2. Disability Studies
Disability als een sociaal – cultureel – politiek
fenomeen + verschillen + diversiteit
Het gaat ons allen aan (TAB)
Het geeft kansen tot stellen van vragen bij
zeer normaliserende tendensen (activisme)
Het biedt kansen om na te denken over
ethiek en grote levensvragen
De (culturele) context waarin het fenomeen
zich voordoet is van zeer groot belang
Het doet nadenken over interafhankelijkheid
Het doet nadenken over mensenrechten
Het wil geen ‘empty science’ zijn (en daarom
is het goed om bij ‘de kunsten’ aan te
leunen)
7. The institution made me ill (Wallin, 2013, about
the work of Guattari with Jean Oury in La Borde)
• … for Guattari it was not simply the case that ‘the mentally ill’ were
being cured at institutional clinics. Rather what Guattari’s work within
the psychiatric institution would reveal was the more pervasive
problematic of illness becoming an effect of the institution itself.
Within the traditional psychiatric setting , Guattari observed,
...patients lost their characteristics becoming deaf and blind to all
social communication... (Guattari 2009)... In Guattarian terms a key
factor to the production of institutional illness would figure in the
institutional sedimentation of vertical power relationships (the
hierarchical arrangement and bureaucratic isolation of ‘specialist’
roles ultimately informing upon the alienation of institutional
subjects)..
8. Community Living and Participation for People with Intellectual and
Developmental Disabilities: What the Research Tells Us (Association on
University Centers on Disabilities, 2015)
• In a recent policy research brief, Nord et al. (2014) reviewed NCI
studies published over the last decade, examining numerous
outcomes for people with IDD living in different residential settings.
The review found that across all outcome areas, smaller settings, on
average, produce better quality of life outcomes for people with
IDD. People living in their own homes, family homes, host family
homes, or in small agency residences (six or fewer residents) ranked
consistently better in achieving positive outcomes than moderate
size (7-15 residents) and large agency residences and institutions
(more than 15 residents). Also, people living in their own homes,
small agency residences, and host family homes reported more
independence and more satisfaction with their lives.
11. Expressing emotions through
the eyes of a camera (andere
informanten)
https://writingcooperative.com/through-the-
eyes-of-autism-a-photographers-story-
b6502e0f6a3d#.rkr540fe1
My autistic son asked me to write a story
about how he uses phtography to express
himself.
I asked him why he took each picture and he
told me what he was feeling at the time. The
photos and the emotions that are expressed
above each photo are all his.
22. https://www.youtube.
com/watch?v=4AyUEw
835SE
Wild Classical Music Ensemble, de atypische
formatie ontstaan rond de doorgewinterde
muzikant Damien Magnette (Zoft, Facteur
Cheval) en vijf muzikanten met verschillende
verstandelijke beperkingen, blaast frisse lucht
en vrijheid in de huidige muziek scène. Uit hun
ruwe handen en stemmen ontstaat een
scherpe, onvoorstelbare, grillige rock die niet
aan humor, energie en vrijheid ontbreekt. Ze
staan vol overtuiging het podium om 'Tapping is
Clapping' voor te stellen, hun tweede album dat
uitgebracht wordt door het Brusselse label
Humpty Dumpty Records.
Damien Magnette : slagwerk Kim Verbeke :
gitaar en sampler Rudy Callant : trombone,
viool, zang Linh Pham : piano, fluit, sampler,
zang Sébastien Faidherbe : bas, zang Johan
Geenens : melodica, zang
29. Leavy, P. (2009). Method
meets art: Arts-based research
practice. New York, NY: The
Guilford Press: "
"Arts-Based Research (ABR) is
an emerging set of methods
that are extremely diverse,
but united by their ambitions
to blur the lines between
“science” and “art.” These
methods tap into the artistic
process as a primary mode of
inquiry, creating various forms
of art as a way to collect data,
conduct analysis, and/or
represent social science
research."
30. • I propose a three-year study of disabled women’s
clothing practice/s that begins with “wardrobe
moments.” During in-depth interviews in their homes,
participants will be asked to open the doors of their
closets and narrate the contents. What kinds of
garments hang there? How were those choices made?
What do the selections say about the way disabled
women constitute their identities at the junctures of
sexuality, race, class and age. What do their selections
reveal about the place(s) and space(s) of disabled
women in contemporary society? The study will engage
these questions and then use an “analytic fashion
show” to disseminate results. The latter will feature
significant clothing/outfits encountered during
interviews, supported by a (social) commentary drawn
from study data. It is intended for the general public
with extensive accommodation for people with
disabilities. Final academic product will be a book
drawn from both interview material and public
responses to the fashion show.
Bodies, clothing, technology
Into and Out of the Closet:
Discovering the Lifeworlds of
Disabled Women through
their Clothing (Kathryn
Church, Ryerson University
Canada, School for Disability
Studies)
32. Jasmine Ulmer (Wayne State
University, Detroit) Writing urban
space: Street art, democracy, and
photographic cartography (2016)
In this article, the street is both a place of travel and a space
for critical discourse. As tensions between public and private
spaces play out in the streets, street artists claim visible
space through multiple forms of art. Through a critical
performance geography and a qualitative inquiry of the
street, I photograph the movement of art across walls,
doorways, windows, sidewalks, lampposts, alleyways,
gutters, and dumpsters over a 7-month period in the Eastern
Market neighborhood of Detroit (N = 806). After describing
street art as a fluid genre that has developed into a diverse
spectrum of post-graffiti, I explore how street art
contributes to a changing visual terrain through discussions
of racism, decolonization, gentrification, and the role of art
in spatial justice. Photographic cartography is introduced as
(a) a visual method of performance geography that
illustrates material-discursive “fault lines” and (b) a critical
means of analyzing conversations in contested public
space. Significantly, street artists simultaneously work
within and against urban renewal policies in “creative
cities” such as Detroit. Given that the arts are at the center
of sophisticated visual discourse regarding democracy and
the battle over public space, researchers might continue to
examine how street artists inscribe social justice in, on,
and around the streets.
