Knowing Frames Analysis: Multiple Revealing/s of a Work of Art—To Be Read Aloud
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This chapter emerged as a result of involvement in the ‘Art of Critical Autoethnography’ conference convened in Melbourne in 2016. During the conference a small group of participants considered Lisa Roet’s (2014a) sculpture of chimpanzee hands in Bowen Lane in Melbourne’s CBD. As I/we were discussing the sculpture I/we mentioned that another piece of Roet’s (2014b) work entitled ‘Chimpanzee Finger’ was located at Bundoora a suburb in Melbourne’s north-east, and that I/we preferred the city sculpture. This is because I/we thought the Bundoora piece was too large and I/we disliked the way the big judgemental ape finger ‘pointed’. The group asked if I/we could send a photograph and a short piece about the Bundoora work so that they could compare and contrast. I/we photographed the work and as I/we were doing this I/we read the artists’ statement and discovered that the sculpture explored non-verbal communication in chimpanzees. I/we noticed that I/we began to think and feel differently about this art object. In this paper I/we reflect on my/our relationship with this piece of sculpture and particularly about the process of changing my/our mind about it and subsequently realizing that it wasn’t so much that I/we had changed my/our mind but rather that I/we were in two minds about the sculpture. Drawing on Davis, Sumara and Luce-Kapler’s (Engaging Minds: Changing Teaching in Complex Times. Routledge, New York, 2008) notion of ‘knowing frames’ and Heidegger’s (The Question Concerning Technology, and Other Essays. Garland Publishing, New York, 1977) notion of ‘enframing’ I/we construct a story about what I/we think enabled this change to happen. The paper is written as a series of plateaux.
KeywordsKnowing frames Multiplicity Changing minds Lisa Roet Critical/collective/auto/ethnography Inbetween spaces
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