/diˈkunstruc/shun + /dis’tillay/shun

antithetical absolute [execution as thesis]

Painting with a dry brush, the purpose of this site is to explore the thought process(es) enabling vision. This implies recognition of a cognoscenti equipped to measure discrete trajectories en practicum. If an academic support structure is able to function properly, supporting the art student as the facilitator of an internalized, creative act is to convey expectation of externalized expression through pedagogy. In EXHIBITION, this comes to fruition through the activation of an objective modality resulting in original evidence. Should the creative act remain subjective, derivative in form or practice, resulting evidence may directly implicate structural inadequacies as systemic reveal and it invariably brings into question all that is internalized in the process of STUDIO activation.

A wet brush uses matte or gloss media or the contributing combination of damar, oil and spirits to combine surface and chroma in collaborative fluidity prior to evaporation; the dry brush however, pushes unadulterated bristled texture under, over and through contrasting surfaces in its original suspension – the paint itself. Art education makes use of cross-disciplinary sensibilities to extend a practical pallet of perception based in historical publication, public and private collection, material engineering, conceptual development, philosophical exploration, intellectual expression and the kinesthetic act of execution. At its most primal inclination, the human condition requires expression -mark making. At its furthest point of modality, it serves as a direct monitor of evolution and motivator seeking to index the anthropocene.

It may fair to mention that these modals (subjective and objective) are not predicated on the assumption that they exist in binary symbiosis. Should conceptualization (of this practice) consist in the form of a reciprocating set, one must include requisite interchangeability described as contrasting extension of both epistemological and phenomenological consideration. If this application is found to achieve creative stasis (and be recognized worthy of publication) through activation, one may discover a simultaneous transitioning away from dependency on a structuralist perceived pedagogy (polar differences explored on a spectrum between Piaget and Dewey), and concede to individuation. Unlike current scholastic trends painted in a closed, positivist perspective, decentralized activation explored in a post-positivist practice, maybe found to decrease chaos, improve efficacies refining delivery, improve production, accessibility and reflexivity or self-awareness of participant in real-time. Realization of this practice will invariably dismantle the modern dynamic, dispel designations of the mysterious genius as a modern classist utility and serve as catalyst to reveal subjective capacitance as the inevitable malfunction of an outdated, academic process. With unassigned ownership of the modern perception, this pedagogical process may also reveal the vary same dependency as autocratic constraint native to the modern era to the benefit of those few, sustaining control of institutional taxonomies. Time immemorial, it is the role of artistic expression, witnessed to precede global valuations of agency enabling change. Not to be confused with the romanization or popularized retro-ization of revolution or the act of marketing a movement or projected nostalgia at its core application, the incessant drive to make marks (2D), shape clay (3D), render a moving image (4D) or mint a fungible token is limited only to the persistent activation of an aesthetic experience free from the opportunity of material ownership and supply-chain control.

To further press this point of departure, deposing artistic expression through pedagogy is establishing a measurement equating codependency of object making as proportionate to one’s inability to relinquish conservation of an aesthetic experience relegated to collective derivation – driven by passive expectation projecting change, as opposed to the agency created through the activation of an art object as an ending experience. Ironically, conservation of an art object persists at an opportunity cost crippling appreciation of anything other than ownership of an aesthetic experience exterior to activation. As a point of arrival deposing artistic expression, this site does not seek to implicate existing economies with accusations discouraging institutional contribution. Patronage supporting the arts through opportunities for activation, whether public of private, are vital to sustainability of our species and the health of our collective conscience.

Painting with a dry brush, the purpose of this site is to explore the thought process(es) enabling vision. This implies recognition of a cognoscenti equipped to measure discrete trajectories en practicum. If an academic support structure is able to function properly, supporting the art student as the facilitator of an internalized, creative act is to convey expectation of externalized expression through pedagogy. In EXHIBITION, this comes to fruition through the activation of an objective modality resulting in original evidence. Should the creative act remain subjective, derivative in form or practice, resulting evidence may directly implicate structural inadequacies as systemic reveal and it invariably brings into question all that is internalized in the process of STUDIO activation.

A wet brush uses matte or gloss media or the contributing combination of damar, oil and spirits to combine surface and chroma in collaborative fluidity prior to evaporation; the dry brush however, pushes unadulterated bristled texture under, over and through contrasting surfaces in its original suspension – the paint itself. Art education makes use of cross-disciplinary sensibilities to extend a practical pallet of perception based in historical publication, public and private collection, material engineering, conceptual development, philosophical exploration, intellectual expression and the kinesthetic act of execution. At its most primal inclination, the human condition requires expression -mark making. At its furthest point of modality, it serves as a direct monitor of evolution and motivator seeking to index the anthropocene.

It may fair to mention that these modals (subjective and objective) are not predicated on the assumption that they exist in binary symbiosis. Should conceptualization (of this practice) consist in the form of a reciprocating set, one must include requisite interchangeability described as contrasting extension of both epistemological and phenomenological consideration. If this application is found to achieve creative stasis (and be recognized worthy of publication) through activation, one may discover a simultaneous transitioning away from dependency on a structuralist perceived pedagogy (polar differences explored on a spectrum between Piaget and Dewey), and concede to individuation. Unlike current scholastic trends painted in a closed, positivist perspective, decentralized activation explored in a post-positivist practice, maybe found to decrease chaos, improve efficacies refining delivery, improve production, accessibility and reflexivity or self-awareness of participant in real-time. Realization of this practice will invariably dismantle the modern dynamic, dispel designations of the mysterious genius as a modern classist utility and serve as catalyst to reveal subjective capacitance as the inevitable malfunction of an outdated, academic process. With unassigned ownership of the modern perception, this pedagogical process may also reveal the vary same dependency as autocratic constraint native to the modern era to the benefit of those few, sustaining control of institutional taxonomies. Time immemorial, it is the role of artistic expression, witnessed to precede global valuations of agency enabling change. Not to be confused with the romanization or popularized retro-ization of revolution or the act of marketing a movement or projected nostalgia at its core application, the incessant drive to make marks (2D), shape clay (3D), render a moving image (4D) or mint a fungible token is limited only to the persistent activation of an aesthetic experience free from the opportunity of material ownership and supply-chain control.

To further press this point of departure, deposing artistic expression through pedagogy is establishing a measurement equating codependency of object making as proportionate to one’s inability to relinquish conservation of an aesthetic experience relegated to collective derivation – driven by passive expectation projecting change, as opposed to the agency created through the activation of an art object as an ending experience. Ironically, conservation of an art object persists at an opportunity cost crippling appreciation of anything other than ownership of an aesthetic experience exterior to activation. As a point of arrival deposing artistic expression, this site does not seek to implicate existing economies with accusations discouraging institutional contribution. Patronage supporting the arts through opportunities for activation, whether public of private, are vital to sustainability of our species and the health of our collective conscience.

Painting with a dry brush, the purpose of this site is to explore the thought process(es) enabling vision. This implies recognition of a cognoscenti equipped to measure discrete trajectories en practicum. If an academic support structure is able to function properly, supporting the art student as the facilitator of an internalized, creative act is to convey expectation of externalized expression through pedagogy. In EXHIBITION, this comes to fruition through the activation of an objective modality resulting in original evidence. Should the creative act remain subjective, derivative in form or practice, resulting evidence may directly implicate structural inadequacies as systemic reveal and it invariably brings into question all that is internalized in the process of STUDIO activation.

A wet brush uses matte or gloss media or the contributing combination of damar, oil and spirits to combine surface and chroma in collaborative fluidity prior to evaporation; the dry brush however, pushes unadulterated bristled texture under, over and through contrasting surfaces in its original suspension – the paint itself. Art education makes use of cross-disciplinary sensibilities to extend a practical pallet of perception based in historical publication, public and private collection, material engineering, conceptual development, philosophical exploration, intellectual expression and the kinesthetic act of execution. At its most primal inclination, the human condition requires expression -mark making. At its furthest point of modality, it serves as a direct monitor of evolution and motivator seeking to index the anthropocene.

It may fair to mention that these modals (subjective and objective) are not predicated on the assumption that they exist in binary symbiosis. Should conceptualization (of this practice) consist in the form of a reciprocating set, one must include requisite interchangeability described as contrasting extension of both epistemological and phenomenological consideration. If this application is found to achieve creative stasis (and be recognized worthy of publication) through activation, one may discover a simultaneous transitioning away from dependency on a structuralist perceived pedagogy (polar differences explored on a spectrum between Piaget and Dewey), and concede to individuation. Unlike current scholastic trends painted in a closed, positivist perspective, decentralized activation explored in a post-positivist practice, maybe found to decrease chaos, improve efficacies refining delivery, improve production, accessibility and reflexivity or self-awareness of participant in real-time. Realization of this practice will invariably dismantle the modern dynamic, dispel designations of the mysterious genius as a modern classist utility and serve as catalyst to reveal subjective capacitance as the inevitable malfunction of an outdated, academic process. With unassigned ownership of the modern perception, this pedagogical process may also reveal the vary same dependency as autocratic constraint native to the modern era to the benefit of those few, sustaining control of institutional taxonomies. Time immemorial, it is the role of artistic expression, witnessed to precede global valuations of agency enabling change. Not to be confused with the romanization or popularized retro-ization of revolution or the act of marketing a movement or projected nostalgia at its core application, the incessant drive to make marks (2D), shape clay (3D), render a moving image (4D) or mint a fungible token is limited only to the persistent activation of an aesthetic experience free from the opportunity of material ownership and supply-chain control.

To further press this point of departure, deposing artistic expression through pedagogy is establishing a measurement equating codependency of object making as proportionate to one’s inability to relinquish conservation of an aesthetic experience relegated to collective derivation – driven by passive expectation projecting change, as opposed to the agency created through the activation of an art object as an ending experience. Ironically, conservation of an art object persists at an opportunity cost crippling appreciation of anything other than ownership of an aesthetic experience exterior to activation. As a point of arrival deposing artistic expression, this site does not seek to implicate existing economies with accusations discouraging institutional contribution. Patronage supporting the arts through opportunities for activation, whether public of private, are vital to sustainability of our species and the health of our collective conscience.

Painting with a dry brush, the purpose of this site is to explore the thought process(es) enabling vision. This implies recognition of a cognoscenti equipped to measure discrete trajectories en practicum. If an academic support structure is able to function properly, supporting the art student as the facilitator of an internalized, creative act is to convey expectation of externalized expression through pedagogy. In EXHIBITION, this comes to fruition through the activation of an objective modality resulting in original evidence. Should the creative act remain subjective, derivative in form or practice, resulting evidence may directly implicate structural inadequacies as systemic reveal and it invariably brings into question all that is internalized in the process of STUDIO activation.

A wet brush uses matte or gloss media or the contributing combination of damar, oil and spirits to combine surface and chroma in collaborative fluidity prior to evaporation; the dry brush however, pushes unadulterated bristled texture under, over and through contrasting surfaces in its original suspension – the paint itself. Art education makes use of cross-disciplinary sensibilities to extend a practical pallet of perception based in historical publication, public and private collection, material engineering, conceptual development, philosophical exploration, intellectual expression and the kinesthetic act of execution. At its most primal inclination, the human condition requires expression -mark making. At its furthest point of modality, it serves as a direct monitor of evolution and motivator seeking to index the anthropocene.

It may fair to mention that these modals (subjective and objective) are not predicated on the assumption that they exist in binary symbiosis. Should conceptualization (of this practice) consist in the form of a reciprocating set, one must include requisite interchangeability described as contrasting extension of both epistemological and phenomenological consideration. If this application is found to achieve creative stasis (and be recognized worthy of publication) through activation, one may discover a simultaneous transitioning away from dependency on a structuralist perceived pedagogy (polar differences explored on a spectrum between Piaget and Dewey), and concede to individuation. Unlike current scholastic trends painted in a closed, positivist perspective, decentralized activation explored in a post-positivist practice, maybe found to decrease chaos, improve efficacies refining delivery, improve production, accessibility and reflexivity or self-awareness of participant in real-time. Realization of this practice will invariably dismantle the modern dynamic, dispel designations of the mysterious genius as a modern classist utility and serve as catalyst to reveal subjective capacitance as the inevitable malfunction of an outdated, academic process. With unassigned ownership of the modern perception, this pedagogical process may also reveal the vary same dependency as autocratic constraint native to the modern era to the benefit of those few, sustaining control of institutional taxonomies. Time immemorial, it is the role of artistic expression, witnessed to precede global valuations of agency enabling change. Not to be confused with the romanization or popularized retro-ization of revolution or the act of marketing a movement or projected nostalgia at its core application, the incessant drive to make marks (2D), shape clay (3D), render a moving image (4D) or mint a fungible token is limited only to the persistent activation of an aesthetic experience free from the opportunity of material ownership and supply-chain control.

To further press this point of departure, deposing artistic expression through pedagogy is establishing a measurement equating codependency of object making as proportionate to one’s inability to relinquish conservation of an aesthetic experience relegated to collective derivation – driven by passive expectation projecting change, as opposed to the agency created through the activation of an art object as an ending experience. Ironically, conservation of an art object persists at an opportunity cost crippling appreciation of anything other than ownership of an aesthetic experience exterior to activation. As a point of arrival deposing artistic expression, this site does not seek to implicate existing economies with accusations discouraging institutional contribution. Patronage supporting the arts through opportunities for activation, whether public of private, are vital to sustainability of our species and the health of our collective conscience.

(other blog-type posts)