Film

From In (a) Critical Condition: Reconsiderations of Krisis, Critique, and Theoria through Research Co-creation (Forthcoming in Imaginations: A Journal of Cross-Cultural Image Studies): 

"In my own poetic works which treated themes of motherhood, sisterhood, and friendship, I engaged with Aristotle’s metaphors of building, generation, and change, as well as his theories of the body and love from Rhetoric, Physics, and the Nicomachean Ethics. I not only cited him, but integrated his ancient manuscripts into my digital palimpsests. In A Form, a Privation, and an Underlying Thing (Eidos, Sterēsis, Hupokeimenon), an essay-film I created integrating photographs and video footage from Kari Maaren, Izabella Pruska-Oldenhof, and Angela Joosse, as well as lines from Aristotle’s Metaphysics, I drew the many generative things that Aristotle studies— the lives of plants and animals and the generation of beings as well as building (Aristotle links the building of ideas to the building of homes)—together with one of the things that Aristotle omits: motherhood. I wrote an Aristotle poem for Izabella that drew from Aristotle’s Ethics and Physics that treated love as a form of cyclical and circular movement, Upon a Particular Relation, and she made a film for it that manifested these movements in a camera language of tilts and pans. And I followed this with another Aristotle poem and film, Being is Said in Many Ways, that mashed up thoughts about movement from Aristotle’s Physics with a story about sisterhood as the world threatened to break in two and sweep under. I organized the works in my gallery according to the four Aristotelian elements: water, earth, fire, and air. With this intertextual palimpsestic poetico-philosophical practice, I aimed to join other women philosophers whose forms, as Catherine Villanueva Gardner argues in her study on women philosophers subtitled Genre and the Boundaries of Philosophy, “specifically show other possibilities for the philosophical genre, as well as the way that these possibilities can form a critique of the dominant model” of philosophy (Gardner 10). Through the materials, processes of making, form, and content of the Aristotle Suite of film-poems and through the Aristotelian themes of my gallery, I experimented with ways of critiquing the foundations of the Western epistemological tradition while issuing correctives—something my academic writing could not do."