Parvaneh Farid - Academic Projects

Required Equipment: To read this thesis, a DVD player is needed, and an access to the internet is an advantage.

I have classified my thesis in three volumes.

Volume One: This volume consists of Map of My Metaphisical Journey, A Scholary Overview, an overall “Introduction” to my thesis and the details of “Methodology”.

Volume Two: This volume consists of a series of practice as research work. This includes texts and DVDs which are the end results of a process of a series of thoughts and experiences at the time of making. The texts in this volume, often, duplicate what is said on DVDs.

Volume Three: This volume, “Another Birth”, although not the final stage of my PhD project, is a finalized piece of work which demonstrates the heart of “Translating the Lines”.

This consists of a DVD and an art book of three sections; images and calligraphy, an intuitive analysis of the poem which has provoked the artistic aspect of this work, and a visual literature review.

Literature Review: At the present time, the “Literature Review” is integrated within the body of the work in Volumes Two and Three both, in form of texts and DVDs. It is, however, likely, that a part of the “Literature Review” would form an independent chapter in the future.

The DVDs: consist of expressive writing, photography, videography, performance, and in some cases commentaries and debates which are made on the bases of personal observations, life experiences and academic research.

Website and Weblogs: all relevant links are provided throughout the thesis, and my academic page; http://parvanehfarid-academicprojects.blogspot.com/ provides the reader with a comprehensive online source to this thesis and the relevant pages.

*Table of Contents to Volume One

2010-05-16T11:02:00.000-07:00

The University of Winchester
March 2009
Volume One
“Translating the Lines”

V. 1. Chapter I

Introduction

· Who is Parvaneh Farid?
· What is her project about?
· Why is she doing this project?

V. 1. Chapter II

Map of My Methaphisical Journey

Scholarly Overview

V. 1. Chapter III

Vol. 1. Ch. I: Introduction to the Thesis

2010-05-16T10:59:00.000-07:00

Theme: "Translating the Lines" is a “Practice as Research” project of visual and performing arts which observes, debates and documents some aspects of the journey of my life and the process of my work over a number of years, which has begun before this thesis and will carry on after.

In doing this, I use more than one medium, and I try to identify the commonality of the visible and invisible lines which appear in my work, during the process of making. This will be dealt with more in my PhD work.

Format: The conventional academic style in presenting a thesis, which consists of texts and diagrams, has been adapted into a format which is intentionally designed and heavily relies on the use of IT and DVD making.

Sections: The introduction consists of three sections;
· Who is Parvaneh Farid? – p. 4,
....also click here
· What is her project about? – p. 7
· Why is she doing this project? – p. 10

Website: To get a more comprehensive understanding of the wide ranging nature of my artwork, please refer to my website; L'Atelier Papillon http://www.latelierpapillon.co.uk/ .
.

"-There is an alleyway in whichthose boys who were in love with me,
with the same untidy hair,thin necks and twig like legs…
- …are dreaming still, of the innocent smiles of a girl

who one night has gone...with the wind..."
(Farrokhzad 1989-92, Farid 2003-08)
.

In writing about myself, here, I use the term “She” instead of “I”. This is because I rather to stand outside of my own life and look at it objectively. Doing that helps me to be more sincere in my understanding and more able to describe the situations and my feelings which form the platform of my practice as research work.

Vol. 1, Ch. I: Who is Parvaneh Farid?

2010-05-16T10:56:00.002-07:00

“I do not remember a time that I did not do artistic work,
I just didn’t know there was a name for what I was doing”
(Farid 2008)

“Parvaneh Farid has a distinctive presence expressed both through her movement and her voice in performance.
It reflects the depth of the experiences that she has encountered in her complex life story.
Her sound is rich, velvety and warm, merging a variety of styles and experiences within its particular timbre.
She always performs with passion and commitment
and her voice is an instrument well suited
for carrying these powerful emotions.”
(Boyce-Tillman 2007) http://en.wikipedia.org/wiki/June_Boyce-Tillman

Parvaneh Farid http://www.latelierpapillon.co.uk/About-Page.html is a multimedia artist, singer, dancer and performer, who produces art films (Farid 1995, 2003-08), music albums & audio book (Farid 1998-2006).
http://www.latelierpapillon.co.uk/Performance-Parvaneh-Farid.htm
http://www.latelierpapillon.co.uk/audioalbumspage.html http://www.youtube.com/profile?user=ParvanehFarid&view=videos

This wide range of media has provided her with an interdisciplinary insight, confidence and ability to choose the most suitable medium that could be the best to express a given theme at any time.

Parvaneh left her mother country; at age of 17 to seek higher education, as she was deprived from that in her mother country as a member of the Bahá’í faith. http://pfarid.blogspot.com/
http://www.bahai.org/
http://search.bahai.org/main/?query=iran+students&x=9&y=8

Her asylum application was accepted by the British Government on ground of “Political and Religious Intolerance at her own Country”. She is now a British subject who has not visited her country since she left, and she is not intending to visit at the present time.

Related work: “I Mask, Therefore, I Am” http://www.youtube.com/watch?v=zi12O0gAe9s

“I may wish to go back home one day,
when my country would allow me to contribute to her
as a Bahá’í, as a woman and as a non confirmative individual that I am”
(Farid 2008)

Parvaneh initially managed to survive in the west, living and working as an au-pair, looking after children and elderly. She then trained as a general nurse at West Suffolk Hospital School of Nursing, and now she is an RGN (registered general nurse).

“A ladder has a modest height for my ascension”
(Farrokhzad 1989 & 92)

Parvaneh has studied Jo Estill’s singing methods http://en.wikipedia.org/wiki/Jo_Estill (Estill 1996) and vocal techniques for a period of over three years with Gillyanne Kayes http://www.vocalprocess.co.uk/who_are_we.htm (Kayes 2000). She also has been couched by Geraldine Hacked- Jones and Hilary Parfit.

Parvaneh has worked with a master of Persian traditional music, Dr Djalal Akhbari (Karimi 1978), (Davami 2000). She has also worked and performed with Persian composers whose styles are regarded as a bridge between eastern and western music; Mr Farrokh Moghaddam, Mr Farid Omran and Mr Iman Bashari.

She taught herself clay modelling, sculpting, painting and fashion design, prior to receiving her first honour degree in sculpture from Winchester School of Arts, and later, a master degree in graphic fine art from KIAD (Kent Institute of Art & Design), a post graduate certificate in women’s studies from Anglia University and a PGCE (Post Graduate Certificate in Education) from the University of Cambridge. Currently, she is doing a PhD in performing arts at the University of Winchester.

“Ever since I remember, I have been doing painting, drawing, http://www.latelierpapillon.co.uk/paintindrawingpage.html
Dressmaking, Sculpting http://www.latelierpapillon.co.uk/sculpturepage.html ,
Calligraphy http://www.latelierpapillon.co.uk/calligraphypage.html
Photography, http://www.latelierpapillon.co.uk/photographypage.html
Expressive writing, http://parvaneh-farid.blogspot.com/
Singing and dancing, http://parvaneh-farid.blogspot.com/ , http://www.latelierpapillon.co.uk/audioinformation.htm , http://www.latelierpapillon.co.uk/Performance-Parvaneh-Farid.htm , http://www.latelierpapillon.co.uk/gallerypage.html
I used to make my parents anxious, they wanted me to become an architect,
but I was too abstract minded to be able to see
the artistic elements in something which has practical use”
(Farid 2008)

In doing calligraphy, Parvaneh has managed to create her own original Persian fonts and style, and her designed calligraphy work plays an important role in some of her work.
http://www.latelierpapillon.co.uk/calligraphypage.html

Parvaneh expresses herself in form of writings, both in English and Persian, and she uses this form of expression in her visual and performing arts. http://parvaneh-farid.blogspot.com/

In photography, Parvaneh has won a number of prizes; “Clyde Hopkins Awards for Valorous Art”, “Linda Granade Memorial Trust Prize” and “CPL Sculptural Photography Prize”. Parvaneh has used her photography and photomontage skills in her video making and installation work. She has also organised exhibitions of her work.
· Totton College, June 2003
· Southampton City Art Gallery, Feb-March 2007
· Turner Sims, University of Southampton, May 2008
· Art House, Southampton, July-September 2008
· The Link Gallery, the University of Winchester, Sept-October 2008
· There is a plan to exhibit this work at the Persian Library, in London in a near future.

http://www.latelierpapillon.co.uk/Performance-Parvaneh-Farid.htm
http://www.latelierpapillon.co.uk/photographypage.html

Parvaneh’s Other Qualifications, Trainings and Skills include; Undergraduate Certificate in Music Composition, Eurythmy, Dance, Photography and Videography, IT visual art (Photoshop, Illustrator, Macromedia Dreamweaver, Premier Pro, Pinnacle), IT Audio Recording & Editing (Cubase SX) Calligraphy and Expressive Writing.

Vol. 1, Ch. I: What is her project about?

2010-05-16T10:56:00.001-07:00

“The art of Parvaneh Farid celebrates the unity of religion as expressed by Bahá’u’lláh, the all-embr-acing religion... This notion of the unity of religion finds expression
in the unifying elements of her work in both a formal
and spiritual sense.In a formal sense, creativity ignores boundaries.
Thus photography, music, dance, performance,
together with any material that can be usefully employed, are all used as one to make powerful art
not easily forgotten.The belief in the unity of religion grows,
of course, out of a belief in the unity of God
and extend in a notion of the unity of mankind
in all its diversity.The spiritual content in Parvaneh Farid’s work
is universal, yet it finds its home
and, in deed, ruthless suppression
in Parvaneh’s native Iran...Parvaneh Farid’s recent statements are an impassioned and articulate rebuke ... in the form of eloquent and original works of art."
(Grylls 1997)

Project Title: The title of Parvaneh’s Project for PhD is “Translating the Lines”, which is an ongoing artistic documentation and analysis of self observation within the context of some aspects of the journey of her life.

“…I congratulate you on having invented a very distinctive new form
for presenting your research in an exciting and stimulating way
that captures the nature of your thinking beautifully"(Boyce-Tillman 2008)

This project has two aspect or wings; the First Wing is the format of the Artistic Language which is employed as means of expression and the Second Wing is the Theme of the content of the project.
.
First Wing – using an Artistic Language: A stylish and metaphoric language is applied, in order to express the theme of the project. This method of expression pays attention to the interdisciplinary features of the organic nature, appearance, and the style of progression of the visible and invisible lines across the axis of time (dance and music) and space (dance and visual art) in Persian art media, such as calligraphy, painting, architecture, artefacts, music, dance and poetry.
Various conventional techniques will be explored and examined, as well as newly developed IT, to highlight the visible and invisible lines of various applied media which are used to express the theme of the project.
.
Second Wing - The Theme; “Licensed to Live”. This project is a “Practice as Research” (Trimingham 2000) attempt in rewriting oneself, using “Autoethnography” (Tieney 1977) as a strategy. In doing that the life experiences and experiments, “Genetic Epistemology” (Jean Piaget 1968), are understood and interpreted, "Interpretive Interactionism” (Denzin 1989), within the “Hegelian Dialectic” framework of “Thesis”, “Antithesis” and “Synthesis”, while the findings are heavily relying on epistemology of the “Subjugated Ways of Knowing” (Boyce-Tillman 2005) using “Qualitative Image-Based” (Prosser 1998) techniques. The stages of this journey towards its final mystical destination, however, are directed according to the roadmap which is laid out in “The Seven Valleys” (Bahá’u’lláh 1986).

This Project looks into the development of one’s “Physical”, “Cognitive” and “Spiritual” identity, as if it is approached via three parallel avenues throughout the journey of life, while looking at contributing factors to these developments and manifestations in the Persian culture particularly in the area of gender and identity.
The wayfarer is required to travel through all these three avenues of existence spontaneously, though not necessarily with a constant rate or the same degree of enthusiasm. One aspect of development does not end its progress before the next one begins, and these avenues do not always remain in parallel with each other, as many junctions and joint roads are on the way, which on one hand could cause collisions and on the other could augment the speed of the journey in one or all avenues.
The wayfarer could also perform several u-turns on her/his way and/or decide to remain stationary in one place for a while. S/he may even travel the same part of the same avenue several times over. At the end the pattern of her/his journey will forms her/his travel history or in other words her/his portfolio of life experiences, hence her/his authentic identity. That notion suggests as if the entire journey of one’s life is the intended destination, rather than the final valley.
On the basis of this argument, one could understand that a restricted pigeonhole system to study the “Physical”, “Cognitive” and “Spiritual” aspects of one’s identity is not a realistic approach, however, for the sake of practicality, a schema is needed; hence looking at these parallel aspects of developments as three separate entities at times. As result, different aspects of this project may develop in isolation, before they eventually come together to form the pattern of a single tapestry of one’s identity.

Vol. 1, Ch. I: Why is she doing this project?

2010-05-16T10:53:00.000-07:00

“… having seen Parvaneh Photomontage art work
I wanted to comment on the degree of professionalism
that her work embodies.
I think that it is important to stress that aesthetics aside,
it is refreshing to see sublime work presented
as practice as research.
This is important, particularly as she is using
the presentation of 'harmony' in an Aristotelian way
to reveal her transcultural struggle underpinned
by her religious and philosophical belief.
Not to have this as an example of good practice from a different, as she put it 'illegitimate cultural' perspective, would be a great shame.”
(Taiwo 2008)

An Illegitimate Cultural Perspective: Parvaneh’s work demonstrates elements of her rich Persian heritage within the perspective of the western culture. Although as a Bahá’í she has been brought up with the notion of one world citizenship, but she finds herself struggling with having to be accepted by the measurements which is expected from her in the west, on one hand and those which are expected from her by the eastern artistic norms and the Islamic regime of Iran on the others.

“Although the event of my birth has provided me
with a natural Licence to Live, I do not seem to fit in to the cultural norms and I tend to resist to confirm with them.
My PhD. project is an attempt to recognise the person I am and to identify the reasons and factors
which have contributed to the way I am.
The outcomes of this process, would hopefully, provide me with a systematic and therapeutic agenda
which would help me to accept myself as I am
and indicate a progressive path into my future.”
(Farid 2008)

Parvaneh’s project seems to be building a bridge between two cultures, the east and the west, while continuing referencing to newly developed school of thought with a global vision; the Bahá’í faith. The story of her journey may benefit those who wish to study the life of a woman who was not accepted by her own culture neither was she by the culture of the country she took refuge to. The outcomes of this study may be especially interesting, because she is being interviewed, analysed and interpreted by herself, looking at her own body, mind and spirit within the contexts of these conflicting cultures.

Why the use of Internet Technology:

“A mechanism of world inter-communication
will be devised embracing the whole planet,
freed from national hinderances and restrictions,
and functioning with marvellous swiftness and perfect regularity.
(Rabbani 1978)

"I am now convinced, that the use of the website
is an appropriate format to deliver your project…”
(Boyce-Tillman 2008)

The other beneficiary aspect of Parvaneh’s project is her interest in the use of innovative artistic method of expression and the use of new technology which has not been experimented much within academic arena. The modern inter-global technology is here to stay and sooner or later its capabilities for being used as a format to submit academic thesis will be established.

Public Art: Parvaneh has also a great interest in sharing her findings with the general public and believes that the internet technology can facilitate her with the most effective means to share her work with the people across the globe. Hence she maintains a rather extended webside of her work; http://www.latelierpapillon.co.uk/ .

“The art within the walls of an exhibition is as alive as fish is inside a can.
I believe that the arts should be where people are,
and not in possession of a few privileged members of the society.
The real public art can only be found in the graffiti around the cities
and on the websites and weblogs of the unknown artists.
The graffiti and websites are free from the influence of the marked
and the censorship of kinds.
Hence, I use the internet technology
to communicate my art work to the people.”
(Farid 2008)

*Map of My "Methaphisical Journey"

2010-05-08T11:21:00.000-07:00

*A Scholarly Overview

2010-04-19T02:52:00.000-07:00

Introduction
The below poster is an artistic “Map of My Metaphysical Journey” demonstrating the path of the creation of the lines which my mind has taken up to the present time.

In this map, the complexity of the journey is contained in the boxes, and although the lines which link the boxes look as if they are of unsubtle nature, my project, “Translating the Lines” is generally concern with more subtle and more organic lines.

Our living -box A- continuously creates -box C- “Invisible Lines” -box C1, C2 & C4- which are discovered and projected by the artists -box C3-, using various art forms -box C5-. Since the origin of all these lines is the same -box A- they can be translated across one art form to another, and that is the area of my interest -box C5 & E2-.

Studying the Language of the Lines in Art
In my project, I examine how the human being’s movements produce a series of “Invisible Lines” -box C,C1,C2&C4- which forms the basis of the Arts -box C3&C5-. Philosophically I see the invisible lines as an expressive symbol of human existence and as a central aspect of his life.

This notion has come across my mind not only as a result of a personal intuition throughout my life -box D 1-, but as result of my observations on the works of artist such as Constantin Brâncuşi, Oskar Schlemmer and also some aspects of Eastern arts which manifest itself in the painting and calligraphy of that heritage -box D & C1…5-. The following is an examination of such influences on my project.

Movement: The “Invisible Lines” -box C2- come to existence through the movement of a “Dot” which is the “Starting Point” of the creation of a line -box C-. This “Dot” then moves towards a “Target Point” via a certain “Direction” -box C1-. The trace of the journey of this “Dot” is the “Line”, which is “Invisible” -box C2-. What could be “Visible” is only the imprint of the “Invisible Lines” on the environment -box C4-.

To recognise the motive behind human being’s movement -box C&D-, therefore the emergence of the “Invisible Lines” -box C2-, I look at his basic instinct for survival. I call this prime instinct “To Be” -box A-. It appears as if “Movement” -box C- is a recognised characteristic for human which is related to this prime instinct.

Simplification: By simplifying a given phenomenon -box C3- and searching for its inner essence of existence, the artist identifies the “Invisible Lines” -box C2- of that phenomenon which have formed its foundation (thesis).

Stylisation: S/he then internalises this foundation of “Invisible Lines” and according to her/his personal and cultural makeup allows them to “Move” and behave in a stylised manner -box C3- and become a set of “Stylised Invisible Lines” (antithesis). These newly born “Stylised Invisible Lines” then form the skeleton of the artist’s new project -box C5.

Manifestation: From here, the artist endeavours to make the “Stylised Invisible Lines” manifest and express a certain theme -box E1- to the onlookers via an “Art Form” such as painting, performance, music, and poetry etc. (synthesis) -box C5,E1&E2.

Art Form: is a verbal or nonverbal language which is stylised, complex and more expressive than the everyday language -box C5,E1&E2-. The art forms can individually named as painting, sculpture, calligraphy, photography, video making, installation, music, poetry, performance, etc. Each art form has its own method of production and grammatical makeup.

Theme: -box E1- is an internal or external phenomenon which engages the artist and makes her/him to begin the dialectic process of “Identification of the Invisible Lines” -box C2- and ”Stylisation” -box C3- in order to inform the onlookers of the way s/he has been affected by that phenomenon -box E2-.

It seems as if although this productive process begins with simplification of a phenomenon, it ends in a rather complex final product of an artwork -box C5- which could be original in its expression. Therefore I tend to agree with Oskar Schlemmer (Kuuchling 1971) who believes that simplicity by itself provides opportunity for innovation, hence creation new artwork:

“We can always being over again with A, B, C,
we can always reconsider the elements of art,
because in simplicity there is a strength
in which every true innovation is rooted…”
(Kuuchling 1971)
and also with Constantin Brâncuşi’s (Shanes 1989) who says:

“Simplicity in its essence is complicity”
(Shanes 1989)

To trace this process in practice, I would like to look at Constantin Brâncuşi’s (Shanes 1989) approach to sculpture and also Oskar Schlemmer’s (Schlemmer 1986) and Joanna Jayne Bucknall approaches to performance and poetry, in connection with my work.

Constantin Brâncuşi
“The natural element in sculpture means allegorical thinking,
symbolic, sacredness or the search for essences hidden in the material
and not the photographic reproduction of external appearances.
The sculpture is a thinker and not a photographer of ridiculous,
multiform and contradictory appearances.”
(Shanes 1989 – p. 18)

Looking at 1909 version of “The Kiss”, one of Brâncuşi’s sculptures http://www.emuseumstore.com/product/2340/119 (Museum Store February 2010) and compare it with one of Rodin’s sculptures on the same theme, http://en.wikipedia.org/wiki/The_Kiss_(Rodin_sculpture) (Wikipedia February 2010) or
even with one of Brâncuşi’s his own earlier version of “The Kiss” which was carved in 1907, gives us some understanding about what Brâncuşi tries to discover -box C2- and convey in his art -box E2-. That is to distance from what he calls “the photographic reproduction of external appearances” in favour of a “search for essences hidden in the material” -box C2&C3-.

“The Kiss” (1907-08) & “The Kiss” (1918) by Constantin Brâncusi

“The Kiss Gate” (1937-38) by Brâncuşi & “The Kiss” (1889) by Rodin

This comparison does not aim at undermining Rodin’s skills in seeing and using the “Invisible Lines”. In fact I believe that he has a great level of understanding for the “Invisible Lines” -box C2- and he creates such an acrobatic dialogue between them which is both clever and pleasing -box C5&E2-. He, however, unlike Brâncuşi, disguises the “Invisible Lines” with realistic looking volume and photographic sculptural appearance.

Brâncuşi made several versions of “The Kiss” throughout his almost 30 year’s carrier, each version simpler than the one before -box C3-. He carried out this project until in his later attempts, such as “The Gate of Kiss”, one can only see an inter-positioned pair of semi circles, representing the eyes of the kissers -box C3&C4-. In this version of his work, Brâncuşi claims that the most essential part of the anatomy which is most significantly involved in such human behaviour is the eyes and not the lips, hence that is all he applies to his work in order to convey the theme; “The Kiss” -box C1&E2-.

This idea of distancing from reality and emphasising on what matters most could be seen on Indian Miniature and some narrative art in Western culture, as well as some digital drawing of mine -box C2…C5&E2-.

As seen on the following examples; ‘Bani thani’ 18th century school of the Rajasthani style of Indian painting and also on the chosen Indian contemporary painting, not only no attempt is made to make the portraits look real, the “Invisible Lines” are recognised -box C2-, stylised -box C3- and made visible -box C4-. The important parts of the faces, like eyes, are also portrayed larger to be more expressive -box E2-. Similar treatment is also seen in some western narrative arts such as the portrait of Jesus by J. Yoswa (Graham 2009), despite the introduction of some halftone effect.

L: ‘Bani thani’ 18th century school of the Rajasthani style of Indian painting.

M: an Indian Contemporary Painting, R: a portrait of Jesus by J. Yoswa (Graham 2009)

L: “Untitled” (Farid 2005), M: “Mlle. Pogany version II” (Brâncuşi 1919)
R: "Portrait of Dora Maar Seated" (Picasso)

In my digital drawing, pictured above, similarly the lines are very much visible and descriptive -box C4-. Furthermore, not only they are stylised -box C3-, priority is given to their smooth and organic flow, even though the direction of the flow may seem odd. This makes the face somehow look distorted like what we see in "Portrait of Dora Maar Seated" by Picasso -box C3-, although Picasso’s work from the viewpoint of the fluency of the line is very different -box E2-.

Some elements of romantic features are also seen in this work of mine which is drawing on the romantic treatment which is given to “Mlle. Pogany” (version II 1919) by Brâncuşi, which choreographs a dance like dialogue between the “Invisible Lines” which are made “Visible” -box B2&C3-.

Another series of Brâncuşi’s sculptural work which could be looked at here is his “Fish”. Like in his other project, Brâncuşi makes several versions of this subject matter -box E1-, striving to discover and demonstrate the characteristics of a fish -box C2- rather than producing what he calls a “photographic reproduction of external appearances” of it -box E2-.

Brâncuşi argues that when one looks at a fish, s/he does not see the eyes or the tale, nor the wings, but the movement and the reflection of an aerodynamic volume in the water, and that is what he tries to capture and reflect -box E1&E2-.

“Fish” (1922) & “Fish” (1930) by Constantin Brâncuşi

The first fish, made in 1922, is in marble and mounted on a mirror to introduce appropriate associations of the reflectivity of water. In grey marble one, 1930’s version, he took advantage of the horizontal striations of the stone to suggest the levels and waves of water -box C2&C4-. The later version is mounted in such way which can rotate 360 degree on its base to emphasis fish’s rapid movements in different directions -box E1&E2-. All versions of “Fish” have very smooth and abstracting appearances which only refer to an abstracting contour of a real fish -box B2,C3,E1&E2-.

Oskar Schlemmer
Another artist who is interested in looking at the essence of the subject matters -box D,C2,C3&E1- is Oskar Schlemmer (1888-1943)
http://en.wikipedia.org/wiki/Oskar_Schlemmer

“Man and Mask” -box E1-, is one of his works which consists of a series of performances in which a few performers take part. In this work Schlemmer tries to strip the performers of almost their entire cultural, sexual and individual characteristic -box C2&C3- which are visible or audible in order to reach the very essence of a human or his/her authentic being -box D&C2-.

To achieve that, Schlemmer puts the performers in some similar bodysuits which cover their heads and faces as well as the entire bodies -box C3,C6&C5- . These bodysuits are designed in such way that not only they deny the cultural appearance and the genetic make up of the performers, their gender and sexual characteristics are also neutralised -box B2-.

It, however, appears to me that Schlemmer has not managed fully to neutralise the gender of his performers here-box B2-, nor he has succeeded completely to deny all of their cultural references -box C2&C3-, as their glottal noises and laughter sound masculine, and some tendency towards Mediterranean masculine gestures is also recognisable in their behaviours.

“Man and Mask” Oskar Schlemmer (1888-1943)

“… when they knock at the door and we ask,
through the door, the door, the question, ‘Who’s there?’ answer…
‘It’s me’, and we recognise that ‘it is him’ or ‘her’
Louis Althusser (Butler 1993, p121)

To me, “Man and Mask” underlines the importance of gender in our daily encounters -box B1&B2-. To me, watching these ambiguous looking performers not only does not switch off my mind not to look for signs of gender identity, it brings the question of gender to the front of the mind. Here is a clear contrast with my work that gender identity is an important issue -box B2&B3- and plays for the role throughout. E.g. “I Mask, Therefore I Am” (Farid 1995), “Looking Like a God” (Farid 1995) and “Another Birth” (Farid 2007-8)

L: “I Mask therefore I Am” & R: “Looking Like a God” (Farid 1995)

“Another Birth” (Farid 2007-8)

Furthermore in one of my later works, “Zolf Ashofteh” (Farid 2009),
http://www.youtube.com/watch?v=YJgsbsA8FFA&feature=channel (Feb 2010)
I played with the issue of gender -box B2- by giving the narrator a cross gender identity in order to reinforce the dark humour which runs throughout the piece -box C1-, to demonstrate women’s rebellious attitudes towards the depressive regime in Iran -box E1&E2-.

Where the issue of simplification and reaching the essential is concerned -box C2&C3-, Schlemmer also diverts from the realistic appearance of human to discover the spirit of man and its authentic reality -box D1-.

The bodysuits which he designed -box C6- suggest that Schlemmer has a different approach and intention from Brâncuşi and me where simplifying -box C3- the subject matter -box E1- is concerned. He simplifies the “Man” in order to demonstrate the unity of human race, and does not show any interest in romanticising or creating an object of beauty Similar to Brâncuşi -box B2-, hence, it looks as he is only after intellectual dialogue between forms, scale and the movements -box C,C1&E2-.

As mentioned earlier, in order to demonstrate the notion of unity of humankind -box E1&E2-, in “Man and Mask”, Schlemmer bypasses “Verbal Language” to avoid cultural differences which are manifested via the language. In “Man and Mask” the performers do not speak throughout the act, although every now and again they laugh and make kind of glottal noises which sound more masculine than feminine. Along the line of the same idea, the movements and the body language are choreographed in a way that does not reveal too many cultural or sexual clues to the onlookers.

A couple of my earlier performances;
“Tahereh” (Farid 1995) http://www.youtube.com/watch?v=NZkuJZK-gTU
and “A Silence to be Heard” (Farid 1997) http://www.youtube.com/watch?v=b7J1M7NdkR4
are made without the use of verbal language.

In “Tahereh”, a three minutes art video, I have reconstructed the essence of Tahereh’s historical act of publicly removing her veil in a Babi conference in Badasht, Iran, in 1850s (Vaseghi 2006 pp. 29-30) -box D1&B3- . In this work, I stylise the very essential nature of Tahereh’s action and reconstruct it without saying any words, however, a very limited amount of stylised sound effect is applied. The sound effect is synchronised with the movements, which somehow is similar to “Man and Mask”, where Schlemmer uses synchronised sound effect to the movements at times -box C5&C6-.

“Tahereh” (Farid 1995)

In this work, unlike Schlemmer’s, not only I do not disguise the gender and the cultural identity of the performer; I make sure that the issues of culture and gender are well established and presented to the onlooker -box B2-. The reason for this is that “Removal of the Veil” only has significance within a particular cultural and a single sex -box B1&D3-.

“A Silence to be Heard” is a complex performance/installation work in which although the performer is gagged, she communicates with the onlookers through a series of stylised gestures -box C3- which are drawn from English sign language -box C2-. In this way, she conveys some global values, such as unity in diversity as they are suggested in Bahá’í faith. (Abdol-Bahá’ 1972, pp. 163-167) -box D1,E1&E2-.

The gestures, here, are synchronised with a purposefully composed piece of music -box C2,C3&C4- which is drawn from the “Invisible Lines” -box C2-, created by the performer’s movements -box C1-. Through an innovative process, these “Invisible Lines”, are translated into lines of musical notations -box C4-. The performer, therefore, becomes the creator of the music here -box C5-, unlike, for example, “Space Dance”, one of “Man and Mask” performances by Schlemmer, in which the drumbeats dictate/lead the performers’ movements -box C6-.

In this work the female performer’s gender identity, unlike the performers in “Man and Mask”’, is not disguised -box B2-, although, the costume she wears is reduced to a long and loose black body-cover which is intended to minimises the cultural references -box C3-.

“A Silence to be Heard” (Farid 1997)

The space and lighting in this work, as in Schlemmer’s, play an important role -box C6-. Similar to “Man and Mask”, the space here is dark and lighting is intentionally planned. In “Metal Dance” another episode of “Man and Mask”, the source of the lighting is not visible and only bars of dim lights reflect from behind of a single performer. Here the light and the shadows of the performer began to create a visual kind of “call and response” dance -box C5&E2-.

“A Silence to be Heard” (Farid 1997)

In “A Silence to be Heard”, however, the sources of the light are part of the design of the space. The space is divided into a confined part and it’s outside surrounding area. The confined space is created by 12 long one-sided mirrors (one side mirror and the other side glass), suggesting a prison cell. The performer acts inside this confined space -box C6&E2-.

The lights, their reflections into the one-sided mirrors, together with performer’s movements and her shadows and reflections on the mirrors on one hand, and the reflections of the onlookers who gather around the confined space create an interesting moving image. This visual picture becomes even more interactive, when the lights are dimmed and brightened at time -box C1&C4-.

From aesthetic viewpoint, I find my work close to Brâncuşi’s. The proof of that could be found in my calligraphy -box C4-. From viewpoint of simplification -box C3-, however, I am also close to Schlemmer, because I am interested in demonstrating -box E2- that all art formats are in their essence one -box A-, as Schlemmer tries to reach the unity of humankind through simplifying the notion of “Man”.

It appears as if Schlemmer’s method in using various media such as performance, sculpture/costume, dance/movement, installation, props, etc. -box C5- in “Man and Mask” is noting more than juxtaposing. It appears as my earlier work “Looking Like a God”, I am also following that method, however, in my more recent works such as “A Silence to be Heard” an interaction between the media starts to develop in which interdisciplinary dimensions could be recognised and the concept of line in a variety of media is explored.
In “A Silence to be Heard” I endeavour to find the common ground between the media which I use and then allow one medium grow new branches in the background of the other -box C5&E2-. In other words I try to translate a subject matter which is developed in one medium into another, or take a seed which is harvested in one medium and implement it in the soil of another medium, which is very different method from juxtaposition. The music composition for this work is an example of this interdisciplinary method.

The “Interdisciplinary” approach, makes my work different from Brâncuşi and Schlemmer, when it becomes complex, yet again, after the initial simplification. For example after I reach the essence and the “Invisible Lines” of a given theme which is choreographed as a dance, I then translate those “Invisible Lines” into, for example, work of calligraphy -box C2&C4-. That treatment, somehow introduces some elements of ambiguity to my work, while providing the onlookers with opportunity to see the unseen -box C1&E2-. An example of the use of that method could be “Another Birth” (Farid 2007-8) which is made of many layers of visible photographic images, calligraphy work as well as invisible poetic visions -box C5,C6-.

Here I would like to look at my calligraphy work and check it against the work of two other artists -box C4&C5-. This is an example of my calligraphy work which has been stylised to such an extent that it is not readable -box C3&C4-. However, aesthetically, it looks attractive and eye catching on its own, without having to know its meaning -box B2-. That is different to the way that Shirin Neshat, a Persian contemporary visual artist
http://en.wikipedia.org/wiki/Shirin_Neshat (viewed 10th March 2010) who uses calligraphy in her work.

“Rejoice” (Farid 2003)

Untitled (Mishkín-Qalam 1992)

Expressing the Inexpressible (Neshat 2000)

On this example of her work Neshat uses a piece of writing in its regular way without stylising the letters. From aesthetic view, this piece of writing would not catch many eyes, out of the context of the used photograph. Perhaps my calligraphy design is closer to work of Mishkín-Qalam http://en.wikipedia.org/wiki/Mishk%C3%ADn-Qalam (Viewed 10th March 2010) (Mishkín-Qalam 1992) a 19-20 century calligraphy Persian artist who stylised and designed the words as seen in this example. His work, however, appears to be more geometric and controlled than my work which appears as a dancer is freely moving around and leaving the trace of her movement behind -box C,C4&C5-.

Joanna Jayne Bucknall
I am now moving to the concept of invisible lines in poetry -box C2&C4-. Here, I would like to look at Bucknall’s work; “Siren Song in 3 Parts” (Farid 2007)
http://parvanehfarid.blogspot.com/2007/11/on-siren-song-in-3-parts.html because this is a
performance by a Winchesters University’s research student who uses the poetry as a medium and my recent work is very much based on poetic performances -box C1,C5&E2-.

“She is a kind of woman…” -box B2&E1- is a haunting phrase that is imprinted on the mind of the audience -box C1-, not only because of the image of “a kind of a woman” that is presented by the text, but also due to the artistry of the performers on the one hand, and the professional structure and stage management skills of the creator of the piece, Joanna Bucknall, on the other -box E2&C5-.

Siren Song in 3 Parts by Joanna Jayne Bucknall (Farid 2007)

The performance took place inside an installation space, surrounded by black walls, floor and ceiling, lit by a dim light. This dominating dark atmosphere was interrupted by a single shade of red that painted a set of basic furniture and ornaments, required for a party as well as the evening dresses of two sleek female performers.

Siren Song in 3 Parts by Joanna Jayne Bucknall (Farid 2007)

As we entered the theatre, we were welcomed by the creator and the performers who were casually moving around the room and mingling with the audience throughout the course of the event.

The atmosphere and the installation promised an interesting performance of audience participatory nature -box C1-. What struck me, however, was the potency of the texts which were read from time to time by the cast who randomly interrupted the “party” and diverted the casual flow or “Line” of the show into a sophisticated, thought provoking and mental-image making exercise with multiple lines.

Siren Song in 3 Parts by Joanna Jayne Bucknall (Farid 2007)

The lines of the narrative are circling around the identity of a girl/woman who may live next door to you -box C1,C2& B2-. A woman whose image and lifestyle may engage you in using your imagination and make you listen to the neighbourhood’s gossips about who she is and what she does behind the closed doors of her house as well as within the cavity of her mind.
She is portrayed -box C1- as the kind of a woman that you might develop a love-hate relationship with. A woman that is to be ignored, and yet she can make the neighbours peep through their curtains when she comes and goes. She is the kind of woman that you wish to move away in your neighbourhood from and yet, if she does not make her colourful presences known in your life, her empty space is felt. The kind of woman that you wish to meet but not get close to, like a mystery that you wish to discover and yet fear its consequences. These are the types of feeling and the patterns of thought that you take away with you after becoming a part of the process of this performance. The lines of the performance form a complex web in the imagination of the perceiver.

Here, I would like to contrast the way I use poetry in my performances with that of Bucknall. Unlike Bucknall who uses the medium of live performance, in my poetic performances I use video making and the internet as media. Taking “Zolf Ashofteh” as an example, I use a female narrator who cross-dresses as a male Iranian Muslim clergy to narrate a love story. She appears in a stylised manner in which the lines of her femininity are not completely disguised.

The poem which I have chosen for this work, “Zolf Ashofteh” (Hafez 1997), is a well known Persian poem by Hafez, describing a sensual scene, in which a man describes the occasion, when his lover comes to his chamber, offering him wine. Further he addresses a cleric, telling him with sarcasm; that he is not to obey his moral codes. The sarcasm acts as a line linking oppressor and the oppressed.

The use of a cross dressed narrator, together with the choice of love poem and political images forms a line which moves across the screen to create a social-political type of sarcasm and dark humour in my work; that is different from what Bucknall does, which has no political dimensions, but social.

In “Zolf Ashofteh” (2009) I decided to give the narrator a cross gender identity

Cross dressing, here, has different motive to what Butler (1993, p126) suggests regarding Julie Andrews in “Victor Victoria” (1982) who cross dresses to achieve a “high heterosexual entertainment” or “provides ritualistic release for a heterosexual economy that constantly police its own boundaries”. It seems that the motive in “Zolf Ashofteh” is closer to Barbra Streisand’s (1983) in Yentl, when she cross dresses to empower herself within the Jewish patriarchal society.

In fact in “Zolf Ashofteh”, beside the idea of sarcasm, as Marilyn Fyre and Janice Raymond (Butler 1993, p126) argue, through cross dressing, I am seeking empowerment through “ridicule and degradation”. This is a critique of a group of typical clergy in position of political power, such as Ayatollah Rajsanjani, who cannot grow a beard, a fundamental characteristic of Muslim clergy and Ahmadinejad, the president of an Islamic government who denies the existence of homosexuals in his country. The line from a cross-dressing woman stretches out to entangle the representatives of patriarchal power in her web.

The cross-dressing of the female narrator which is simply achieved by wearing a turban and is accompanied by her controlled lines of posture and her majestic body language enables her to achieve a position of power in a sarcastic way. Furthermore, the soft and romantic invisible lines of the poetry and the seductive and smooth vocal line of the narrative together with the visible lines of costume and the props make a contrast with the harsh and unpleasant political situation in a society where “Male” dominance plays a radical. Portraying this sarcasm and contrast gives an unexpected power to the female narrator in this piece, which is likened to the lines of politicians in their domineering character.

L: Ayatollah Rajsanjani, R: AhmadiNejad

Right from the beginning, the unrolling of the lines of this love poem together with the images which are referred to on the screen, creates a second line of political sarcasm in this piece. For example when the narrator recites this verse in a majestic tone; “Dishevelled hair, blushing face, smiling lips and ecstatic - singing a love song, dancing in a flimsy garment, raising her wine cup...” (Hafez 1997), some ridiculous photo images of the Iranian presidential candidates pass across the screen.

President AhmadiNejad and the First lady

Some Iranian Presidential Candidates (2009)

The double lines of sarcasm together with contrasting and unexpectedly shocking images manage to transfer the intended idea of this poem to a political one. This mode is maintained throughout the piece and finally ends with a sarcastic poster of a ballot box.

Poster by Parvaneh Farid

Here I am turning my attention to use of lines in the different media. My method of creating sarcasm is different from Bucknall’s. In her poem sarcasm is embedded in the lines of a poem whereas in “Zolf Ashofteh”, it is the combination of the lines of the poem, the line of the performance and the lines of the photographic images which is initiates a shock. In another word, the single lines themselves are not shocking; the crossing lines of sarcasm and contrast are.

A photograph of executions by the government of Iran

Summery
This thesis is an exploration of lines. In this scholarly overview I have linked the notion of simplification in the work of sculptors with the concept of invisible lines which run through and around their work. Doing that, I have been able to abstract the invisible lines of a few sculptures. I have then used this technique to analyse the work of a few visual artists with different cultural background and shown how although my style is related to them, the lines of my visual art are more visible and descriptive.

I have linked this with Schlemmer idea of essence which has raised the issue of gender neutrality. This has led to the role which gender identity plays in my own work, which I have examined in relation to the veil of the women. This has led to the notion of gesture as line and moved from static visual artistic products to performances.

My performances have drawn on notions of simplification found in both Brancusi and Schlemmer, and I have carried it forward by the use of calligraphy. I have shown how in “A Silence to be Heard” I have brought various media together to reveal the invisible lines, whereas in “Another Birth” I have used layers of photographic images as well as calligraphy. I have then looked at the work of other artists who have used photography and calligraphy in close association.

I have then looked at poetry as a source of invisible lines, concentrating on a performance with poetic elements in it. This deliberately engages with gender identity. I have contrasted this with my own poetic performances which are generally in the context of video making. I have looked at gender issues in my work, drawing from the work of Judith Butler.

The problem with gender identity has led me to an exploration of political sarcasm and its relation to the arts, particularly to photography. From there I have followed the line towards political sarcasm by implementing the lines of romantic poetry and performance in contrasting context of a political situation.

In this overview I have traced some of the lines on the front page map; our prime instinct is “To Be”; I have linked those lines to the urge for expressing our existence, desire to move and having a curious mind, which together lead to the creation of the lines, and there on to the notion of stylisation in art.

The exploration of design and technology in the service of communication - that is video making and internet communication - has led me to search for appropriate means for expressing the lines which is the central point of my thesis.

*Vol.1, Ch.II, Methodology : Introduction

2009-03-28T13:06:00.000-07:00

In my practice based PhD although I use a number of strategies, as and when required, the project is, fundamentally, processed according to one basic methodology; “Practice as Research” (Trimingham, 2000). That means all the works in chapter I / Body, chapter II / Mind and chapter III / Spirit, have been made and will continue to progress by going through a three phrases of development; Planning, Making & Reflection.

The theme - “Translating the Lines” has provided me with a platform to discover the origin of the “Arts” as set out in the scholarly overview. Here, I list a variety of lines of strategy that runs through my work. I use an “Intuitive” mental process (Subjugated Ways of Knowing - Boyce-Tillman 2005 and The Seven Valleys Bahá’u’lláh 1986). I am a member of a wider community - a Refugee Persian Bahá’í Women who has travelled from Iran to England (Autoethnography, Tieney & Lincoln 1997).

I am strongly influenced by my “Feminine Emotions” -box:B2- (Interpretive Interactionism, Denzin 1989). I also considered basic elements of the origins of life -box:B1 - (Genetic epistemology, Piaget 1968). Through these strategic lines I arrive at what could be the “Prime Instinct” of “Human”; which I call: “To Be” -box:A. From there, as shown in the front diagram, I trace the emergence of the “Art Formats” as a “Language” or “Means of Communication”, which itself could fuel this prime instinct.

*Vol.1, Ch.II, Methodology: "Practice as Research"

2009-03-28T13:04:00.000-07:00

“Spiral method of Planning, Making & Reflection” (Trimingham, 2000)

Usually a thought or a feeling comes my way as a theme (Reflection) -box:E1&D- and tells me how it wants to be processed and expressed -box:C,B2,C1,C4,C5&E2-. The phenomenon of that theme goes through a process of simplification (Planning) -box:C3-, from which I can identify the “Invisible Lines” which form its foundation (thesis) -box:C2-. The simplification process in my work often takes place intuitively - in such a way that my conscious mind is, sometimes, not even aware of -box:D&D1-. These “Invisible Lines” are then internalised (Reflection) -box:B2&C1- and through the filter of my personality and cultural identity learn to “Move” -box:C--box:C3- and become a set of “Stylised Invisible Lines” (antithesis) -box:C1&B3-.

From here a suitable medium is suggested by the process -box:C5&C6-, and it allows an art form to evolve -box:C5- on the basis of these “Stylised Invisible Lines” and produce a new piece of artwork (Making) -box:C5&E2-. This process together with its outcome is then reflected on. The reflection indicates any required adjustments and also it provokes further ideas for future work, and the whole process repeats itself spirally -box:E2&A-.

The repetition of this process refines the essence of the theme further and further -box:E1,E2&A-. It also brings about new questions and challenges -box:D-, which are very much valued. In fact the new questions, to me, are the sign of the success of a project, because new questions always provoke creativity whereas the answers would conclude the progress -box:D-, -spiral process of the map which is demonstrated by the links and boxes- . As Rumi says:

(Rumi 1976)آب کم جوی، تشنگی آور بدست “Do not search for water, but for thirst”

This sums up the trace of my journey from an idea to a final product; this sits within my chosen general methodology "Practice as Research” (Trimingham, 2000) and is an in-depth exploration of the spiral method often suggested in this methodology.

In my scholarly overview I wrote that Simplification is the basis of my project -box:C2&C3-. The process of ‘Being’ is intrinsically bound up with line creation -box:A&C4-. In my project, I examine how the moving lines of a human being’s existence form the basis of Art-making -box:C…C5-. I am searching for the fundamental basis of human art-making which I see as Invisible lines created by the process of being and becoming -box:A,B,D&C-. This explains why, in any given phenomenon, I search for those “Invisible Lines” -box:C2- which are part of the process of simplification -box:C3- as I have explored in the scholarly overview and earlier in this section. The rest of this writing will explore the process I have used to reveal the Invisible Lines and embed them in more complex artistic phenomena -box:D-.

*Vol.1, Ch.II, Methodology: 1. "Planning"

2009-03-28T13:01:00.000-07:00

The "Invisible Lines" play a role in a variety of levels of the existence of human being -box:C,C1&C2-. If we say that the human’s life takes three parallel lines of journey; which are “Physical” -box:B&C-, “Cognitive” -box:B,C&D- and “Spiritual” -box:D,B2&D1-, my work could be then an attempt to explore these lines of existence -box:C&C1- as an artist who relies on intuitions -box:D&D1-, life experiences, the emotion -box:B2- as a woman -box:B- and the common sense -box:D-. An example of such work could be “Another Birth” although addresses the physical and cognitive lines of woman’s life, it is strongly a demonstration of a spiritual journey.

The process of planning for a project begins in the mind -box:D-. In this area I use the following strategies:

· Intuition -box:D&D1-

· Autoethnography -box:B3&D-

· Interpretive interactionism -box:B-

· Genetic epistemology -box:D-

Intuition is the way which a theme -box:E1- emerges through the concept of our cognitive and spiritual existence -box:D-. As an artist I heavily rely on my intuition where the themes are concerned. In fact I do not search for the theme, but it is the theme which usually finds its ways into my mind. Western society values rationality -box:D2-. very highly, and is often suspicious of intuition -box:D1- which has become a “Subjugated Way of Knowing” (Boyce-Tillman 2007).

Since the process of planning a theme begins in the mind -box:E1&D-, I need to establish the fact that as a Persian born artist who lives and work in the west, “Subjugated Ways of Knowing” has a fundamental bearing in the process of planning the themes of my work. I understand that the use of “Intuition” has not been a common practice in Western culture, however, as Gooch argues (Boyce-Tillman 2005, p8); In the 21^st century, the West has begun to recognise different ways of knowing; “Intuition” as a reality.

As a result the west…

“…is trying to heal a rift that has developed

in its intensely rationalistic culture.

Gooch defines this rift in terms of two systems of thought,

both of which co-exist in the human personality.”

“Type A, that is, those who are happy acting on logic

and scientific reasoning which are part of system A, and others as

Type B and that is those who favour system B,

acting intuitively and valuing belief.”

(Boyce-Tillman 2000, p8)

As an artist my work is heavily relaying on the “Type B”, intuitive aspect of “Subjugated Ways of Knowing”.

Physical and the Cognitive realms

Each of these aspects; “Type A” and “Type B”, have different sets of laws.

The Physical world of existence is often known by the adjectives; mineral, vegetable, animal and the human. The notion of cognitive -box:D- is particular to the life of the human. The “Realm of Spirit” is another aspect of existence -box:D1-, which is explored by some philosopher and religious figures. It is also suggested by some that the spiritual realm is a natural continuation of life for human; however, there is no materialistic evidence available to prove that. Therefore, at present state of my understanding I consider the “Spiritual Realm” as an independent entity which although plays an important role in life of human, its existence is not supported by the same set of laws which rules the world of nature.

One of these philosophers who suggest that “Spiritual Realm” is a further link of the chain of existence is Rumi http://en.wikipedia.org/wiki/Rumi (Last visited: March 2010).

"جملۀ دیگر بمیرم از بشر, تا بر آرم از ملایک پر و سر, وز ملک هم بایدم جستن ز جو, کل شیء هالک الا وجهه, بار دیگر از ملک قربان شوم, آنچ اندر وهم ناید آن شوم, پس عدم گردم عدم چون ارغنون, گویدم که انا الیه راجعون..."

“… Therefore, once I die as human

I shall continue my life as an angel

……

Once again I shall die as an angel

And I shall become something unimaginable

Eventually I shall burnout to nothingness like “Arghanun”

And only then reunite with my creator…”

(Rumi 1976, Section 178, 3^rd Volume, translation: P.F)

The “Spiritual Realm” has a strong influence on “Stylising” the movements of human leading him to the creation of the phenomenon of “Art”.

As said earlier, as an artist my work is heavily relaying on the “Type B” -box:D1-, intuitive aspect of “Subjugated Ways of Knowing”. For that, I look at a mystical method of research which is explained in a letter by Bahá’u’lláh; “The Seven Valleys” (Bahá’u’lláh 1986). Beside this, however, I endeavour to consider the related iconic academic findings -box:D2- and measure up my work against the work of some other artists -box:C5-.

“The Seven Valleys”

As a Baha’i where spiritually is concerned, I often refer to The Seven Valleys of Baha’u’llah as a framework -box:D1-.

“The stages that mark the wayfarer's journey from the abode of dust to the heavenly homeland are said to be seven.

Some have called these Seven Valleys, and others, Seven Cities.

And they say that until the wayfarer taketh leave of self,

and traverseth these stages,

he shall never reach to the ocean of nearness and union,

nor drink of the peerless wine...”

“It is incumbent on these servants that they cleanse the heart

-- which is the wellspring of divine treasures --

from every marking,

and that they turn away from imitation,

which is following the traces of their forefathers and sires…”

(Bahá’u’lláh 1986)

Throughout my investigations, therefore, I have endeavoured to avoid all prejudgements and/or prejudices, known to my conscious mind, and launch a journey of investigation without aiming at a premeditated destiny.

Perhaps this is one of the reason that I try to tune into my intuition in “My Body is a Temple for My Soul” -box:B-, Section A of Chapter I, “A Stranger in Charge of the Temple of My Soul” -box:D1-, Section C of Chapter II, and “The Intuitive Analysis” of “Another Birth” -box:B2,C1&D1- from Section A of Chapter III.

“The true seeker hunteth naught but the object of his quest,

and the lover hath no desire save union with his beloved.

Nor shall the seeker reach his goal unless he sacrifice all things.

That is, whatever he hath seen, and heard, and understood,

all must he set at naught,

that he may enter the realm of the spirit,

which is the City of God.

Labor is needed, if we are to seek Him;

ardor is needed,

if we are to drink of the honey of reunion with Him;

and if we taste of this cup, we shall cast away the world.

On this journey the traveler abideth in every land and dwelleth in every region.

In every face, he seeketh the beauty of the Friend;

in every country he looketh for the Beloved.

He joineth every company, and seeketh fellowship with every soul,

that haply in some mind he may uncover the secret of the Friend,

or in some face he may behold the beauty of the Loved One.”

“Love accepteth no existence and wisheth no life:

He seeth life in death, and in shame seeketh glory.”

(Bahá’u’lláh 1986)

“My Body is a Temple for My Soul” in Section A of Chapter I, and “A Stranger in Charge of the Temple of My Soul” in Section C of Chapter II, clearly demonstrate the application of this method.

For example “My Body is a Temple for My Soul”, indicates an intuitive -box:D1- understanding of our physical appearances -box:B- which is based on my personal life experiences alongside with searching confirmations from the work of academics such as Haakonssen 1996, Fieser & Dowden 2008 and Spivak 1987.

Similarly, “A Stranger in Charge of the Temple of My Soul”, beside having evidence of my personal intuitions, makes advantage of the inputs of other artists -box:C5-, politicians, philosophers, sociologists and academics -box:D2- such as; Barbra Streisand 1983, Nelson Mandela 2006, Bill Clinton 2007, Madonna 2008, You Tube 2007, Hegel 1998, Bahá'u'lláh 1952.

“Autoethnography”

Auto-ethnography -box:D,B&C- or rewriting the self and the social is a method where a researcher uses participant observation and interviews to understand and theorise modes of behaviour of a group, of which s/he is a member her/himself. This method is often used in performance studies, media and journalism -box:C1,C5,C6&E2-. My intuition -box:D1- takes off from the inner journey -box:C&D- but it draws on the outer journey which I have made across the Eastern and Western culture throughout my life. I refer to the story of my life -box:C1-, as a member of a group; that is “a Refugee Persian Bahá’í Women who has travelled -box:C- from Iran to England”. Hence, “Autoethnography” has strong bearing in my planning process.

“Bourdieu holds that through the business of everyday life people learn and construct models of how the world is, of how the world ought to be, the human nature, of cosmology. These models do not simply fulfil purely theoretical or cognitive functions; they are about doing, as much as they are about things. (Bourdieu, 1977)

(Tieney, William G. & Lincoln, Yvonna S. Editors 1997, p10)

This method of research is very essential to my project, and with a co-operation with the type “B” -box:D1- aspect of “Subjugated Ways of Knowing”, plays an essential role.

The use of this method is clearly visible in Section A of Chapter I; “My Body is a Temple for My Soul”, Sections A, B & C of Chapter II: “I Mask, Therefore, I Am”, “Happy Birthday O Womb-Man”, “A Stranger in Charge of the Temple of My Soul” and also Section A of Chapter III: “Another Birth”.

In “My Body is a Temple for My Soul” and “A Stranger in Charge of the Temple of My Soul”, my argument originates from a personal study of self and self development -box:D1&D2-. In doing that, I analyse the notion of my own physical -box:B- and mental developments -box:D- within the contexts of the very different cultures that I have been living within, that is the Persian, English, Bahá’í and our fast developing global culture. My attempt is directed towards understanding these cultures and their contributions to my personal development by looking at their impacts on me. Through that; their impacts on me, I try to understand these cultures and their interactions with other peoples. In other words, I look from inside out at these cultures and their working mechanism, instead of trying to discover my personality by studying these cultures.

“I Mask, Therefore, I Am” -box:B2,C&D-, is an art video based on one of my own poems. In this work I study and question my own life experiences and feelings -box:B,C&D- by looking at my own social placement as an emigrant, and the way I have been striving to establish a new character within the host culture of mine. From artistic point of view -box:C5- , I impersonate myself as a representative of my own social like, and similarly narrate the tale, using my own voice -box:C1-.

Looking at Section A, Chapter III, “Another Birth”, although I have used a poem which is written by another poet Forough Farrokhzad (1989-92) -box:C5,B2,D1&C1-, I have lived the characters of poem throughout the work. In a way, I have endeavoured to analyse and to understand the poet’s viewpoints by placing myself within the context of the poetry and its meant atmosphere -box:B1&C1-. This has been discussed in great details in the later part of Section A, Chapter III; “Intuitive Analysis”.

“Where is it Written”, Section B, Chapter III is yet another example of my work in which I have put myself in the context of another artist’s work, this time Barbra Streisand (1983), and a song from her film “Yentl” -box:B1,B2,C1,C5,E1&E2-.

http://en.wikipedia.org/wiki/Yentl_(film) (Last visited: Feb 2009)

As it is obvious from the above examples of my work, “Gender” -box:B- and “Emotion” -box:B,C&D- are two angels from which I look at life, and those aspects of life could be analysed via:

“Interpretive Interactionismn"

In my work, I show how gender -box:B- has been an important part of my inner and outer journey -box:C&D- and this has made interpretive interactionism a useful strategy.

“Interpretive research has the following characteristics:

· It is existential, interactional and biographical

· It is naturalistic

· It is based on sophisticated rigor

· It can be both pure and applied

· It is postpositivism

Postpositivism: http://en.wikipedia.org/wiki/Postpositivism (Last visited: April 2010)

and builds on feminist critiques of positivism

Positivism: http://en.wikipedia.org/wiki/Positivism (Last visited: April 2010)

Positivism & feminist epistemologies: http://www.skk.uio.no/Arkiv/Montenegro/indahl_020305.html (Last visited: April 2010)

· It is concerned with the social construction of

gender, power, knowledge, history, and emotion.”

(Denzin 1989 p19)

The reference to “Interpretive Interactionism” becomes particularly apparent in Section A & B of Chapter II; “I Mask, Therefore, I Am” & “Happy Birthday O Womb-Man”, two of my own pieces of expressive writings (Farid 2008) box:B,C&D-.

“I Mask, Therefore, I Am” is an autobiographical and interactional piece of poetry with an obvious reference to gender and a sophisticated rigor of strong feminine emotion in its conclusions -box:B,C,D,E1&E2-.

“Happy Birthday O Womb-Man” is a piece which justifies itself within the parameters of post positivism, where it challenges the society in forming the individuals’ social character, by launching a direct personal interaction and challenging the society for allowing itself to interfere with personal developments -box:C&D-, “Theory of Justification”, being a part of epistemology that attempts to understand the justification of propositions and beliefs. The sarcastic language which is applied in this poem, demonstrates a strong emotion which is another characteristic of "Interpretive Interactionism”.

Theory of justification: http://en.wikipedia.org/wiki/Theory_of_justification

(Last visited: April 2010)

“Genetic epistemology”

This is a study of the origins of knowledge when its validity, which is subject to the individual’s life experiences/experiments -box:B&C-, is questioned against the validity of the methods of investigation -box:D-. A self common sense in understanding the make up and pattern of life in terms of physical and mental development is considered in this aspect of my work, which is based on observing a personal development and also having a personal view into the environment within which I have lived.

“Genetic Epistemology attempts to explain knowledge,

and in particular scientific knowledge,

on the basis of its history, its sociogenesis, and especially the psychological origins of the notions and operations upon which it is based.

These notions and operations are drawn in large part from common sense, so that their origins can shed light on their significance as knowledge of a somewhat higher level.

But genetic epistemology also takes into account, wherever possible, formalisation - in particular, logical formalisations applied to equilibrated thought structures and in certain cases to transformations from one level to another in the development ofthough…

For many philosophers and epistemologists, epistemology is the study of knowledge as it exists at the present moment;

it is the analysis of knowledge for its own sake and within its own framework without regard for its development…

But it seems to me that we can make the following reply to this objection. Scientific knowledge is in perpetual evolution;

it finds itself changed from one day to the next.

As a result, we cannot say that on the one hand there is the history of knowledge, and on the other its current state today,

as if its current state were somehow definitive or even stab.

The current state of knowledge is a moment in history,

changing just as rapidly as the state of knowledge in the past has ever changed and, in many instances, more rapidly.

Scientific thought, then, is not momentary; it is not a static instance; it is a process. More specifically, it is a process of continual construction and reorganisation. This is true in almost every branch of scientific investigation…”

(Jean Piaget 1968)

Genetic Epistemology, a series of lectures delivered by Piaget at Columbia University, Published by Columbia University Press, translated by Eleanor Duckworth.

http://www.marxists.org/reference/subject/philosophy/works/fr/piaget.htm

(Last visited: Feb 2008)

Genetic Epistemology as a method of investigation is considered in Section A of Chapter I; “My Body is a Temple for My Soul” and Section C of Chapter II; “A Stranger in Charge of the Temple of My Soul” in connection with the “Theory of Justification” which as said earlier; is a part of epistemology that attempts to understand the justification of propositions and beliefs. This is the reason that in these two pieces I check my understandings against some iconic scientific theories -box:D2-.

“Hegelian Dialectic”

Every social phenomenon (Thesis) causes an opposite and/or independent entity (Antitheses). The outcome of interactions between these two entities leads to the emergence of yet another independent entity (Synthesis) -box:D2,C,C1&B-.

The process of making a new piece of art work (synthesis) –box:C1,C5&E2- takes place through transferring the “Invisible Lines” -box:C2- of a given theme or phenomenon (thesis) -box:E1- into a set of “Stylised Invisible Lines” (antithesis) -box:C3-. That process would make the use of Hegelian dialectic “…according to which the Absolute Reality is progressively manifesting itself dialectically in the form of thesis, antithesis and synthesis…” (Hegel 1998) an appropriate strategy.

Hegelian Dialectic has opened a large window of understanding into the process of my life, character development and also my artistic responses to life experiences -box:D,C,B1,C1,C5&E2-. The understanding of Thesis, Antitheses, Synthesis and their interactions not only helps me to trace the origin of my ideas -box:D-, but also the way my art evolves and progresses during the process of making -box:C5&E2-.

This is evident in the creation of the innovative font -box:C4-, format and the design of my Persian calligraphy -box:C3,C5&C6- in “Another Birth”, Section A of Chapter III, and also in surreal photomontage in that section -box:C2,C3,C5&E2-. The calligraphy work of mine in “Another Birth” could be regarded as synthesis which is the result of the emergence of traditional form of Persian stylised calligraphy, antitheses, within the context of regular writing -box:C1-.

*Vol.1, Ch.II, Methodology: 2. "Making"

2008-11-17T08:20:00.000-08:00

My work usually takes advantage of the use of a number of multimedia, however, its treatment is distancing from just juxtaposing various art forms, and it increasingly shows tendency towards a genuine interdisciplinarity. That means the invisible lines of a phenomenon -box:C2- are translated from its original form and are allowed to grow in the context of another format -box:C3&C4-.

In the process of making, “Interdisciplinarity” plays an important role. An example of such process is the music composition for “A Silence to be Heard” (Farid 1997). The lines of the melody here are created in sympathy with the movements of the hands of the performer -box:C,C1,C2,C3&C4-. The hands’ movements are stylised gestures which are drawn from the deaf sign language which try to communicate -box:E2- some ideologies -box:E1-, originally taken from a written text.

Along the same line, in my recent works, bringing poetry and shocking images of a totally different context gives a new meaning to the outcome. Contrasting and shocking political images are showed when a love poem is recital; create some challenging atmosphere which is not aimed but that poem, but it enhances the effect of the images. It can find its way into the mind of people who may not otherwise look at those images or become interested in their topic. This is done in a sarcastic manner and creates a black hummer which puts naivety and intelligence in the same picture, and invites the onlooker to draw her/his own synthesis out of this thesis and antithesis.

Not: (Cross Lines or Interdisciplinarity is not yet shown in the “Map of My Metaphysical Journey”. I am still working on this aspect)

Qualitative Image-Based

The remaining part of this section on making looks at strategies that I use in the various media that I employ. Here, I start with photography.

"There are two types of Photography: Those which contain information
and those which provoke an emotional reaction."
(Prosser 1998, p. 71)

To me art is just a language like any other. In fact I do not see any difference between a verbal language and any other artistic media which is expressive and intuitive. Photography and videography are two very important media in my work. The way I use these media are always provocative, in particular when I put them in an unexpected context. For example in “Zolf Ashofteh”

http://www.youtube.com/watch?v=YJgsbsA8FFA&feature=related (Farid 2009)

In this piece, some pictures of suppressors and some shocking images of execution pass the screen while the narrator recites a poem which portrays a love scene. Hence even if the used photographs in my work are originally of informative nature or just pieces of visual memorandum, they are turn into provocative objects.

Looking at the Construction of Another Birth as an Example

Now I would like to look at "Another Birth" as an example of making a piece of work, as described in Volume 3.

“Another Birth” is a poem by Forough Farrokhzad, a contemporary Persian female poet which haunted my imagination for a long time. It is a dreamlike, surreal and extremely pictorial poem. Its verses draw images in front of one’s third eye, and as an artist I could not get over these images without making some form of response.

Choosing Medium: I use all art formats where and when I find a group of them the best vehicle to communicate my theme. For example in “Another Birth” (Farid 2007-8) I have used the following media: Poetry, Calligraphy, Performance, Photography, Videography, Publication and Exhibition.

I realised that by taking Forough’s poetic suggestions literally, a number of surreal images could emerge. I illustrated my visual account of “Another Birth” in form of photography/film, together with Persian calligraphy, and also in form of publication and Exhibition.

Orientation:

I initially familiarised myself with Forough Farokhzad’s poetry by reading it in its original language, Persian. I also listened to recordings of Forough's own voice, reading this poem and being interviewed. I observed this particular poem in Forough’s handwriting as well; perchance I could read something between the lines.

It was not until I started to write and analyse my work alongside this poem that I discovered some hidden mystic spaces around the phrases of this poem, so I began to travel further and further through these unexpected passages which began to open up in front of my eyes. I therefore began to believe that Forough’s promise in “taking you to the dawn of ever blooming and growth” might have been becoming a reality.

Listening to Forough’s voice, I discovered that this passage,
(12 F.F) "-Ah…
-This is my share…?
-Is this my share…?"

as it was discussed in the body of this essay, should be read and understood as a set of questions rather than statements. This small difference makes a significant change to the destination of this poem and creates a u-turn in the direction of its understanding, leading to a different realisation of Forough’s own character

(Practice as Research - Trimingham 2000).

Persian is a tonal language and reading this section of the poem as a statement would give a passive and fatalistic impression about the intention of the poet. Reading this section as a set of questions, however, would suggest Forough's awareness of the obstacles and challenges in her path as well as her determination to overcome them.

This project examines Persian poetry in an intimate way. It questions a piece of poetry that is written by a woman, about women (Hatcher & Hemmat 2002), (Forough Farrokhzad 1989 & 1992). It examines the way that Forough regards her life as a journey through which her sexual, social and spiritual identities are formed and challenged by internal and external cultural forces (Bahá’u’lláh 1986, Ruth 1981). A challenge that, as a Persian woman who lives in the west, I can identify with, in particular when my social and political identity is questioned (Butler 1990) and manipulated (Boyce-Tillman 2005) by mother country as well as my host.

Translation:
I translated this poem from Persian to English before reading any other translations. That decision was made to protect myself from being influenced by other translators. In doing that, I have tried to remain as faithful to the literal meaning of the poem as possible, but not at the expense of losing the conceptual meaning of the verses of the poem.

"Another Birth" is a surreal piece of writing that suggests a range of conceptual set of images. Translating this poem to another language is a matter of delicacy, because the readers/listeners could attribute the difficulties in comprehension to a weak translation, hence her/his attention is diverted from Forough's intentions. An attempt, therefore, has been made to keep the readers’/listeners' attention focused by the use of the medium of photomontage in portraying it, and techniques of poetry reading in its audio performance.

Photography & Photomontage:

The format that I have chosen to illustrate this poem is a combination of photomontage and calligraphy which is designed on the basis of the verses of this poem in its original language. The photographs are original and they have, purposefully, been taken with an Olympus 4 mega pixel digital camera. The storyboards have been thought through and drawn for each scene prior to the photo shoot. The photo shoots were repeated many times and the scenes were modified and changed until they reached a satisfactory stage (Planning, Making & Reflection - Trimingham 2000).

The images that are used for photomontage were chosen out of hundreds of shots and they were manipulated, using the digital editing techniques of Adobe Photoshop. The final images consist of many layers of photographs, in some cases over fifty.

Calligraphy Design:

The use of calligraphy design in this illustration work provides reference to the context of the origin of this poem as well as adding to its aesthetic and visual impact. In terms of calligraphy, I benefited from studying the work of the past and present Persian masters of calligraphy, such as Mishkin-Qalam (Mishkin-Qalam 1992) and Rassouli (Rassouli 1990-92). I also drew ideas and inspirations from a lifetime exposure to Persian calligraphy design, and that helped me to develop my own original calligraphy founts and style of writing (Farid 1980-2007). (Practice as Research - Trimingham 2000, Planning, Making & Reflection and Auto-Ethnography)

An example of one of the calligraphy designs:

Farid (2003-08)

http://www.youtube.com/profile?user=ParvanehFarid#p/u/31/Jmd9ahxagm4

Colour Scheme:

The hue, saturation, colour level, contrast and brightness of the images were carefully manipulated and adjusted to match the chosen colour scheme of a common template. The saturation was reduced and the use of a brown overall effect was considered to create a soft and subtle atmosphere.

Visual Composition:

In creating visual scenes I have called upon my cultural heritage which encompasses the works of other visual artists, both western and eastern, whose work is classed as surreal and their subject matter rubs shoulders with my images in this work.

This included the work of artists such as Salvador Dali (Alexa Stace 1994), Frida Kahlo (Emma Dexter 2005), and also the work of the Persian and Indian artists who have illustrated poetry and myths in the past (Stuart Cary Welch 1976, K.E. Sullivan, 1998, Robert Hillenbrand 2000, Basil Gary 1995, Ebadollah Bahari 1997). (Practice as Research - Trimingham 2000)

Modeling:
I have appeared and acted in front of the camera together with my husband wherever the subject matter required. That way I lived the poem through acting and posing (Auto-Ethnography & Interpretive Interactionism). I have tried to dive into the depth of the feelings of this poem, and that helped me to understand the motives which have provoked the poet in describing the scenes of the poem.

“One writes out of one thing only
- one’s own experience.
Everything depends on how relentlessly one forces from this experience the last drop,
sweet or bitter,
it can possibly give.
This is the only real concern of the artist,
to recreate out of the disorder of life that order which is art.”
(James Baldwin, 1990)

In posing and executing self-photography, I have drawn ideas and style from my acting and stage experiences (Parvaneh Farid 1990-2007). I have also looked at performances by artists such as (e.g. Julia Bardsley 2007), as well as studying the work of the American photographer who does self-modeling, Cindy Sherman (1995). (Practice as Research - Trimingham 2000)

Animation Rhythm of the Art-Video:

The animation of the images is rhythmic; their appearance and disappearance are not only in synchronisation with the narrative of the poem, but also in sympathy with the vocal rhythm of the narrator, the emphasis of key phrases and the significance of the words. The appearance of the calligraphy work also follows this rhythmic pattern. Furthermore, the transition effect of the images, the calligraphy and their timing are worked out in such a way that they reinforce the drama of the narrative.

Sound Effects & Music: The constant use of sound tracks is avoided and they are only used on two occasions, where they could significantly enhance the atmosphere and the mood of the story.

A soft orchestral piece of music (Farid 1998) is played towards the end of the piece. The dominating instrument is a bamboo flute which makes an association with the narrative of the poem at this point:

(26 F.F) "-I know of a small and sad fairy who lives in an ocean,

playing her heart out through a bamboo flute,

softly… softly…" (P.F. T)

Audio Recording:

The poem is narrated in a dramatic and subjective manner which reflects the mood of the story and its emotion. The voice of the narrator (Farid 2006) has a soft, sensual and at the same time a sad quality with a natural Persian accent which suits the style and the origin of the poem. It is recorded in English as well as in Persian at L'Atelier Papillon (Farid 2006), and was edited with Cubase SX (digital music software).

This method of making has made me a multi media artist, and as my background shows, I have developed skills in using a wide range of media. In doing this project, I have used calligraphy, photography, art video, expressive writing, music and performance.

The use of images, in particular photography and videography plays a major role in documenting and expressing my thoughts and emotion alongside the expressive writing, hence understanding the "Qualitative Image-Based" method could help me to project relevant expression to an image as well as enabling me to read more accurate information from it.

"Photography by itself does not mean anything until it is interpreted,

and the meaning of the photograph does not necessarily be apparent
from the manifest content...
Photographs should not be treated as 'mirrors' held up to reality:
reality itself is a product of social process,
and photographs can be part of the process,
as well as a product, of reality construction...
The purposes of which photographs are both taken and used
will have an effect on their meaning."
(Prosser 1998, pp. 74 & 80)

*Vol.1, Ch.II, Methodology: 3. "Reflection"

2008-11-17T08:07:00.000-08:00

The process of my work often begins with “Reflection” as oppose to “Planning”. Therefore, although the “Spiral method of Planning, Making & Reflection” (Trimingham 2000), is still in place but it is not necessarily always begin with planning, hence some ambiguity may occur. In order to navigate others, therefore, I need to travel backwards in time and consciously try to find the trace of my process, clearly landmark and highlight them. This method, however, due to its spiral format, soon begins to work orderly and it works towards the refinement of the essence of the theme.

After each stage of making, there is yet again another period of reflection, during which new questions and challenges are bragged about and valued. To me in fact, the emergence of new questions and challenges could be the sign of the success of a project. Because new questions usually provoke further creativity along the way of the planning stage whereas the answers would conclude the progress of our activities. Perhaps Rumi is referring to the same issue when he says:

آب کم جوی، تشنگی آور بدست

“Do not search for water, but for thirst”

(Rumi 1976)

The reflections include my personal analyses as well as the feedbacks that I receive from the academics and the onlookers who visit my exhibitions or my website www.latelierpapillon.co.uk . On the bases of these reflections, adjustments and further planning for further development is launched.

My PhD project is an ongoing academic study in a form of multimedia artwork, recognising no barriers in choosing media, as and when they are recognised as the best format for expression. That includes; visual media such as design, calligraphy, photography, video making, painting, sculpture, installation on one hand and performance, dance, music, poetry and expressive writing on the other. The visual images are, mostly, purposefully produced and used alongside with the texts which consist of commentaries, debates, expressive writings and poetry. The outcome of each section of work is presented in form of DVD, written texts or publication, although they may alter and/or expand, and new chapters be added, while practice as research continues into my PhD. The spiral process of planning, making and reflection remains the fundamental framework of methodology to reach a desirable result.

*Vol.1, Ch.II, Methodology: "Conclusion"

2008-11-17T07:55:00.000-08:00

I have shown in this chapter on the methodology of Practice as Research, how I have employed a number of strategies to explore the Invisible lines and translate them into multi-media productions. Some of these are philosophical such as the use of spiritual frames and Hegelian dialectic,; some are art making strategies, found here largely in the area of making and demonstrating the translating of lines from one media to another and the juxtaposition of lines in various media to produce complex phenomena. Others are more psychosocial and reflect on my own position within society such as subjugated ways of knowing, autoethnography, genetic epistemology and interpretive interactionism. These are to be found largely in the planning phase and are revisited in the Reflection. The origin of invisible lines lies in the ontology of the artist which is why such a combination of strategies is appropriate. The translation of the invisible lines into a visible form requires strategies of art-making in which the invisible lines are translated into visible lines.

*Table of Contents to Volume Two, "Licensed to Live", "Body, Mind, Spirit"

2008-11-17T07:39:00.000-08:00

The University of Winchester
March 2009

Volume Two

“Licensed to Live”
“Body, Mind & Spirit”

V. 2.
Introduction to Volume Two - p. 2

V. 2. Chapter I
Body
Section A - p. 3
“My Body is a Temple for My Soul”

V. 2. Chapter II
Mind
Section A - p. 9
“I Mask, Therefore, I Am”
Section B - p. 12
“Happy Birthday O Womb-Man”
Section C - p. 14
Related study: “A Stranger in Charge of the Temple of My Soul”

V. 2. Chapter III
Spirit
Section A - p. 18
“Where is it Written?”
Section B - p. 19
“Another Birth”
.
Bibliography - p. 20

*Intoduction to Volume Two, "Licensed to Live"

2008-11-17T07:27:00.000-08:00

Media, Process and Product: This project is an ongoing academic study in a form of multimedia artwork, recognising no barriers in choosing media, as and when they are recognised as the best format for expression. That includes; visual media such as design, calligraphy, photography, video making, painting, sculpture, installation on one hand and performance, dance, music, poetry and expressive writing on the other. The visual images are, mostly, purposefully produced and used alongside with the texts which consist of commentaries, debates, expressive writings and poetry. The outcome of each section of work is presented in form of DVD, written texts or publication, although they may alter and/or expand, and new chapters be added, while practice as research continues into my PhD.

It should be noted that this volume of work intends to show both, products and process. The process, however, in some cases has been put forward in greater detail. In others, the process is embedded in the product. In other words, the video making (DVD) edges more towards a product, and the literature review has been integrated within the presentations. An example to that is “My Body is a Temple for My Soul” where references to the literature are founded.

Body, Mind and Spirit: This volume is divided into three main areas, under the subheadings of “Body, Mind & Spirit”. The first chapter of three focuses on our physical aspect of identity and character. The other two chapters, however, ponder upon the developments of our emotional character and spiritual identity.

Having originally divided this into three main areas, under the subheadings of “Body, Mind & Spirit”, I am now realising that a restricted pigeonhole system is not ideal to reach the best result. The reason being, that these aspects of our existence not only develop spontaneously and overlap each other’s progress, but they even draw from one another. In other words, one aspect does not end its progress before the next begins. A schema, however, is needed to help me with the research; hence I endeavour to look at these three aspects as three separate entities which develop in parallel, while their crossings and interactions are not overlooked.

*Vol.2, Ch.I, Sec.A - "My Body is a Temple for my Soul"

2008-11-17T07:08:00.001-08:00

Chapter I
“Licensed to Live”
Body

Section A
“My Body is a Temple for My Soul”

Presented at:
The University of Winchester Feb 2008 - May 2008
The University of Southampton May 2008

· This video endeavours to identify and illustrate the forces behind an urge which makes us to look like someone else; “Imitation for Protection”.
· The commentary is narrated as some related visual images (self-portraits) are unfolded on screen alongside some related quotations.
· Written form of what is spoken on the DVD is on the next page and also on line: http://parvanehfarid-academicprojects.blogspot.com/2008/11/section-c-spirit.html
· The presentation is also found on YouTube: http://www.youtube.com/watch?v=krlCFi3LfVM

“My Body is a Temple for My Soul”
(Farid 2007-08)
Commentary and Debate
Written form of what is spoken on the DVD
.
I have been grooming and decorating my body, almost to the point of obsession, throughout my life. This, however, is not something particular to me or a few others; in fact it is a cross cultural phenomenon, affecting males and females. At this part of my project, I would like to understand the reasons which provoke me to behave this way. Of course I could think of a wide range of reasons for such enterprise. Being naturally programmed to attract the best genes could be one of them. Being systematically influenced by a number of social and cultural forces such as the commercial market could be another.

Although these factors in isolation could provide some motivation, their combination would suggest a more complex texture. To avoid confusing myself, I therefore try to look at the roots and the origin of such behaviour. It is, however, important to bear the meaning of grooming in mind throughout this finding. I would define the term “GROOMING” as “to look my best”. If we could accept this definition, then we need to define the term “MY BEST”. If you think the term “My Best” is self explanatory, then I would argue that “My Best” often means “Looking Like Someone Else”.

“Imitation for Protection”

We are born with an “Instinct”, “Urge” or a “Built-in Mechanism that Secures our Survival”. This “Mechanism” remains with us throughout our lives and it manifests itself in the form of a series of Systematic Political Behaviours,
which according to our level of maturity and cultural advancement, takes various forms.

The “Survival Mechanism” is motivated by “Self-interest”

“…First the prima naturae, which are the natural drives or instincts for self-preservation…” (Haakonssen 1996 – P. 27)

To the question, “What proposition is there respecting human nature which is absolutely and universally true?", Macaulay, replies,
"We know of only one . . . that men always act from self-interest."
(Fieser & Dowden 2008)
http://www.iep.utm.edu/e/egoism.htm#H1

Babyhood
As a baby, the “Mechanism for Survival” manifests itself and operates in a form of a Single Tool, that is: Cry

This provides us with a “Survival Package”, which contains food, warmth, shelter, security and love (FWSSL).

Childhood
Through out this period, we begin to learn a series of certain social skills. The collection of these skills forms our “Social Toolbox”
which contains
• Verbal and Nonverbal Languages,
• Codes of Behaviour
and understanding the Mechanism of
• Cause and Effect.
•
This “Social Toolbox” gradually overpowers our “Single Tool”, Cry, in providing us with the “Survival Package” (FWSSL).

Adulthood
As adults we maintain our access to our “Single Tool” and “Social Toolbox”. There are, however, new tools added to our Social Toolbox, that is
• “Life Experience”
and more advanced skill in the
• “Application of Intelligence”
A new requirement is also urged and added to our “Survival Package”; that is the need for
• “Receiving/Passing the Best Available Genes” (FWSSLG).

As we become more sophisticated in the use of our new “Toolbox”, we learn to plan and secure a better share of the “Survival Package” (FWSSLG)

We also realise that those who manage to get a better share of the “Survival Pack” (FWSSLG) are acquiring “Certain Physical Characteristics” and “Certain Mannerisms”.

The combination of these characteristics and mannerisms gradually form a package of “Cultural Trade Marks” which facilitate success, and it is eventually accepted as a superior and “Ideal Appearance” which is desired and recognised by all.

“Rousseau claims that by our nature,
each of us has this natural feeling of love toward ourselves.
By contrast, amour-propre is an unnatural self-love
and is a negative product of the socialization process.
Unlike amour de soi, amour-propre is a love of self
that depends on comparing oneself with others.
Essentially it consists in someone basing his or her self-worth
on a perceived superiority to another.”
(Fieser & Dowden 2008)
http://www.iep.utm.edu/r/rousseau.htm#H5

An association between this “Ideal Appearance” and a better share of the “Survival Package” is soon established and becomes a platform for “Imitation” for success. As a result the community is divided into two groups, the “Role Models” and the “Followers”.

The “Role Models” form the “Leadership Group” and the followers form the “Commoners”.

“According to… the explanations that constitute our culture,
the political, social, professional, economical, intellectual arenas
belong to public sector.
The emotional, sexual and domestic are private sector.”
(Spivak 1987)

The Commoners learn through experience that by “Imitating” the “Leaders”, they can “Bluff” their way into the “Leadership Group”, hence a higher degree of social approval and a richer share of the “Survival Package”.

Here a spiral mechanism of “Imitation for Protection” is formed that is increasingly becoming superficial and hence visual.

Due to its superficiality, an “Urge for Approval”, therefore, becomes an easy way for survival.

To respond to this “Urge for Approval” we begin to “Bluff” our way in by grooming ourselves to look the part all the time at the price of losing our individualities.

“When my colleagues were reacting adversely
to my invocation of marginality,
they were in fact performing another move
within the centre (public) - margin (private) set.
They were inviting me into the centre
at the price of exacting from me the language of centrality.”
(Spivak 1987- p. 106)

Sophistication in Bluffing leads to accumulation of “Survival Package” (FWSSLG) that leads to the Creation of Centralised “Power” and the formation of a Local Culture, which has developed its own “Internal Role Model Industry”.

“…the prima naturae, which are the natural drives
or instincts for self-preservation, and …
right reason or sound judgment of what is honestum, that is,
what makes life with others possible – which is in itself a natural inclination.
Considered as a feature of the person,
ius is the exercise of these two sides of human nature together.”
(Haakonssen 1996)
In post Industrial Revolution and furthermore in today’s global village, however, we witness a number of these Internal Role Model Industries which begin to rub shoulders with each other and begin to superimpose their standards. Hence a new phenomenon is recognised, which could be called an “External Role Model Industry”.

A battle between the Internal and External Role model Industries leads to an ongoing challenge for the respective communities on a macro scale as well as for their individual citizens in the formation of their personal identities. This challenge would result in the inferior community giving up its individual appearance in favour of Imitating the Superior Appearance of the winning culture. Hence;

“Looking Like a God” who is outside of your own organically developed role models industry.

“Rousseau calls the two forms of self-love:
amour-propre and amour de soi.
Amour de soi is a natural form of self-love
in that it does not depend on others.
Rousseau claims that by our nature,
each of us has this natural feeling of love toward ourselves.
By contrast, amour-propre is an unnatural self-love
and is a negative product of the socialization process.
Unlike amour de soi,
amour-propre is a love of self
that depends on comparing oneself with others.
Essentially it consists in someone basing his or her self-worth
on a perceived superiority to another.
It breeds contempt, hostility, and frivolous competition.
In fact, it is precisely these negative consequences
that are under attack in the Discourse on the Sciences and Arts.”
(Fieser & Dowden 2008)
http://www.iep.utm.edu/r/rousseau.htm#H5

*Vol.2, Ch.II, Sec.A, "I Mask Therefore, I Am"

2008-11-17T06:42:00.000-08:00

Chapter II
“Licensed to Live”
Mind

Section A
“I Mask, Therefore, I Am”

Art Video on DVD
(Please find this DVD in the above relevant sleeve)
· This is an art-video based on an expressive writing and animation of purposefully taken photographs
· Written form of what is spoken on the DVD is on the next page and also on line:
http://parvaneh-farid.blogspot.com/2007/12/i-mask-therefor-i-am.html
· This presentation is also found on YouTube:
http://www.youtube.com/watch?v=zi12O0gAe9s

.
“I Mask, Therefore, I Am”
(Farid 1995-2008)
Written form of what is spoken on the DVD
.
As wondrous as a point without co-ordinates......
............ across the broken axes of time, place and thoughts,
............Like a kite which has lost its link with the earth,
I am finding different paths across the sky.

On a circle, the starting point is the end,
And the end is the beginning.
And the square root of the negativity of the number of my thoughts
is still to be found.

It is me who is missing
I open the window and look at the infinity........
................To the clouds and the greens..........
................To the sky which is bright,......although there is no sun
The sound of the wings of the butterfly which is searching for freedom is echoing around the window.

It is me who is missing
I take the mirror down, dust its eyes and look into them,
But no face I recognise.
Who am I?
Where am I?
Where is that hiding place?
Where is that shelter?
In the depth of the loneliness of this mobile flesh, a disguise of a life is living.

It is me who is missing
I call upon my clothes, which are hanging in their coffins.
They witness my being, but no acknowledgement is made.
Where am I?
Where have I gone?
To what dimension?
To what sphere?
What time?

I open the window and look at the sky which is pouring with light, though there is no sun.

I light a candle in the memory of the sun
and call myself by name,
The space becomes saturated with its echo..........
...........Yet no reply is heard.

Where am I?
Who am I?
From which book?
Which dictionary?
What statistics?

The butterfly has sold the pride of freedom to a dream of flight,.......... .........................while denying the detention of a life's ambition.

and the airplane,
breaking the law of gravity,
escaping from the natural imprisonment of the earth,
has now delivered me from the womb of my mother land,
through a painful experience,
into an unknown world,
which promising a new birth…

And now, I am an alien from a strange planet,
who upon hearing her own name,
Her ears do not ring any more,
Her face does not turn back,
Neither do her tears run,
remembering her old memories.

and now, on the steep hill of tomorrow…
with looted hands…
with vandalised hopes…
in a stormed city
I learn to be happy by following one day after another…

“I have succeeded…
I’ve registered myself by a name in a certificate of Naturalization…
So glory be to 175208.
Now, I can write on175208 bills…
And on 175208 application forms…
Parvaneh Farid”
.
The words inside the quotation mark
are inspired by a poem by Forough Farrokzad,
“The Land of Jewels” (Farrokhzad 1989 & 92)

*Vol.2, Ch.II, Sec.B - "Happy Birthday O Womb-Man"

2008-10-06T14:23:00.002-07:00

Chapter II
“Licensed to Live”
Mind

Section B
“Happy Birthday O Womb-Man”

An Art Video on DVD
(Please find this DVD in the below sleeve)
· This is an art-video based on an expressive writing and animation of purposefully taken photographs
· Written form of what is spoken on the DVD is on the next page and also on line:
http://parvaneh-farid.blogspot.com/2007/11/happy-birthday.html
· This presentation is also found on YouTube: http://www.youtube.com/watch?v=RGGZuhJ0bos

“Happy Birthday O Womb-Man”
(Farid 2008)
Written form of what is spoken on the DVD

Happy birthday, O Womb-man
Up to now, the cast of the womb of your mother
has been trying to mould you after your father,
and as from now on,
society will try its best to shape you to the order of its desire.

as from now, you will be brought up as an obedient citizen
who shall desire nothing but what others have…

You will follow the same path that others have trodden before…
and like a carriage, you shall only be following the others on the railway.

Happy birthday, O man and welcome aboard…
That your stupidity will be your only saviour,
and your imitation will be your only means of protection.

Never ask an unpredictable question,
Never expect an answer that is not in the form of a cliché.
In fact you will be safer if you never ask any questions at all...

Never wish what others don't,
Never think of what others haven't yet,
and if you could be wise enough to take my advice,
you would never think of thinking at all…

....Because the path has already been laid out before you,
and you are so privileged to be invited to walk along it,
so I should not step out, if I were you…

So, with closed eyes, deaf ears, dumb tongue and a dim mind,
if you do not mind,
walk along the same path on which many have trodden many times, before you…

A path that offers you no surprises, but a path which is safe and sound…
a path that gets you where they wish you to end,
and is it not what you should wish too???

Happy birthday, O Womb-man, and I shall tell you that…
you will be more of a “man”, if you could be more of the “kind”

*Vol.2, Ch.II, Sec.C - Stranger in Charge of the Temple of My Soul

2008-06-15T02:45:00.000-07:00

Chapter II
“Licensed to Live”
Mind

Section C
“A Stranger in Charge of the Temple of My Soul”

Presented at:
The University of Winchester 2008

Commentary and Debate on DVD
(Please find this DVD in the above relevant sleeve)
· This is a related piece of study in form of audio visual commentary/debate which is presented with some purposefully taken videos together with references to some film clips and music of other artists, while the commentary is narrated.
· Written form of what is spoken on the DVD is on the next page and also on line:
http://parvanehfarid-academicprojects.blogspot.com/2008/06/stranger-in-charge-of-temple-of-my-soul.html
· The presentation is also found on YouTube: http://www.youtube.com/watch?v=mPDI_ScFRbw&feature=related

“A Stranger in Charge of the Temple of My Soul”
(Farid 2007-08)
Commentary and Debate
Written form of what is spoken on the DVD

This is a related study on a three part project on the theme of the journey of our body, mind and spirit throughout our lives, during which our physical, mental and spiritual characters form. The first part of this project; “My Body is a Temple for My Soul” looked at our appearance as a determining factor for social positioning.

This part of the project; “A Stranger in Charge of the Temple for My Soul” examines the process through which our faculties develop and forms our individual character within the reality of our social life, and the way that our faculties operate in terms of adapting or rejecting an idea or a belief system. During the course of this research an attempt, also, will be made to identify and analyse some of the contributing factors to this formation, such as family, media, education, religion and so on.

Where does our physicality end and our faculties begin?
It appears that our physical bodies grow to their apex of maturity and strength between 16 and 30 years of age, a period during which we are at our best to pass our genes. Once the body clock sounds its alarm, whether we have performed our duty or not, the physical world no longer has any interest in keeping us around. Our bodies, thereafter, begin to decline, and so do our faculties, and one does not need to acquire a PhD to work out what would happen next.

Want More
He: “What are you going to do?
Don’t you understand? I want you to be a real woman”
She: “I am areal woman”
He: “Then act like one.
There is no other god that is more beautiful and more miraculous.
You know everything without opening a single book.
What more do you want?”
She: “More!”
(Streisand 1983)

But we want more than what Mother Nature has bargained for. What keeps us fighting our mortality after fertility is our leftover instinct for survival with the support of our developed faculties. In other words our instinct for survival, having given up with our fertility to make an imprint, has now to find an alternative route. This alternative route leads us to the realm of the arts, music, thoughts, beliefs, and if corrupted to vandalism and destructive behaviour. We also supplement our instinct for looking after our young with developing an interest in passing on experience, knowledge, thoughts/beliefs/religion and lifestyle, which in the case of corruption manifest itself in a form of desire to control.

On the other hand our instinct for occupation forms habits and makes us sustain our lifestyle as though nothing has happened. We get dressed up to the nines and work towards completing our unresolved/unfinished business in our earthly lives. If up to then we had a free ride on Mother Nature, from now on we are on our own. The charity account is closed and we have to fight/cheat for credits. From now on we continue living on borrowed time. Mother Nature no longer has any interest in our survival. Our being is only legitimised by our manmade philosophy and our technological civilisation at the expense of a collective sense of social solidarity.

“Ubuntu” I Am Because You Are

“In old days, when we were young, a traveller through a country
would stop in a village and he didn’t have to ask for food or for water.
Once he stops, the people giving food and entertaining.
That is one aspect of –Ubuntu-, but Ubuntu has various aspects…”
http://www.youtube.com/watch?v=ODQ4WiDsEBQ
(Mandela 2006)

“The central wisdom of Africa that a human condition is captured in a word; Ubuntu. The literal translation of Ubuntu in English is –I am because you are-“
http://www.youtube.com/watch?v=6YswUI-yqXo
(Clinton 2007)

“I am because we are. Think about it. I am not defined without you…”
http://www.youtube.com/watch?v=NfQQAnQEs6I&feature=related
(Madonna 2008)

Although we learn from our own experience and understanding of the mechanism of “Cause & Effect”, mostly we learn from experiences which have been passed on to us. Remind yourself of everything you have been doing since you woke up this morning. How much of that was your idea and what percentage did you learn from others? You might have some choices, of course, but have you done anything today of your own volition?

Education
This, however, does not mean that we are totally programmed pieces of machinery. If that was the case civilisation could never evolve to what it is today. We would still be running around on bare feet perchance finding food and hiding in caves to protect ourselves from the elements. Observing Feral Children could be a proof of this assumption.
Oxana: http://www.youtube.com/watch?v=qyqbnDjId7g&feature=related (You Tube 2007)

Our being consists of three entities; “genetic makeup”, a given individual character and environmental influences, which include our upbringing (Abdul-Bahá 1979). It could, therefore, be suggested that a given piece of information (thesis) could be challenged/questioned and processed (antithesis) by any of these mentioned entities or a combination of them and lead to a new phenomenon (synthesis), which itself will go through a similar dialectic process. This spiral Hegelian Dialectic process, therefore, could be the very mechanism for the evolution of our civilisation.
“… according to which the Absolute Reality is progressively manifesting itself dialectically in the form of thesis, antithesis and synthesis…”
(Hegel 1998)

Developing Cognition
Jean Piaget (1896-1980), is perhaps the first name which comes to mind upon hearing the term; “Cognitive Development”. Pondering on his work, very quickly guides us to the weight that he gives to education in developing our cognition.

The 'Voice' of the Child in Family Proceedings:
http://www.youtube.com/watch?v=X2_ks5dKBuQ (You Tube 2007)

Jean Piaget, interview:
http://www.youtube.com/watch?v=JEfjjYgsT44&feature=related (You Tube 2007)

Cause and Effect
All these ways of learning are directed to the understanding one universal law; “Cause and Effect”. To develop this cognition, however as Piaget suggests, we create our own schema.

It also appears that in the same way that we feel an urge to pass on our genes, we also develop an interest to passing on our experiences, thoughts and beliefs

Education, Education, Education

“Regard man as a mine rich in gems of inestimable value.
Education can, alone, cause it to reveal its treasures,
and enable mankind to benefit therefrom”
(Bahá'u'lláh 1952)

A well developed and up to date system of education should be geared to discovering the individualities and the unique potentials of all and promote them to their limits. It is noticeable that the old system of education is heavily focused on a public uniformisation, in order to create order and management.

*Vol.2, Ch.III, Sec.A - "Where is it Writen"

2008-03-31T16:28:00.000-07:00

Chapter III
“Licensed to Live”
Spirit

Section A
“Where is it Written”

An Art Video on DVD
(Please find this DVD in the above sleeve)
· This is an art-video on the basis of a song by Alan & Marilyn Bergman (Lyrics) and
· Michel Legrand (Music) & (Bergman & Legrand 1983)
· The singing and music is reconstructed and some verses from “The Seven Valleys” (Bahá’u’lláh 1986) are added as subtitles, with no relation to the lyrics of the song.
· The original song is from a film by Barbra Streisand, and a song from her film “Yentl” (Streisand 1983) http://en.wikipedia.org/wiki/Yentl_(film)
· This presentation is also found on YouTube:
http://www.youtube.com/watch?v=4p1TI2IYwrQ&feature=channel_page

*Vol.2, Ch.III, Sec.B - "Another Birth"

2008-03-31T16:11:00.001-07:00

Chapter III
“Licensed to Live”
Spirit

Section B
“Another Birth”

Presented at:
The University of Winchester 2007
Winchester School of Arts 2007

This section is produced as a separate volume, as "Another Birth" & "An Intuitive Analysis"
Please refer to:
“Volume Three”

· Volume Three is produced in form of an Art Book, and it consists of:
1. A complete collection of purposefully taken photographic and photomontage images which illustrates the poem.
2. A complete set of innovative calligraphy design of the poem, in Persian.
3. The handwritten form of the poem by the poet.
4. The English translation
5. An Intuitive Analysis of the poetry
6. The methodology and the process of work.
7. An illustration of the visual literature review.

· The Intuitive Analysis & the illustration of the visual literature review is also available on line:
http://parvanehfarid-academicprojects.blogspot.com/2008/03/intuitive-analysis-on-another-birth.html

· This presentation is also found on YouTube:
1. "Another Birth" video work in English (full colour)
2. http://www.youtube.com/watch?v=Jmd9ahxagm4
3. "Another Birth", video work in English (tinted full colour)
4. http://www.youtube.com/watch?v=6ur2fsxNX7s
5. "Tavalodi Digar" video work in Persian (original language) http://www.youtube.com/watch?v=Ghr4YDhQu9I

· Exhibition
30 A2 size printed images of photomontage and Calligraphy design of this work are mounted on A1 size white boards and the relevant verses of the poem are placed beside them. They have been exhibited in the below venues:
1.Totton College, June 2003 (2 images which were ready at that time)
2.Southampton City Art Gallery, Feb-March 2007
3.Turner Sims, University of Southampton, May 2008
4.Art House, Southampton, July-September 2008
5.The Link Gallery, the University of Winchester, Sept-October 2008
6.There is a plan to exhibit this work at the Persian Library, in London

· Postcards
Three images are made as postcards for publicity and promotion of this work.

*Bibliography

2008-03-31T15:42:00.000-07:00

· Attar, Farid-Din (1985) The Conference of the Birds (Mantiqu't-Ta'ir), translation from Persian to English by C.S. Nott, London, Melbourne & Henley
· Baldwin, James (1990) Notes of a Native Son, Boston: Beacon
· Bahari, Ebadollah (1997) Bihzad, London, Tauris & Co. Ltd.
· Bahá’u’lláh, Hosain-Ali (1952) Gleanings from the Writtings of Baha’u’llah, translated to English by Shoghi Effendi, USA, Wilmette Illinois
· Bahá’u’lláh, Hosain-Ali (1986) Seven Valleys, translation from Persian to English by Marzieh Gail, USA, Wilmette Illinois
· Bergman, Alan & Marilyn (Lyrics) and Legrand, Michel (Music), (1983) Where is it Written, USA, Central Litho
· Boyce-Tillman, June (2005) Ways of Knowing, Unconventional Wisdom, Theologising the Margins, Vo13.3, USA, Imprint Academic, pp 317-341
· Boyce-Tillman, June (2007) A Letter of Reference, Winchester, e-mail
· Boyce-Tillman, June (2008) Feb & Oct supervisions, Winchester, e-mail
· Clinton, Bill (2007) I Am Because You Are, You Tube http://www.youtube.com/watch?v=6YswUI-yqXo
· Davami, Abdollah (2000) The Vocal Radif and Old Tasnifs, Tehran, Mahoor Institute of Culture and Art
· Denzin, Norman K. (1989) Interpretive Interactionism, London, Sage Publications
· Dexter, Emma (2005) Frida Kahlo, London, Tate Publishing
· Dietrich, Marlene (1994) I’ve been in Love Before, USA, MCA Records
· Estill, Jo (1996) Primer of Basic Figures, CA, Estill Voice Training System
· Farid, Parvaneh (2007-08) A Stranger in Charge of the Temple of My Soul, UK, L'Atelier Papillon
· Farid, Parvaneh (1998-2006) Audio Albums, Music & Audio Book, UK, L'Atelier Papillon
· Farid, Parvaneh (2007-08) Another Birth, an intuitive analysis & illustrated art book, UK, L'Atelier Papillon
· Farid, Parvaneh (2007-08) A Stranger in Charge of the Temple of My Soul, UK, L'Atelier Papillon
· Farid, Parvaneh (2008) In a Supervision Session, Winchester
· Farid, Parvaneh (2008) Happy Birthday O Womb-Man, UK, L'Atelier Papillon
· Farid, Parvaneh (1995-2008) I Mask, Therefore I Am, UK, L'Atelier Papillon
· Farid, Parvaneh (2007-08) My Body is a Temple for My Soul, UK, L'Atelier Papillon
· Farid, Parvaneh (2008) Performance, UK, L'Atelier Papillon
· Farrokhzad, Forough (F.F) (1989 & 92) Complete Collection of Forough’s Poetry, Another Birth, Germany, Navid Publication
· Fieser, James (founder and general editor) & Dowden, Bradlet (general editor), (2008) The Internet Encyclopaedia of Philosophy, A Peer-Reviewed Resource http://www.iep.utm.edu/
· Freud, Sigmund (2001) Pioneer of the Mind, New York, Clarion Book
· Gary, Basil (1995) Persian Painting, Switzerland, IRL Imprimeries Reunies Lausanne
· Grylls, Vaughan (1997) A Letter of Reference, Kent, KIAD
· Haakonssen, Knud (1996) Natual Law and Moral Philosophy from Grotius to the Scottish Enlightenment, UK, Cambridge University Press http://books.google.co.uk/books?id=luwipM3Mg-oC&printsec=frontcover&dq=natural+law+and+moral+philosophy+:Grotius&lr=&ei=Ary5R-z5DZzUzATFuazbCA&sig=f9vkDCWhNpM-w6L5VOdYGaXyCJo#PPA27,M1
· Hafez (1997), edited by Sayeh, Tehran, Karnameh Publishing House, (the verse which is used in this article is translated from Persian by Parvaneh Farid)
· Hegel, G.W.F. (1998) Phenomenology of Spirit, India, Motilal Banarsidass Publisher
· Hillenbrand, Robert (2000) Persian Painting, London, I.B. Tauris & Co Ltd.
· Kayes, Gillyanne (2000), Singing and The Actor, London, A&C Black
· Karimi, Mahmoud (1978) Radif Vocal de la Musique Traditionnelle de Iran, Tehran, Ministere de la Culture et des Arts
· Madonna (2008) New Documentary Film: “I am because we are”, You Tube http://www.youtube.com/watch?v=NfQQAnQEs6I&feature=related
· Mandela, Nelson (2006) The Ubuntu Experience, You Tube http://www.youtube.com/watch?v=ODQ4WiDsEBQ
· Man Ray, Juliet (1995) Man Ray, London, Sotheby's
· Mishkin-Qalam, Mirza Husain (1992) Mishkin-Qalam XIX Century Artist & Caligrapher, Germany, Reyhani
· Neshat, Shirin (2000) Exhibition, London, Serpentine Gallery
· Oxana (2007) Dog Girl, You Tube http://www.youtube.com/watch?v=qyqbnDjId7g&feature=related
· Piaget, Joan (1968) Genetic Epistemology, a series of lectures delivered by Piaget at Columbia University, translated by Eleanor Duckworth, NY, Columbia University Press
· Piaget, Joan (2007) The 'Voice' of the Child in Family Proceedings, (You Tube 2007) http://www.youtube.com/watch?v=X2_ks5dKBuQ
· Prosser, Jon (1998) Image-based Research, London, Falmer Press
· Rabbani, Shoghi Effendi (1978) The Proclamation of Bahá’u’lláh, Wilmette, Bahá’í Publishing Trust p.11
· Rassouli, Jalil (1990, second print 1992) The Soul of The Soul, Tehran, Negar Books
· Rumi, Jalaledin Mohamad (1976) Ghazaliat Shams Tabrizi, Iran, Safiali Shah Publishing, (the verse which is used in this article is translated from Persian by Parvaneh Farid)
· Sa'di, Shaikh Moslehadin (1978) Koliat Saedi, Iran, Mir Khani, (the verse which is used in this article is translated from Persian by Parvaneh Farid)
· Shenasa, Masoud (2004) Charming Sorrow, Iran, Hamavaz Ahang
· Shanes, Eric (1989) Brancusi, New York, Abbeville Press
· Sherman Cindy (1995) Cindy Sherman, USA, Schirmer Art Books
· Spivak, Gayatri Chakravorty (1987) In Other Worlds: Essays in Cultural Politics, NY, Routledge
· Stace, Alexa (1994) The Life and Works of Dali, UK, Parragon Book Service Ltd
· Streisand, Barbra (1983) Yentl (film), Miami, MGM
· Sullivan, K. E. (1998) Indian Myth & Legends, London, Brockhampton Press
· Taiwo, Olu (2008) A Letter of Support, Winchester, e-mail
· Tieney, William G. & Lincoln, Yvonna S. Editors (1997) Representation and the Text Re-Framing the Narrative Voice, New York, State University of NY Press
· Trimingham, M (2000) A Methodology for Practice as Research, Studies in Theatre and Performance, 22/1, pp. 54-60
· Viola, Bill (1996) The Crossing, (2005) Love/Death, (2007) a projected video, USA, Google
· Welch, Stuart Cary (1976) Persian Painting, N.Y. George Braziller
· Wikipedia, (2009) Theory of justification, http://en.wikipedia.org/wiki/Theory_of_justification)
· Yusuf Ali, Abdullah (1975) The Holy Quran, London, The Islamic Foundation