Visual Arts, Columbia University, New York

This course examines ways of looking and ways of seeing, both personally & professionally as artists and in a larger cultural context. Through field trips to contemporary art and other cultural sites, conversations with visiting critical thinkers and practicioners, readings, discussions, and visual & written responses, we will examine how we look, think, act, create and respond--critically questioning our own artistic practices and ways of looking at the world.

Wednesday, March 6, 2013

If I could think about anything

In an interview after the publication of "The Brief and Wondrous Life of Oscar Wao," Junot Diaz suggested that the most difficult thing about writing a novel is trying to convince one's readership that they book they are holding in their hand represents a community, when each character it is in fact a different manifestation of the same mind.
So, if I could wake up with one thing in my head every morning, it would be the interiority of another human being. I think that the best fiction writers are expert  channelers, they can place themselves in the experiences of others with what looks like ease, and what better way to do that than to have first hand access to a variety of experiences.
In the same vein, a writing teacher once suggested to me that the "strongest tool" we have as writers is the one thing that no one else could have--our own experiences viewed from our unique perspective. Waking up with someone else's thoughts (however benign) in my head might offer the advantage of twice the perspective.
I'm also very interested in relative experience, and feel that it is hopeless to wish that I could ever share a common understanding of the world, or an absolute translation of concepts experiences through dialogue or other mediums of expression. 

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