Peeledbanana

What Fucking Clayton Pettet Teaches Us About Cultural Rhetorics

pettetResponse screencast: intentionality: [M]odernity & stable identities

by Steven Hammer

TITLE: Rhetorics of/and Intention

Transcript

My response to this topic//exxxploration as a schol/a/rtist is rooted in and around the concept and hyst0ries of intentionality, so that we might think about how this pervasive notion governing making and interpretation might be disrupted, to qu33r spaces of making.

Intentionality: A Western Individualistic Tradition

Dominant, even nonDominant strands of Art have hystorically been rooted in hegemonic individualism that performs “with regard to [T]he ‘history of [A]rt’” (read: intentional/genius artworks within the Western canon (Kolak 158).

Intentionality: Modernity and Stable Identities

Modernity’s influence on [A]rt, evident in its insistence on a mastery of “grand narratives of the Western World” as well as fixxxed and stable meanings, identities, and responses (Dumitrescu).

Intentionality as Colonial Art Practices

Hystorically, Art has distanced and distinguished itself from so-called “primitive” art (especially indigenous practices), “craft,” and various other making practices of Others, often based on notions of “genius” and intentionality.

In sum, relying on the idea or prerequisite of intentionality makes it difficult for us to live and make and exxxperience and interpret practices that seek to circumvent or disrupt or critique the very institutions and traditions that enforce intentionality as a necessary component to thoughtful making practices.