Projects

New Values: Changing Terms in a Psychological Classification

Unintended consequences of making art around recent positive psychology.

Christine Wong Yap, Character Strengths Signal Flags, 2015, linen, twill tape, letterpress-printed ribbon, rope, wood, flagpoles; 24 flags: 12.5 x 12 inches each; edition of three; flagpoles: 72–84 x 12 x 12 inches each; display: 73.5 x 20.5 x 27 inches. Photo: Anna Ablogina.

Christine Wong Yap, Character Strengths Signal Flags, 2015, linen, twill tape, letterpress-printed ribbon, rope, wood, flagpoles; 24 flags: 12.5 x 12 inches each; edition of three; flagpoles: 72–84 x 12 x 12 inches each; display: 73.5 x 20.5 x 27 inches. Photo: Anna Ablogina.

 

From 2013 to 2015, I designed, printed, and sewed Character Strengths Signal Flags. Each flag represented one of 24 character strengths in psychologist Martin Seligman’s and Chris Petersen’s Values in Action classification.

Recently I revisited the VIA website, and noticed that some of the strengths have been renamed. Those are listed below.

The new names relate to the old ones, but I can’t help but wonder: What is gained and lost with the linguistic updates?

  • Open-mindedness  Judgment
  • Persistence  Perseverance
  • Integrity  Honesty
  • Vitality  Zest
  • Citizenship  Teamwork
  • Self-Control  Self-Regulation
  • Appreciation of Beauty  Appreciation of Beauty & Excellence

I’m not a psychologist, but as the classification is aimed towards the public, the researchers are probably interested in accessible language. Here’s how I interpret the updates.

Some changes seem relatively minor—persistence and perseverance, and vitality and zest are phrasings many people would use interchangeably. Witnessing excellence can be beautiful; I can see the kinship in the appreciation of of the two. Psychologists might distinguish between self-control and self-regulation, but I don’t think general audiences would.

I believe the most dramatic change is from open-mindedness (withholding judgment) to judgment. In an era of snap judgments and constantly streaming opinions, I wonder why the researchers abandoned the self-assured open-mindedness, and then opted for judgment over the more measured critical thinking. Also, swapping integrity in favor of honesty seems complicated, too. To me, integrity implies a higher order of ethics and self-concordance than honesty.

The shift from citizenship to teamwork could inspire much deconstruction. The former implies geopolitics, nationhood, and the problems of inclusion, exclusion, and rights.* It’s too limiting for the meaning, which I interpret as the spirit of civic and social engagement.  On the other hand, teamwork originates in sport, but is now correlated with the workplace and management. This identity shift, from a (presumably) contributing member of a (presumably) democratic society, to a (likely, immaterial knowledge) worker, hits a nerve—it appears to be another instance of neoliberalism’s pervasive effect on our identities, where the corporation overtakes the state as the primary force organizing social relations.

While I don’t mean to conflate positive psychologists’ research with pop psychology writing, I did find a passage from Louis Menand’s essay on self-help business books (“The Life Biz,” New Yorker Magazine, March 28, 2016) to be relevant:

“It’s not surprising that every era has a different human model to suit a different theory of productivity, but it is mildly disheartening to realize how readily we import these models into our daily lives. We apply technologies of the self to our own selves, and measure our worth by the standards of the workplace.”

——

Addendum:

Justin Langlois‘ comments on citizenship (in “Questioning Citizenship at the Venice Biennale: Responses and Interventions,” C Magazine, Issue 128, Winter 2016) are too good not to cite.

First, the urgency of the question of citizenship:

“The idea of citizenship, and who gets to grant it, receive it, retain it and who has to give it up, is clearly one of the most pressing issues of our time.”

Then, a call to action to practice citizenship:

“Our citizenship relies on the testing of its very boundaries. And more often, it relies on a series of small and not-so-small gestures that secure or resist it, and that help us to exercise our capacity to measure, record and produce social and civic life together. Art provides an inventory of expanded practices and poetics that might offer us clues on how to do this, but we must work to hone our own actions and activities towards more complicated expressions that can evince our agency in the world. If we await an invitation to perform our citizenship, we will never get around to producing it ourselves.”

While of course I value cooperation and the ability to work well with others, what teamwork doesn’t account for is the desire and responsibility to “evince our agency in the world.”

 

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Works

Memory of an Artwork: Thomas Demand’s Rain/Regen

A stop-motion that reappears along a river of time.

Thomas Demand, Rain/Regen, (still), 2008. // Source: dhc-art.org.

Thomas Demand, Rain/Regen, (still), 2008. // Source: dhc-art.org.

Certain art-viewing experiences stay with you over time. When they’re pleasant, they can remind you of how meaningful the act of looking can be. Recalling a work of art—like reliving any memory—strengthens its salience. It could be that a series of vital art experiences will one day form a tally of the particular arcs of my life.

I’m in a reflective mood, having just finished William Finnegan’s memoir, Barbarian Days: A Surfing Life. It’s about a life shaped by a passion, and later, a passion shaped by life, including loss and aging. Along with reading a remembrance of Oliver Sacks, and a book by the late positive psychologist Chris Peterson, my thoughts keep returning to what makes a life worth living.*

One work that I’ve continued to think about is Thomas Demand’s** Rain/Regen (2008). I saw it in 2010 in The Dissolve, the moving-image focused iteration of SITE Santa Fe’s biennial. It was my first visit to SITE and Santa Fe, on my first cross-country drive. We were moving from California to New York. Marking this life change with a road trip was wise. Those two weeks stand out in high relief.

I remember stepping out of Santa Fe’s picturesque, sun-baked adobe environs into the cinematic black box of the ICA. Floating screens and scrims primed me for psychologically-loaded spaces. Teresa Hak Kyung Cha’s notion that video paralleled the cinema of the mind seemed present.

Essentially, Demand makes stop-motion animations using paper constructions that are ever-increasing feats of production value. Rain/Regen is just what it sounds like—it’s an animated image of raindrops falling in a thin, frame-filling puddle. The fact that it’s constructed by hand, frame by frame, is astonishing. In this case, the paper might be bits of thin, clear plastic torn and stretched by hand. But like rain, all you see are streaks and a momentary splash upon impact. It’s gone in a split second. It happens fast, before your eye can catch up to it. It’s startlingly reminiscent of the overall peripheral sensation of rain. The perceptiveness of perception itself seems yet even more impressive. I know crediting this work with technical wow-factor sounds hollow. But the simplicity of the shot, indeed, the everydayness of the concept, paired with the ambition of animating it, forms a curious nexus.

I was moved by many works in that show, but Rain has stuck with me. Even the physics of a seemingly trivial drop of water exceeds the abilities of the human eye. We grasp only its motion, implosion, and disappearance.

*It’s been oddly reassuring that mentions of friends, colleagues, and acquaintances keep popping up in books I’m reading: Ted Purves in Tom Finklepearl’s What We Made, Marshall Trammel in Greg Sholette’s Dark Matter, and a familiar image by Hank Willis Thomas in Jeff Chang’s Who We Be. It’s probably attributable to two truths: the inevitability that a cohort would become the archivists and subjects of our eras, and, though I didn’t know it at the time, I was in the right places at the right times.

**It’s safe to assume that mega-artists like Thomas Demand rely heavily on studio staff for producing artworks, so a more fitting attribution would actually be “Thomas Demand Studio.” Of course sole authorship flows more freely through the systems of capitalism and law, but it’s nice to imagine a day that we drop these pretenses.

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News

Through Sept. 20: Bronx Calling @ the Bronx Museum

Participants are invited to string together the flags representing  their strengths. Connect the toggles to the loops.

Participants are invited to string together the flags representing their strengths. Will shows how it’s done: connecting toggles to the loops.

July 9–September 20, 2015
Bronx Calling: The Third AIM Biennial
Bronx Museum, 1040 Grand Concourse, Bronx, NY
Always free.
Open Thursdays–Sundays 11–6 and until 8 on Fridays.

I’m very pleased that this exhibition, which has been two years in the making, is now open. It includes work from 72 participants in the Bronx Museum of the Arts’ Artists in the Marketplace program, who have diverse, strong practices (whose praises I sing in the Time Out article below).

On July 15, the museum held an open house for Bronx Calling as well as ¡Presente! The Young Lords in New York (recommended!). Over 1,000 people attended. See photos of the open house, which included numerous performances.

I’m debuting Character Strengths Signal Flags. This project has been three years in the making—I designed and sewed 24 signal flags in an edition of three. Each flag has a letterpress-printed label identifying the character strength and one of the six categories developed by positive psychologists Chris Peterson and Martin Seligman. The flags are installed with a legend and flagpoles. Viewers are invited to find and fly the flags of their strengths. See more pics on my website.

Character Strengths Signal Flags, 2015, linen, twill tape, letterpress-printed ribbon, rope, wood, flagpoles; 24 flags: 12.5 x 12 inches each; edition of three; flagpoles: 72–84 x 12 x 12 inches each; display: 73.5 x 20.5 x 27 inches.

Character Strengths Signal Flags, 2015, linen, twill tape, letterpress-printed ribbon, rope, wood, flagpoles; 24 flags: 12.5 x 12 inches each; edition of three; flagpoles: 72–84 x 12 x 12 inches each; display: 73.5 x 20.5 x 27 inches.

See Time Out New York! 

Dana Varinsky. “Emerging Artists Take the Bronx,” Time Out New York, July 15, 2015.

Dana Varinsky. “Emerging Artists Take the Bronx,” Time Out New York, July 15, 2015.

Bonus: You can top off your visit with a street festival!
Sundays, August 2, 9 and 16, 12–4pm
Boogie on the Boulevard
Right in front of the Bronx Museum, Grand Concourse from 161st Street to 167th Street will be closed to cars and open to a world of fun with free music, activities, and programs hosted by artists and organizations from the Bronx and beyond. What’s not to like?

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