathic one. We are all human and thus experience the human condition and a relationship with nature but industrialization and colonization have hidden a lot of the knowledge and understanding of the world and replaced it with a reliance on strife in pursuit of material wealth.

To better understand human behavior, I have been studying a bit of psychology in the context of denial and its role in climate issues. In the text by Rose Simpson(4), she discusses her upbringing on an eighth of an acre of land, self-sustaining and creating everything she owned. Through juxtaposing her childhood with the transition into adulthood and society, she pinpointed a lot of the differences she noticed with one of the biggest themes being denial. Denial, according to her, occurs in just about every micro-interaction between alienated acts of labor like buying food or products we never see being made. She grew up sewing the leather of animals, a process in which you cannot deny the life taken in exchange for the thing you make. This is an exchange of appreciation and respect for the animal who gave its life as well as the cherished product through the labor of care.

The alienation of labor as discussed by theorist Karl Marx(2), is the tendency for products to alienate ourselves from labor and the laborer. The alienation of finished products refers to the finished object of production’s removal from the production behind it through commodified labor. Marx argues that through the act of commodified labor itself, humans alienate themselves as a product because of the lack of identity with motivations determining our labor and its products. Animals themselves produce but for necessity, like a bird weaves a nest but man creates for the sake of creation and beauty. Therefore creation is a natural phenomenon, but estrangement from this labor process and products value to the laborer is when the alienation occurs. When we lose the process behind it, we lose our nature. He summarizes the impacts of this notion by claiming that the more capital we save by not seeking experience through food, art, literature, playing, loving, and doing, the less we will become and the less expression we will have in our lives. Capital saved, which the natural world has no use for, spent on more things will only compound your sense of alienation.

This paints a new understanding of our consumer-driven society today as we have companies like SHEIN, Temu, Amazon, and a plethora of other websites granting its users instant gratification. Marx's work written in the nineteenth century was in the early days of the industrial revolution and has only become more relevant to us today. While the urge for this concept brings a pessimistic weight to modern society, Simpson's application of indigenous perspectives completely reframes this sense of doom we have. She argues apathy that we experience in response to being overwhelmed, alienation from our life purpose, and subsequently climate change are results of spiritual deficits and are negative side effects of a society that doesn't teach us how to hold space for negative emotions. She states “Modern society does not teach us how to properly accept these feelings, so they sit in our bodies and begin to rot, instead of moving through to teach us something important about ourselves and our lived experiences”. Creation and deterioration, like life and death as two complimentary parts of existence represent one of many of life's patterns.

Creation and art are natural processes and languages of humans and are incredibly important forms of processing that can help heal. This idea of applied creativity is Simpson's most notable principle to me and my project. She brings hope by encouraging adaptability as one of nature's many features; us included if we choose to apply ourselves. Through building empathic, creative, and mental bandwidth by coaching communities through confusing emotions, we can begin to bridge the gap and perhaps evolve ourselves into closer beings capable of creating solutions that take us even one step closer to a more sustainable and equitable future.

The role of hope, art, and transformation of individuals and communities as the salvation of humanity has been illuminated but will require lots of work. Jeremy Rifkin writes in his book “Age of Resilience” about our need to shift our exploitative capitalist economy to an economy of the prosumer, taking more individual and large-scale responsibility for the treatment of our earth. The topic of climate change is far more complex than just looking at the statistics of our planet getting warmer and mass extinction. It encompasses sociological, spiritual, and psychological problems that climate change is a fatal cause and symptom, caught in a positive feedback loop.

In an age of overwhelm in every sense of the word, it's not a surprise that many turn a blind eye to this predicament. One thing that brings me hope is the development of the mental health community and the reduction of stigma around seeking help. Understanding our psychology is crucial to our transformation as individuals, the process of denial is known as cognitive dissonance coined by psychologist Festinger(9), which occurs when one’s beliefs and actions misalignment create discomfort in the brain. The brain operates on a maximize pleasure and minimize pain basis and will try to avoid the discomfort by shifting beliefs in your mind to adjust this discomfort to align with your perception of truth.

Cognitive dissonance is the title of a gallery show in which ceramic work made by Daniel Bare was featured. His ephemeral work is a commentary on the consumer greed he finds himself surrounded by. In response to his time working in Shanghai where he watched hundreds of ceramic plates, pots, and more deemed imperfect thrown out, he interrupted the process between disposal and final waste by repurposing pieces into a visual representation of wasteful consumption. The cognitive dissonance show’s mission statement refers to the notion that societies are only as perfect as the materials they are made from, just as ceramics are. With ceramics representing the raw materials of society, the individual and the imperfection of the piece posed an interpretive question about our nature.

Sociocracy and ideas

Sociocracy, introduced as a concept, provoked reflection on how it could be adapted and applied for change. A power structure put in the people's hands, sociocracy is designed to give equal power to the people, versus the top-down approach. It can be represented by a small circle of peers coming together where a selected representative meets with other representatives to try and come to a solution with the cycle repeating as the scales get larger. This approach got me thinking about how as a model this could be applied to many different organizational systems, particularly in the role of academia. What if instead of pitting ourselves against each other, we all found our different areas of knowledge and perspectives to help us find well-rounded solutions? I became fascinated with this as I pursued more knowledge on the topic of how economists use laws of quantum theories and atomic habits to find solutions, and most relevant to this class is how art history can teach us the subtext of history that isn't always explicitly recorded. The concept of school as an institution and how it alienates knowledge from the student is something I found to be a massive barrier in the priming of individuals' minds to be able to synthesize the knowledge we receive into a connected solution. Not only do we distinguish intelligence generally into STEM or liberal arts, left and right sides of brains, but we as a society more frequently reward one over the other monetarily and socially. An alternative model of intelligence that is far less commonly referenced is Howard Gardner's model of the nine types of intelligence(11). This model labels variations in skill sets into nine categories of Visual-Spatial Intelligence, Linguistic-Verbal Intelligence, Logical-Mathematical Intelligence, Bodily-Kinaesthetic Intelligence, Musical Intelligence, Interpersonal Intelligence, Intrapersonal Intelligence, Naturalistic Intelligence, and Existential intelligence. This paradigm shift from two main types of intelligence into nine could have incredible benefits if people's potential were genuinely given the space to be maximized.

         Playing with the ideas of sequestration of knowledge shifted my perspective on art and its ability to teach. As a form of communication, art history and art tell stories of periods and attitudes surrounding them, as well as personal experiences and perspectives of the creators. Analyzing works from this class and outside materials below, I shared a few that demonstrate how art can be the voice of revolutions. The value of analyzing this way, is that historically, the narrative of the victors are often the voices captured while other perspectives are systematically erased. This leaves a fragmented view that requires a critical analysis to try and discern truths. Art has hidden messages and contexts that are crucial to this process and often survive more than overt accounts due to their ability for covert messaging and subversive nature. I wanted to demonstrate this principle by juxtaposing several pieces of art and their movements to visually associate the works with societal change as demonstration of this principle.

First I want to contrast the Rococo painting The Swing, by Jean-Honore Fragonard, 1767 with the Neoclassicist painting The Oath of the Horatii, by Jaque-Louis David 1784. The Rococo period sometimes referred to as the late Baroque period was a movement characterized by extreme opulence. The pre-French revolution was a time of abuse of regent power as peasants starved. This is visually represented by the hedonistic and controversial sexual nature of The Swing. Aesthetics of the time reflected the indulgence of the aristocratic French which served as the backdrop for the stirrings of peasant revolutions. The French Revolution took place from 1889-1899 and began with the peasants storming the Bastille prison, where they were able to take control and release the prisoners. During this period of revolution, inspiration was drawn from the Enlightenment thinkers who valued science over God's ordainment and looked to ancient Romans, Greeks and the Stoics for guidance versus blind following of religion. This is reflected in The Oath of the Horatii, made roughly 5 years before the storming of the Bastille, depicts a story of three brothers of the Horatii family making an oath to battle three of the family of the Curatii to minimize bloodshed in disputes between two cities. This painting became a piece of inspiration for those battling for their freedom and country in the French Revolution as it represented an oath to country and the greater good, in stark contrast to the themes of Rococo. David was eventually commissioned to do a painting of the Tennis Court Oath, representing the successful efforts of the revolution to turn over power to democracy. The comparison of these two pieces occurring just 17 years apart shows how art can tell a thematic story visually and can hint towards the values and themes of a time given in history.

Movements of art come with a set of morals or values that define them and my next comparison is that of the Fluxus and Dada movement along with the internet trend of Core-Core. The linked movements of the Dada movement in 1916 through the mid-nineteen twenties, and the Fluxus in the early nineteen fifties through the seventies, were absurdist and surrealist in response to times of war. The pain of war was addressed by questioning the purpose of life itself through experimental ideology. The piece of Dada work I chose was Raoul Hausman's The Art Critic (1919) which utilized collage as a means to deconstruct and challenge the conventions of beauty at that period. The title itself refers to the process of questioning the definitions of art while using a dissonant yet deliberate style of assembly. It was a visual representation of destruction and chaos that encapsulated attitudes following the devastations of the Great War. Joseph Beuy's performance piece Explaining Picture to a Dead Hare (1965) consisted of him inviting an audience to a gallery where he had locked himself inside the gallery with honey and gold flakes smothered to his face as we walked around whispering explanations of pictures to a dead hare. After hours passed he finally had the doors unlocked so people could enter and observe the work inside the gallery. The Fluxus movement was largely performance-based and urged anyone to create art and aimed to break the boundaries of art by leaning into the absurd and abstract. Following the Second World War and the Vietnam War, Fluxus echoes sentiments of a necessity for healing and reflection on human atrocity. Jumping to the modern day, art forms take on many different faces with the Internet of Things. Arts boundaries are virtually blurred permanently as the possibilities have increased and will continue to do so. Core-Core, an internet trend of visual content, digital or physical, is categorized by contrasting images ranging from cheerful to melancholy to meaningless, to convey a sense of information overload designed to capture contemporary feelings of an overwhelm. This comparison is important to note because following the trends and motifs of these sorts of art styles, there is a historical and cyclical pattern of these style elements reflecting the emotions of an era. Valentina Di Liscia’s “Core-Core" interpretation of Raoul Hausmann's "The Art Critic” is a direct resurfacing of the old works which resemble each other but Core-Core as the contemporary version. Most notably the Core-Core movement is due to the internet being able to reach mainstream audiences via platforms such as TikTok and Instagram. Videos are also able to be collaged in a sense, adding the amount of visual and auditory information available per piece. This shifts ideas of the revolution's ability to be televised now that we have access to such powerful tools of media readily available globally.

Personal connection

I would like to be a bit vulnerable for a moment and put my personal experiences into my writing. This class speaks to more than climate change and art history as a contemporary topic; this is real life with an emotional sense of urgency and I find both stories have potential value in interacting.

I was in the Philippines on the island of Siargao visiting family for the first time in 7 years where I experienced a new way of living for two weeks. I saw the most beautiful beaches and rainforests which felt like home in ways I cannot fully describe. I experienced what I could sum up as biophilia itself, almost paralyzed in wonder by the biodiversity surrounding me. The beaches were crawling with hermit crabs I had only seen in Petco or nature documentaries; the low tides crawling with snails and small creatures; I even spotted a rare “Bobbit Worm” in the tide pools on an afternoon beach walk. After so much consecutive time spent in the city of Seattle, it felt like a dream to be somewhere so rich in tropical greenery. I felt strange about it at the time but the island made me extremely emotional and I found myself tearing up immersing myself in a new environment in nature. I thought typically people just enjoy their vacation and brace themselves for the return to reality but this was different, I felt changed. In contrast to this connection to the land around me, I had also seen so much trash and pollution on the shores of these beautiful beaches. I grew overwhelmed picking up trash, it was like whack-a-mole, grabbing one and another popping up immediately. It was worse in the cities, nothing like what I have seen in the US. Here we “neatly” tuck away our abundance of trash by shipping it to landfills and other countries like the Philippines. It made me feel sick and confused; being both from the Philippines and from the States looking at these inequitable dynamics. The typical experience of a mixed kid having one foot on each side of the fence took on a heavier weight of confusion and guilt; all I wanted was to do more but I had no idea where to start.

Scrolling on my phone one day, I came across a proverb from the Tao de Ching that came to me serendipitously, like a wink or little gift from the universe. This proverb translated from Mandarin means “going on means going far, going far means to return”. Times following my discovery of this quote, I found it taking on many different forms in my life, one of the ways is that it helped me make sense of existential dread surrounding the experience of anxiety living in a “modern” world. My understanding of going far in this context was the spiral of overwhelm, which can be a side effect of unmanaged and misunderstood empathic impulses. Anxiety has a way of spiraling you far out of your scope, one moment it's recoil from a social interaction you had 3 weeks ago, next second you are consumed in thinking about a melange of the world's problems ranging from climate change to the concept death. The closest simulation to some of these emotions can be summed up by a lot of Core-Core content found on TikTok categorized by the constant and rapid pop-ups of violent media contrasted with meaningless internet content and the occasional surrealist proverb. But all hope is not lost with this overwhelm as reactions range from defeat to inspiration and action. Sometimes these feelings can be a wake-up call to action. Anxiety has a painful way of telling you very loudly what you need to pay attention to, but it's the lack of action addressing the source that leads to depression. To me returning means returning with a heightened sense of empathy which can be the fuel for action we need for change. Deborah Bird Rose explains the aboriginal term Bir’yun (6, pp.53), a word that translates to shimmer. Shimmer is a feature of optical illusion in the aesthetic of aboriginal art but also refers to the experience of life where one experiences times of shimmer and dullness. She states that they are both necessary for either to exist and have meaning: the absence of dullness does not allow for shimmer in life to shine. A moment of shimmer occurring in life is captured in film and is shown in the image of a flying fox grazing the water. For a moment the flying fox makes contact with the water causing the droplets to catch light and shimmer in a literal sense while representing the term itself. Shimmer is found in every aspect of life and can be seen contrasted clearly by the use of black and white film. The value of the gleams stands out as a focal point of the image, echoing the optical illusion of movement on a still image that shimmer art has.

In the Philippines, I saw shimmer everywhere. All along the freeways there were walls of plastic jugs with ferns in them, repurposing trash into a home for urban plant life. I saw the repurposing of plastic goods intricately woven into bags, placemats, and more. A country experiencing a crisis of food scarcity in areas meant that waste was unacceptable, we used all leftovers, but with a flair for building on flavors and creating a new dish often more flavorful than the day before. There we sang karaoke as a family almost every night where I saw parts of my family's personality that could come out only through song. I spoke to relatives who were artists, musicians, and social advocates; I heard the stories of my aunt who protested dictatorship with a tank pointed at her face during the People Power Revolution of 1986. There was where I learned that creativity coursed through my veins, family and culture. Along with that creativity, I saw resilience and not only that, but a sense of purpose and community. Going far across the world meant returning home with a new perspective and purpose; to pursue this newfound attitude of resilience and lean into creativity. The shimmer of life, as fleeting as it can be at times, is more than the sum of its moments but carries through inspiration and its ability to transform perspectives and people.

A Community-based Solution

For my project, I was inspired by a club I designed for Design 166. The prompt was to design solutions to combat loneliness in college dorms. Statistics indicated an increase in suicide within groups including people of color, younger people, and those who live in rural areas of up to 30% between 2011 to 2021. On top of that, there was a loneliness pandemic declared, brewing long before the COVID 19 pandemic. For this project, I created mock-ups for an app, partnered with a social club to use art and style to help people bond and create connections. Users would create a profile shown below, displaying their interests, favorite creation mediums, and music taste and display their personal style and own artwork. People would be matched based on shared interests or areas of skill that each person was interested in learning about. Groups would be curated and then put in contact to attend larger group events where students could engage in art and creation-related activities like sip and paint and thrift flip nights.

This project ended along with my career in design as I was not offered admittance into the program, however, this project echoed in my mind past the confines of the class. I wish I had this club my freshman year or at least what the club stood for. My project was based on the principle of showing up authentically. I anecdotally regarded it as a place to "play" free of the "social climbing" and "drinking culture" restrictions that can arise in cliquey environments of the undergraduate dorm communities I had seen around me; it came from that place of loneliness and social isolation I experienced coming to such a large school post-covid without many friends, having a college identity crisis and craving genuine connection. One night I decided to keep working and tweaking this idea to see where it would go. I engaged with more literature on the subject and watched TedTalks as it led to me rewriting a proposal for an RSO to the University of Washington. I never sent the proposal because my idea did not feel finished.

When the final project for this class was announced, a lightbulb went off in my mind. I had this indescribable feeling that this club encompassed a place of healing we all need within society but on paper it felt too insignificant to produce substantial change. Through reading and observing works by various artists and authors my mind has been opened to many different perspectives and I see more clearly the importance of art and creation in our society now. With a recontextualization of my idea through the lens of my newfound knowledge from this class, I aim for Playground to be a club where we can take time away from the alienation brought upon by society, consumption, and denial to consciously facilitate creative mindsets through community creation and engagement. I want to expand on my idea by integrating course literature through group screenings of videos and movies, student-made presentations, sustainable creative projects, creative and personal style cultivation workshops, and guided outdoor outings. A question that echoes through my mind is “What have we become to each other”. Through alienation, we become removed and less human but through play and engagement we can battle this. I feel the pain of my community and I want to help others who need a place of shimmer. If there is still beauty in this world, then that is something to hold on to and fight for. That is a message I would encourage everyone to operate from if choosing to step out of denial and question how we can improve the world for everyone, no matter how small. Individual change is not too small, it is the first possible step for change.

Rifkin, Jeremy. “Age of Resilience”. St Martin's Press, 2022.

Bibliography:

1. Nayyar, Rhea. “What Does TikTok’s ‘Corecore’ Have to Do with Dada?” Hyperallergic. January 26, 2023. https://hyperallergic.com/795957/what-does-tiktoks-corecore-have-to-do-with-dada/.
2. ‌Marx, Karl, Charles Harrison, Paul Wood."Karl Marx (1818-1883) on Alienation." Art in Theory, Blackwell Pub., Malden, MA, 2003, pp.170-173.
3. Rifkin, Jeremy. “Age of Resilience”. St Martin's Press, 2022.
4. Simpson, Rose, Fowkes, Maja, and Reuben Fowkes. “Through Applied Creativity We Can Heal. Art and Climate Change. London ; Thames & Hudson, 2022.
5. Bridle, James. Ways of Being : Animals, Plants, Machines : The Search for a Planetary Intelligence. First American edition. New York: Farrar, Straus and Giroux, 2022.
6. Tsing, Anna Lowenhaupt, Bubandt, Nils, Gan, Elaine, and Swanson, Heather Anne, eds. Arts of Living on a Damaged Planet : Ghosts and Monsters of the Anthropocene. Minnesota: University of Minnesota Press, 2017. Accessed December 12, 2023. ProQuest Ebook Central.
7. V.O. Complete. Resilience, the key to our future. Jeremy Rifkin, sociologist and economist. YouTube. YouTube, 2023. https://www.youtube.com/watch?v=-jA58f2d8yQ.
8. “Nietzsche’s Idea of ‘the Overman’ (Ubermensch) Is One of the Most Significant Concept in His Thinking.” 2019. Stanford.edu. 2019. https://ccrma.stanford.edu/~pj97/Nietzsche.htm.
9. Heshmat, Sharaham. “Cognitive Dissonance and Addiction | Psychology Today.” Cognitive Dissonance and Addiction, October 29, 2016. https://www.psychologytoday.com/us/blog/science-choice/201610/cognitive-dissonance-and-addiction.
10. ​​Saunders, Heather, and Nirmita Panchal Published. 2023. “A Look at the Latest Suicide Data and Change over the Last Decade.” KFF. August 4, 2023. https://www.kff.org/mental-health/issue-brief/a-look-at-the-latest-suicide-data-and-change-over-the-last-decade/#:~:text=Suicide%20deaths%20are%20increasing%20fastest.
11. “9 Multiple Intelligences Types by Howard Gardner.” 2021. Podium School. February 26, 2021. https://learn.podium.school/personality-development/9-multiple-intelligences-types-by-howard-gardner/.
12. The Editors of Encyclopedia Britannica. 2019. “French Revolution - the Directory and Revolutionary Expansion.” In Encyclopædia Britannica. https://www.britannica.com/event/French-Revolution/The-Directory-and-revolutionary-expansion.
13. Asyaban, Alireza, and Ahmad Ebrahimipour. 2021. “Fluxus as Neo-Dadaism: Influences and Differences of the Fluxus and Dadaism Movements.” Turkish Journal of Computer and Mathematics Education (TURCOMAT) 12 (13): 8009–19. https://turcomat.org/index.php/turkbilmat/article/view/11176#:~:text=Dada%20argued%20that%20art%20was.

Art works:

1. Bare, Daniel. Repurposed Ceramic Sculpture. 2011. Ceramic sculpture. DanielBare.com, http://www.danielbare.com/pb/wp_40e31782/wp_40e31782.html.
2. Edards, Nick. Flying Fox “bellydipping”.2009. Photograph. 

Flying fox “bellydipping.” Photograph by Nick Edards/Half Light Photographic, 2009. Arts of Living on a Damaged Planet : Ghosts and Monsters of the Anthropocene, edited by Anna Lowenhaupt Tsing, et al., University of Minnesota Press, 2017. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/washington/detail.action?docID=4745557.

Created from washington on 2023-12-12 02:06:17.

3. Beuys, Joseph. How to explain pictures to a dead hare.  Performance, Galerie Alfred Schmela, Düsseldorf, 1965.
4. Hausman, Raoul. The Art Critic.1919. Lithograph and printed paper on paper. 318 × 254 mm. Tate Gallery, London. https://www.tate.org.uk/art/artworks/hausmann-the-art-critic-t01918
5. Di Liscia, Valentina. A "corecore" interpretation of Raoul Hausmann's "The Art Critic". 2023. Digital edit. https://hyperallergic.com/795957/what-does-tiktoks-corecore-have-to-do-with-dada/
6. Unknown. CORE CORE. 2020-2022. Digital edit. https://knowyourmeme.com/memes/cultures/corecore
7. David, Jacques-Louis. Oath of the Horatii. 1786. Oil painting on canvas. 51 1/4 × 65 5/8 in. Toledo Museum of Art, Gallery, 31, Toledo. http://emuseum.toledomuseum.org/objects/55069/the-oath-of-the-horatii?ctx=739d11b7-2f63-4ad0-9596-69dcd5791a3e&idx=0
8. Fragonard, Jean-Honoré. The Swing. 1767. Oil on canvas. Wallace Collection, London. https://www.wallacecollection.org/explore/explore-in-depth/fragonards-the-swing/