K Scot Sparks - Unresolved Viewbook - Mar 2014b

8/9/2019 K Scot Sparks - Unresolved Viewbook - Mar 2014b

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K. SCOT SPARKS

Work & Statement Samples

[email protected]

Find additional information at LinkedIn (K. Scot Sparks) andmore STUDIOLOGY work at soundcloud.com/kscotsparks

The Picture as Incarnate Perception

However large, pictures I make are more like studies. Studiesor sketches sometimes suggest a unique interdependence of structureand analogy - of It-ness and Of-ness, so to speak. Maybe theyoffer a conscientious escape from both overconfident and hopelessvision. Somewhat like those of the newspapers half-tone photo,dotty and spotty analogies here emerge partly within particular

notions of co-incidence co-operation. An experimental actingtogether (both of the artists perceptual hunches AND of these inconcert with those of the viewer) allows the re-emergence of intrinsicor embedded value - meaning. Avoiding both absolutizedarbitrariness and triumphal realism, ongoing tabulation andadjustment - resourcefulness and self-correction sometimes allow Reality to show itself. I hope some of these subjectivized objects will have similar qualities - senses.


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Morning Dialectic 002005 Alkyd on Masonite | 8 x 4 ft.

YOU ARE HERE T O V AGUE , V ULNERABLE& D EMANDING POSSIBILITY (ashes & dust, on emerging from the cave, and related installations)

These larger landscape improvisations are spray-paintings atmospheres drawn with atmospheres, perhaps. I often use

pegboard masonite because its grid of miniature port holesseems to support the pictures presence-like re-presentation,in some unique ways. Tensions between the proverbial

window-like and wall-like (or between real and ideal epistemicbents) are also stylized here. Through a kind of improvisation,nature-convicted heuristics here vaguely access somethinglike the souls exposure (its having been marked by earlierexperiences in the land, in which seeing uniquely becamecontemplation).

I attempt to find a credible place. I want to re-cognize and receive and dwell more so than perform or demonstrate (orescape, for that matter). Painting may become partly shareablepilgrimage. If inclined, others might access something of thisway by considering the emergence of the compelling-if-

vulnerable place-as-picture - picture-as-place . In the guise of vague non-virtuosity, vague familiarity may surprise; it maybecome relevant, with some unexpected specificity andconsistency.

Fragments about human understanding - for instance, theKantian epistemic grid might also pertain here - but noless vaguely. Well apart from the nihilistic, skewed imageprofiles (rectangular picture planes without right angles) andsuper-low resolution might here suggest how infrequentanything like complete knowledge is. Oddly connected to

such limitation, the land view sometimes silently nags; itunderscores the possibility of self-evident value. By no meansan argument, let alone proof such senses yet meaningfullymake late-modern orthodoxies uneasy.

The frequency with which aspects of the land view havefeatured in knowledge or interpretation theory will hopefullynot limit possible associations to mere notion dropping. Theconceiving and performing of such objects suggestsinvestigation as to whether certain metaphoric-criticalapplications the clearing (Heidegger) or the horizon(Gadamer) might be enriched somehow, on improvisationsconjectural-concrete perception. Hopefully, compromised focusand what technical photographers call circles of confusion ultimately evoke not per se confusion but substantiveconnection - among limit and possibility . The notion ofboundary as provisional medium (Weil) remotely parallelsthat of these studies quite defuse edges between would-bemonads, whether shapes or real, space-time things.

I sometimes relate these qualities, also, to the experience ofPlatonic or Gospel actors who, mid-way through the healing


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from blindness, remark on how, for instance, people seemlike walking trees. Perhaps an intimacy between provisionand provisionality, revelation and dis-orientation also appears .Objects like these pseudo-industrial, fuzzy constructs alsoseem a troubled marriage, between [Rothko-esque] non-objectivity as non-hope and, perhaps, late-Inness expectancy as iconicity .

S OFT M EMORIAL I, B-ROLL , & I NTERSECTION seriesV ISION AS M EMORY , DISCOVER Y AS INVEN TION , #s0043-0048

(looking in to look out, and vice versa ) Conte on fine paper, sized near 9x12


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Where the engagement of earth and sky becomesperpendicular to that between land and water,recognition and contemplation uniquely emerge and

merge. A substance-like glimpse of arts relationalbases and goals gets cradled unawares - in the halftransluscence. Between eye, ground plane, and half-

visual infinity, the light-haunted intersectioncoincides with other crossings. Image memory -

whether of photos or great paintings - and memoriesof one's natural/visual-environmental past often seemto emerge by merging - relating. Whether Hebraic,Hellenic, or proto-Taoist in style, such perceptuallysaturated fields (and those they inspire) suggest a kindof epic Memory . The confluence of these associations

with spiritually rife emotion seems as concrete as it i sfleeting as Parmenidean as it is Heracleitian. Thissense perforates my erasure sketching, in which activeabsenting draws - to draw upon - [scandalous]Presence.

Subtractive Field 0021 (charcoal and scratches - on 100% rag)

Razored Excavation - Oil-on-Panel Twilight 0042 | 14 x 26 in.


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KNOWABLE UNFATHOMABLE series( Homage, among others, to Josef Pieper)

After painting for a decade, I began to conceive of imagemaking as a uniquely physical seeking an intensiveexcavating. I began to presume toward an undeniable Something, via a thousand nothings - by clearing outsomewhat. Whether in regard to the horizon or the panelbefore me, I was convicted: there was something to be gottento. Around this time, I also attempted studies somewhat asimmediate, in proto-relational (communicative) effect, as

were certain musical works Id heard, conceived, and/orperformed.

Realities like the twilighted horizon can seem to

signify very oddly as if vaguely specifically . Particularly when reflecting on the probability that no one had everbrain-washed me, say, as to a convicting stability ofmeaning in this yet-mysterious space/place-as-vision, Ibegan to reflect on how sight may companion with notionsof objectivity sometimes alarming in their subject-readydensity in their value or meaning . When the sky and landtake up this counterpoint, it is as if home-like familiaritytakes on a provisional strangeness and vice versa. Wherea peculiar abundance of light is simultaneously blockedand transmitted (as with intermittently silhouette-like and

veil-like clouds), the attentive are wooed into tacitpreoccupation with the always-important unfamiliar.Most often, we can't quite conclude whether sunrise or

sundown is at hand in these studies. The sky's fires both woo and warn; vast ambiguity and soulful specificitymingle, in prayer-like engagement. Such spaces and

visions resist both per se explanation and Wittgensteiniansilence.

Sunday-Painted Scandal oil/panel, 7 x 12.5 inches

Would-be Sepia oil on panel, 3 x 4.7 ft.


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Misc. study/demo samples

(Part 1 of performance/installation series)


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Study Samples continued

selected from a manual-digital riverscape series

FORMER RORSCHACH series

we may choose to make art partly by turning self-engrossment and its emblems on their head. Here, wemake so as to open promising, window-like things. Weactively receive something of the Real, by turningimaginations clock back and by turning sensibility tointuitions where imagination registers Reality (andnature as creation-stirring Creation)


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TO REMEMBER :HOLOCAUST & THE W OOING W ARNING( samples on previous page)

When I make the relevant oil-on-panel masters (functioning 'plates' or 'negatives'), it is as if I am scrapingthrough the dark, looking for and then through the

proverbial tunnel - toward the Light at its end. I'd hereglimpse the peculiar spaces in and through which Lightseems to seek the seeker. Somehow, these visions seem tobalance through an acknowledging of the convulsive - toachieve the placid by refusing to evade the provisionallyharrowing...


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AMALGAM - iphone studies & spray-painted excavations(samples of 100 studies - for ink-on-mylar mural)


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SCANDAL ON SCANDAL (SUBJECTS V ERBOTEN 0042)

Sam Eden Commission

Installation series of subtractive oil-on-panel paintings - between 50 x 30 and 18 x 6 inches

TO THE MICRO-HOLOCAUST: SUBJECTS VERBOTEN

For those struggling with problems of form, meaning, andtheir possible relation (and for those actively curious both aboutpossible reconciliations of fact and value AND regarding issues ofpower), this referent holds something as non-negligible as it isverboten. Here I use a subtractive (erasing/razoring) approach tooil-on-panel painting in order to reconsider how recognition andredirection relate to working toward the Light.

I tend to paint until I can 'believe' the resulting image;typically, embarrassing mistakes and messes transpire for threefourths of the process. In the past, I would typically name similarimages as these with the phrase Darkness attempts to comprehend Light 0043. One meditation that accompanies my process regardsthe radical re-contextualizing of [thereby dissonant] life drawingand proportional concerns. Classicism intermittently becomes

absurd alongside the harrowing if efficacious stylization that is,alongside the distortion that is part and parcel of all diabolicaltreatments of the ever controverted Imago Dei .

Found Subject, Offense [Verboten 0050-0053] J. James, ATS, & Eden Collections


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Abbreviated Philosophy of Teaching

As an artist-teacher, I join students in experimentally consideringhow particular facts and values connect to make sensate or self-

evident meaning. Whether in beginning, intermediate, or advancedstudios - participants develop by imaginatively integrating objectiveand subjective thought. Through Socratic critiques, investigationsare guided toward greater perceptual, manual, and poeticeffectiveness. These conversations encourage whole-personengagements, where all potentials including individuality areactively discovered and cultivated. Whether in mimetic or non-objective styles, increasingly insightful sight is gradually mademanifest - in increasingly particular and compelling integrations, ofsound proportion and analogy. Given the variety of personalitiesacross a cohort, related works are of significant variety, in terms ofprocess, product, and presentation.

Students often develop a healthily personal sense of techniques

interpretive role. The first half of introductory and intermediatestudios is weighted toward a gentle correcting of perceptualpathologies or unhelpful if half-conscious assumptions and, then,toward an experimental discovery of flexible but helpful principles.Some random aspects are seen as affording a richness not otherwiseknown; less meaningful arbitrariness is challenged through projects

where subjects, materials, and processes are strategically integrated with a view to communicative implication (as informed by culturaltraditions, strong intuitions, and reasonably informed arguments).Form and meaning are related beyond simple or automatic one-to-one correspondences. Less communicative modes generic designsolutions, goal-less processes (and more slavish illusionism) aregraciously challenged in light of arts/persons great potential -

possibility.Course topics are presented in progressing repetitions thatinteract with a range of experimentally prioritized perspectives. Inreviewing histories and artifacts, students are encouraged tosimultaneously note both authentic distinctness and importantcontinuity. Holistic perspectives are developed without unduegeneralism. In both studio and critique, a freeing symmetry -between each ones intrinsic interdisciplinarity and realitysmultifaceted whole - is gradually discovered. This often goes forththrough projects analytic as they are imaginative - and vice versa.

All kinds of students regularly demonstrate that authentic art andtransformative learning develop significantly where a kind ofpersonal fullness gradually responds to lifes abundant if tacitconnections. Overly absolute reductions, and undue [abdicating]

relativisms both of which neutralize both art and learning are winsomely resisted. Students learn to invest evident strengths whilestrategically addressing weaker areas. Quite often, potentials arediscovered to be as significant as they are latent. +The cultivation of unexpected verbal skills has consistently had dramaticimpacts on the perceptual-creative growth of my students. This might beexpected, given arts hermeneutic-linguistic bases. Students develop insightful sight, in part, by carefully marking and describing important differences(including, among others, that between simplicity and simplistic-ness) in thecontext of an authentic and rich relatedness. Conveniently mis-applied notions, such as might be typical with Occhams razor, are somewhat qualified here, inthe spirit of Einsteins adaptation: Everything should be communicated assimply as possible and no simpler. Appropriately specific language isencouraged as a way of refining poetic vision; the latter refines perceptual- manual technique. This baby is not thrown out with the bathwater ofunnecessary jargon. Importantly, students who were formerly prone to pigeon- hole themselves as not verbal are liberated to discover and apply the deepconnection between careful seeing, thinking, and communicating. In this process,they are released f rom unnecessary fears and drawn toward the rich integrationof intellect, feeling, and value. As a related strategy toward developing the student-artist and her/his sensibility, elements of familiar binaries are consideredin terms of their latent mutuality (and beyond simple contrast-based notions). Sets like depth and breadth, real and ideal, literal and figurative,quantitative and qualitative, and theory and practice would only be a sampling here. Interestingly, careful parsing and integrating importantly -andrepeatedly- parallel that taken up in regard to visual-poetic parameters (i.e.,variations and relations suggested as spectrums of possibility between figureand ground, light and shadow, space and form, mass and shape,temperature and saturation, contour and edge, intent and response and form and content). The careful extending, refining, reconciling, andintegrating of these has often entailed important, distinct reconcilings of leftand right brain, sight with insight, intent and content, and without simplistic- ness fact with value.


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STUDENT W ORK SAMPLES

Below is a small sampling of studies, journal items, and

works from one program sequence (across two or threegenerational cohorts). Samples from Design, Drawing,Color Theory, Figure/Life Drawing, Photography, Painting,alternative media, and semester-long [medium/strategy-selective] Dependent Stud ies courses are featured.

FOUNDATIONS

Developmental intensives on [developmental] two-dimensionalcomposition We here address imaginative-objective vision andboth possible interactions and implications (amidst designssubjective-objective necessity).

Engagements are filtered through an increasingly conscious [1]varying and [2] well-varied relating of line, shape, contour, edge,value, relative opacity. Proportion, general position [shapelocation], frontal/axis-based positioning, and facet /perspectivepositioning are also studied; these are developed as usefulconcepts that expand imagination while ensuring different kinds ofvariety, including that related to appropriate and expressivesolutions to compelling problems. Here we develop an ability toimagine and create compelling visual wholes largely throughanalysis. Among other things, the possible intimacy of qualificationand quantification becomes fascinating and effectual.


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COLOR THEORY surveys and experiments withideas/phenomena that contribute to the recognizing andflexible categorizing of colors, their possible relations, andtheir effects. Naming, comparing, measuring, imagining,attempting, and systematizing around phenomena likesimultaneous contrast and the three dimensions of coloroften constitute this helpful investment. Related issues andproblems are studied carefully, through Albers and Gage,among others. As one unit example, the above are photos ofmanually analyzed and mixed digitizations , featuring historicpaintings and natural topics.

STUDENT W ORK SAMPLES | Drawing


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Studies herein suggest a good cross-section andrelative successes from different kinds and levels ofstudents, surely with significantly different backgroundsand initial study tendencies.


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sculpture / applied design / glass work /digital imaging


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Paper Still Life/ watercolor

Early stage painting studies : pure form / found still life / oil-on-pape

D IRECTED S TUDIES

Each image or set represents a completed and well-defended body of work, exhibited in Junior and Senioryears.


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Former Student Commentary

. . . the attention I received under Professor Sparks was unmatched in any of myother studies . . . Shortly after graduation I moved to New York City to pursue acareer in photography. For the past eleven years Ive been doing just that and makinga living as a working artist. The training and guidance I received studying under Kevin prepared me for th e competitive world of commercial a nd fine art photography. . . I can truly say that I would not be where I am today if not for Kevin Spa rks . . . ~ Todd Boebel, professional photographer (New York City)

. . . I don't know that I have ever been privileged to meet an individual asextraordinarily gifted as Kevin. His formidable command of the visual artscomplements a wide-ranging intellect that thrives in the environment ofinterdisciplinary exchange. He combines academic prowess with exceptional creativeabilities and a remarkable gift for service that grows from his deep sense of >>> human value. He is a uniquely talented individual and a model of liberal arts

learning in the noblest sense of it . . .. . . Kevin recognized my need for a mentor and extended himself selflessly to me. Our mutual interests, such as music, visual arts, literature, and philosophy, became thecontext for our friendship . . . Mine is not the only life Kevin has blessed in this way. From my days as a student, I have witnessed him reach out similarly to countlessindividuals. I am humbled by the sincerity of his interest in others, the range of people he is able to reach, his persistent efforts to find ways to help that are appropriate tothe individual instead of formulaic, and by his commitment to maintain theconnections he establishes . . . I have considered myself a pupil of his for many years . .. I wrote my Master's thesis in the English Department at UNC Chapel Hill on the


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color films of Michelangelo Antonioni, consulting heavily with Kevin to help mecontextualize the work of this intensely visual thinker . . . ~ Todd C. Stabley, multimedia specialist, Duke Capture, Duke University

. . . Im still glowing over the fact that I was offered the full scholarship to SUNY . . .Thank you for the vast amounts of knowledge . . . for your wisdom: a critical mindset.What a blessing to have studied with you for three years! . . . thank you for building me up . . . . . . Professor Sparks developed in all of us a vocabulary that, in hindsight, wasinvaluable. Since graduating, the topic of our preparedness for graduate study hascome up numerous times . . . ~ Kate Diago, B. A. in Studio Art (Painting), M. F. A. (SUNY), award-winning installation artist

. . . Kevin Sparks was my advisor while an undergraduate. I had four studio courseswith him and two directed studies. His provocative teaching served as the nucleus of my artistry. He pers istently challenged my work and the admixture of my p hilosophy, faith, sensibility, and memory essentially, the ingredients of my ar t-making. Three years after exiting his formal tutelage, he continues to mentor me, guiding,challenging, and encouraging me as an artist and as a person . . . Kevin Sparks isquintessentially the difficult but markedly great professor the most influentialteacher I have had . . . ~ Amber Hares, B. A. in Studio Art (Photography), M. F. A. (Rochester Institute), mixed media artist

. . . My relationship with the good professor is of the quality that I can describeconfidently as being pivotal for the rest of my life. He has, by himself, stretched notonly my capabilities but also my mind . . . My freshman year, Prof. Sparks took meunder his wing . . . through his counsel, I have developed a deep hunger for philosophy and theology. His teaching has helped me take all of my studies seriously. Icould go on and on about how this man has changed my life . . . ~ Daniel Werner, Studio Art Major (Painting), Philosophy Minor

. . . I recall meeting Prof. Sparks eight years ago, seeking his opinion on a handfulof rather timid sketches. Despite my minimal experience with painting at the time, Prof. Sparkss genuine belief in human potentials (including my own) gave me thecourage to pursue the studio art major and to present nearly seventy oil paintings at my senior exhibition three years later. His uni que approach of combining intensive studio experimentation with philosophical inquiry has been invaluable. By the time of my senior exhibition (seventy substantive oil paintings on panel), I was accepted to several graduate programs, including the Art Institute of Chicago. My assisting withresearch for his text on painting and hermeneutics has prepared me well for graduatework in religion and the arts. ~ Yuliya Tsutserova, B. A. in Studio Art, full fellowship recipient/ PhD candidate, Religion and Literature - University of Chicago

. . . I just wanted to drop a line to say thank you for all you did over myundergraduate career. I really appreciate the way you always expected the best fromus. You never accepted mediocrity. I will never look at the world the same way again.Thank you for your commitment to excellence . . . you are the best instructor becauseof this. Thanks for striving for excellence in your life just as you wanted us to strive forit ourselves . . . ~ Heather Sontag, mother, artist, and automobile racer!

. . . Professor Sparks pushes his students to push themselves . . . [He] teaches his students to think, to reach farther, to look beyond . . . I owe him so much in terms of spiritual, artistic, and philosophical growth, its ridiculous! . . . ~ Laura McNeel, Studio Art Major (Painting)

. . . I would like to thank you for all you have given me over these past two years. Indeed, you have given much . . . you have been a n incredible teacher, as you have notonly imparted knowledge about art but also knowledge about being a thinker . . . I praise God that he would take me to Kentucky, USA to enjoy such a rare gift. I realizethe time, energy (and more) I have cost you. I fully respect the advisor, director, professor and person you have been and still are in my life. THANK YOU forteaching me in love, patience, and honesty, and for expecting and believing in me more than I dared. Allow me to attach applicable fragments from Mertons The Seven Storey Mountain (pp. 154-155):

. . . [They] purified and educated the perceptions of their students byteaching them how to read a book and how to tell a good book from abad . . . they brought things out of you, they made your mind produceits own explicit ideas . . . [He posesses] the gift of communicating tothem something of his own vital interest in things, something of hismanner of approach . . . his vocation, in return, perfects and ennobleshim. And that is the way it should be, even in the natural order: howmuch more so in grace! Providence was using him as an instrumentmore directly than he realized [in] preparing my mind . . .

~ Shalimar Preuss, award-winning filmmaker, Paris

. . . Professor Sparks impressed me as that all-too-rare of individuals . . . [he]challenges students to investigate their habits of thought, inspires their creativity, andlaunches them towards a new mindfulness . . . Since graduating, I have been involvedin fully-funded graduate study at Indiana University (MFA, 97), Stanford University(Stegner Fellowship and Marsh McCall Lectureship, 99-04), and SUNY Albany(PhD student and Presidential Fellow, current). I can say with absolute clarity that my interac tion with Professor Sparks comprised my most important preparation for graduate study . . . ~ Angela Pneuman, award-winning author


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. . . in addition to being exceptionally knowledgeable in matters of art, philosophy,and theology, Kevin has a passion for teaching . . . In my remaining time as anundergraduate, I saw even more evidence of Kevins selflessness and generosity as hecontinued to invest his personal time and energy into me, one who was neverofficially a student of his, but a student in the truest sense nonetheless . . . I am now

two and half years into a PhD program at Boston College, and Kevin has continuedto be a source of steady encouragement as well as a continuing exemplar of what it means to live a life that is reflective yet ardent . . . Additionally, when I beganteaching here at Boston College as part of my graduate program, and I asked Kevin for any advice that he might give, his counsel pr oved to be a wealth of wisdom that,after a year and half, I am still learning to put into practice. Furthermore, the manner in which he spoke to me about teaching revealed an in tense devotion to hisown students and an unwavering commitment to the rigorous demands of an educatorwho is dedicated to seeing profound changes take place in those students . . . On thewhole, I think it is fair to say that I will probably never fully realize the extent towhich Kevin has contributed to my own development . . . ~ John Burmeister, B. A. and M. A. in Philosophy, PhD. Philosophy/Instructor of Philosophy - Boston College

. . . He has gone the extra mile time and time again whether meeting with meoutside of class or maintaining an e-dialogue . . . sometimes his lectures are soinspiring, its all I can do to hold back tears of joy . . . ~ Richard Larison, Philosophy Major, Studio Art Minor(Digital Media, Film & Master Reproduction)

. . . Professor Sparks has become, for me, an excellent role model for what aninstructor is called to be. Within my own teaching, I hope to mirror the time, energy,and love that he consistently pours into the lives of his students. He is well-studied,articulate, and passionate about art and the transformations possible therein. Hisinstruction varies from semester to semester as he anticipates and recognizes the specific learning needs of the individuals within each class. He seeks to make thisintentional method of instruction relevant to our art making, as well as to our lives in general . . . the class-wide d ialogues he establishes an d maintains within as well asoutside of the classroom have developed not only my understanding and appreciationof art but also of music, art history, my relationships, learning, questioning, and myteaching . . . he has made every effort to be available for any instruction I have needed or wanted outside of class . . . his critiques have been consistently constructive,dignifying, and properly challenging. Professor Sparks encouragement andinstruction has transformed the way I make art, think, and ultimately, live. Through his example, I am learning of the delight and joy found within living in a holistic and full manner . . . ~ Marta Irvine, B. S. in Art Education, drawer-naturalist

ABRIDGED BIO

Born and raised in northern New Jersey- Sparks studied liberal andvisual arts as an undergraduate and obtained the three-year terminal degree,an M.F.A in Drawing and Painting the latter, from the University ofTennessee. He has variously exhibited and taught largely within liberal arts,interdisciplinary higher education. In addition to his regular exhibiting,performing, and teaching schedule - the latter ultimately covering allfoundations, theory, and media/studios - he has tutored in instrumentalmusic, philosophy, and music production as well as led a number ofinterdisciplinary seminars (interdisciplinary honors seminars, seminars oncritical thinking for medical professionals, seminars on aesthetics, musiccriticism & production seminars, and seminars on creativity and problemsolving, for scholars in business & management).

Often, Sparks has presented on the studios heuristic hermeneutics -trial & error interpretation in which real finding and real innovation merge.

Interests here largely pertain to phenomena that marry invention asresponsive discovery and productive, real-world contemplation (each aspersistently concreteand relational ). Relevant researches and comments areintegrated, among others, in the forthcoming essays Wondering TowardIncarnate Perception: On Painting & Intrinsic [AND relationally-contingent]Value, The Studio as Philosophy Lab: Painting, Difference, Possibility, andMeaning and Why[/How] Art Can be Taught: A Response to Elkins .

A Vento brass instrument endorsee, Sparks is also a liturgical,chamber, and jazz trumpet player as well as a composer-producer in differentgenres. Often working as an inter-media installation artist, Sparks midisketches and models (including music for short films) can be sampled at soundcloud.com/kscotsparks. Having carefully taught most age anddevelopmental levels, from classical kinder to grad school, he has alsodeveloped the H IGHER YEARNING and STUDIOLOGY curricula in whichcritical thinking is winsomely taught as an unusually compelling way ofembarking on visual and musical arts mastery. Among other things, eachparticipant discovers how each of these are 'basic personal languages,' thateach may daily, actively cultivate - to great intrinsic and practical value.Sparks has variously exhibited, performed, lectured, researched, and/orrecorded in - among others - Prague, Nairobi, Edinburgh, New York,Athens, Dresden, Mombasa, Marthas Vineyard, Brno, Paris, Budapest,London, Dresden, Boston, Pergamon, and Addis-Ababa...

K Scot Sparks - Unresolved Viewbook - Mar 2014b

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