Andrew J. Corsa
@artzthoughts.bsky.social
Philosophy. Artworks & reflections on acting, art, theatre, improv, and Dropout TV (Dimension 20 & Very Important People).
I like this atwork!
Also, here is a quote from Henry David Thoreau:
"We had our first, but a partial view of Ktaadn, its summit veiled in clouds, like a dark isthmus in that quarter, connecting the heavens with the earth."
Also, here is a quote from Henry David Thoreau:
"We had our first, but a partial view of Ktaadn, its summit veiled in clouds, like a dark isthmus in that quarter, connecting the heavens with the earth."
January 11, 2026 at 10:58 AM
I like this atwork!
Also, here is a quote from Henry David Thoreau:
"We had our first, but a partial view of Ktaadn, its summit veiled in clouds, like a dark isthmus in that quarter, connecting the heavens with the earth."
Also, here is a quote from Henry David Thoreau:
"We had our first, but a partial view of Ktaadn, its summit veiled in clouds, like a dark isthmus in that quarter, connecting the heavens with the earth."
3rd part of thread
Miwon Kwon (2004) notes that for some site-specific artworks the meaning of the work can't be located JUST in the art object but also in how the object relates to its site. I think this is true of the art of Artscape Nordland.
This thread cites Kwon's "One Place After Another."
Miwon Kwon (2004) notes that for some site-specific artworks the meaning of the work can't be located JUST in the art object but also in how the object relates to its site. I think this is true of the art of Artscape Nordland.
This thread cites Kwon's "One Place After Another."
January 11, 2026 at 10:28 AM
3rd part of thread
Miwon Kwon (2004) notes that for some site-specific artworks the meaning of the work can't be located JUST in the art object but also in how the object relates to its site. I think this is true of the art of Artscape Nordland.
This thread cites Kwon's "One Place After Another."
Miwon Kwon (2004) notes that for some site-specific artworks the meaning of the work can't be located JUST in the art object but also in how the object relates to its site. I think this is true of the art of Artscape Nordland.
This thread cites Kwon's "One Place After Another."
2nd part of thread:
Miwon Kwon (2004) considers the possibility that removing certain site-specific artworks from their intended sites might destroy the artworks. Would removing the artworks of Artscape Nordland from their sites destroy them?
Miwon Kwon (2004) considers the possibility that removing certain site-specific artworks from their intended sites might destroy the artworks. Would removing the artworks of Artscape Nordland from their sites destroy them?
January 11, 2026 at 10:28 AM
2nd part of thread:
Miwon Kwon (2004) considers the possibility that removing certain site-specific artworks from their intended sites might destroy the artworks. Would removing the artworks of Artscape Nordland from their sites destroy them?
Miwon Kwon (2004) considers the possibility that removing certain site-specific artworks from their intended sites might destroy the artworks. Would removing the artworks of Artscape Nordland from their sites destroy them?
7th part of thread:
Earlier posts in this thread cited two different articles. They cited Aili Bresnahan’s 2015 article: “Improvisation in the Arts.” Earlier posts in this thread also cited Philip Alperson’s 1984 article, “On Musical Improvisation.”
Earlier posts in this thread cited two different articles. They cited Aili Bresnahan’s 2015 article: “Improvisation in the Arts.” Earlier posts in this thread also cited Philip Alperson’s 1984 article, “On Musical Improvisation.”
January 10, 2026 at 2:04 PM
7th part of thread:
Earlier posts in this thread cited two different articles. They cited Aili Bresnahan’s 2015 article: “Improvisation in the Arts.” Earlier posts in this thread also cited Philip Alperson’s 1984 article, “On Musical Improvisation.”
Earlier posts in this thread cited two different articles. They cited Aili Bresnahan’s 2015 article: “Improvisation in the Arts.” Earlier posts in this thread also cited Philip Alperson’s 1984 article, “On Musical Improvisation.”
6th part of thread:
Even if an improvisatory performance is recorded long before it is watched, it has a sense of immediacy & freshness that scripted performances can never have (Bresnahan, 2015, p. 579). “Very Important People” has a wonderful sense of on-the-spot immediacy. @vicmmic.bsky.social
Even if an improvisatory performance is recorded long before it is watched, it has a sense of immediacy & freshness that scripted performances can never have (Bresnahan, 2015, p. 579). “Very Important People” has a wonderful sense of on-the-spot immediacy. @vicmmic.bsky.social
January 10, 2026 at 2:04 PM
6th part of thread:
Even if an improvisatory performance is recorded long before it is watched, it has a sense of immediacy & freshness that scripted performances can never have (Bresnahan, 2015, p. 579). “Very Important People” has a wonderful sense of on-the-spot immediacy. @vicmmic.bsky.social
Even if an improvisatory performance is recorded long before it is watched, it has a sense of immediacy & freshness that scripted performances can never have (Bresnahan, 2015, p. 579). “Very Important People” has a wonderful sense of on-the-spot immediacy. @vicmmic.bsky.social
5th part of thread:
As Aili Bresnahan writes: “What happens in an improvisational performance is new and immediate to the artist as well as to the audience” (2015, p. 579). @vicmmic.bsky.social @vipeopleshow.bsky.social @dropout.tv
As Aili Bresnahan writes: “What happens in an improvisational performance is new and immediate to the artist as well as to the audience” (2015, p. 579). @vicmmic.bsky.social @vipeopleshow.bsky.social @dropout.tv
January 10, 2026 at 2:04 PM
5th part of thread:
As Aili Bresnahan writes: “What happens in an improvisational performance is new and immediate to the artist as well as to the audience” (2015, p. 579). @vicmmic.bsky.social @vipeopleshow.bsky.social @dropout.tv
As Aili Bresnahan writes: “What happens in an improvisational performance is new and immediate to the artist as well as to the audience” (2015, p. 579). @vicmmic.bsky.social @vipeopleshow.bsky.social @dropout.tv
4th part of thread:
When audiences watch “Very Important People,” they are watching BOTH the creation of content AND the performance of that content. As Alperson writes: “Improvisation strikes us as a case in which one individual [is] simultaneously composer and performer” (1984, p. 21).
When audiences watch “Very Important People,” they are watching BOTH the creation of content AND the performance of that content. As Alperson writes: “Improvisation strikes us as a case in which one individual [is] simultaneously composer and performer” (1984, p. 21).
January 10, 2026 at 2:04 PM
4th part of thread:
When audiences watch “Very Important People,” they are watching BOTH the creation of content AND the performance of that content. As Alperson writes: “Improvisation strikes us as a case in which one individual [is] simultaneously composer and performer” (1984, p. 21).
When audiences watch “Very Important People,” they are watching BOTH the creation of content AND the performance of that content. As Alperson writes: “Improvisation strikes us as a case in which one individual [is] simultaneously composer and performer” (1984, p. 21).
3rd part of thread:
In contrast, when audiences watch improvisatory performances, like Dropout TV’s “Very Important People,” they know that the performers made up the words they speak RIGHT BEFORE they speak them. The performers think on their feet, deciding what to say right before they say it.
In contrast, when audiences watch improvisatory performances, like Dropout TV’s “Very Important People,” they know that the performers made up the words they speak RIGHT BEFORE they speak them. The performers think on their feet, deciding what to say right before they say it.
January 10, 2026 at 2:04 PM
3rd part of thread:
In contrast, when audiences watch improvisatory performances, like Dropout TV’s “Very Important People,” they know that the performers made up the words they speak RIGHT BEFORE they speak them. The performers think on their feet, deciding what to say right before they say it.
In contrast, when audiences watch improvisatory performances, like Dropout TV’s “Very Important People,” they know that the performers made up the words they speak RIGHT BEFORE they speak them. The performers think on their feet, deciding what to say right before they say it.
2nd part of thread:
When audiences watch a pre-scripted performance, the words they hear were written long before the performance takes place. Philip Alperson (1984, p. 18) says this involves “two stages of production”: (1) the earlier creation/composition of content; and (2) the later performance.
When audiences watch a pre-scripted performance, the words they hear were written long before the performance takes place. Philip Alperson (1984, p. 18) says this involves “two stages of production”: (1) the earlier creation/composition of content; and (2) the later performance.
January 10, 2026 at 2:04 PM
2nd part of thread:
When audiences watch a pre-scripted performance, the words they hear were written long before the performance takes place. Philip Alperson (1984, p. 18) says this involves “two stages of production”: (1) the earlier creation/composition of content; and (2) the later performance.
When audiences watch a pre-scripted performance, the words they hear were written long before the performance takes place. Philip Alperson (1984, p. 18) says this involves “two stages of production”: (1) the earlier creation/composition of content; and (2) the later performance.
[Above I cited Matthew Stewart's 2006 book, "The Courtier and the Heretic."]
January 9, 2026 at 1:26 AM
[Above I cited Matthew Stewart's 2006 book, "The Courtier and the Heretic."]
Spinoza's self-portrait is lost to time, but portraits of Masaniello, like that included at the top of this thread, still exist and give at least a rough sense of how Spinoza's self-portrait might have looked.
January 9, 2026 at 1:26 AM
Spinoza's self-portrait is lost to time, but portraits of Masaniello, like that included at the top of this thread, still exist and give at least a rough sense of how Spinoza's self-portrait might have looked.
It appears that Spinoza saw himself as somehow LIKE Masaniello. Did Spinoza see himself as a "hero of the people" (Stewart, 2006, chapter 6)? Did Spinoza see himself as seeking liberation? Did he view himself as doomed to potentially meeting a tragic fate like Masaniello?
January 9, 2026 at 1:26 AM
It appears that Spinoza saw himself as somehow LIKE Masaniello. Did Spinoza see himself as a "hero of the people" (Stewart, 2006, chapter 6)? Did Spinoza see himself as seeking liberation? Did he view himself as doomed to potentially meeting a tragic fate like Masaniello?
According to Colerus, Spinoza had - in his self-portrait - made himself look much like Masaniello. Spinoza had portrayed himself in a similar pose, looking like a fisherman with a net (cf. Stewart, 2006, p. 97).
January 9, 2026 at 1:26 AM
According to Colerus, Spinoza had - in his self-portrait - made himself look much like Masaniello. Spinoza had portrayed himself in a similar pose, looking like a fisherman with a net (cf. Stewart, 2006, p. 97).
Many portraits of Masaniello portrayed him as a common fisherman, with a fishnet on his shoulder. One such portrait of Masaniello, by Pieter de Jode, appears at the top of this thread.
January 9, 2026 at 1:26 AM
Many portraits of Masaniello portrayed him as a common fisherman, with a fishnet on his shoulder. One such portrait of Masaniello, by Pieter de Jode, appears at the top of this thread.
Apparently, Spinoza had based his self-portrait on images of the Italian revolutionary Tommaso Aniello, also called "Masaniello" (Stewart, 2006, p. 97). Masaniello was a fisherman who lead a short-lived 1647 revolt against the rule of Spain before he was murdered and torn apart.
January 9, 2026 at 1:26 AM
Apparently, Spinoza had based his self-portrait on images of the Italian revolutionary Tommaso Aniello, also called "Masaniello" (Stewart, 2006, p. 97). Masaniello was a fisherman who lead a short-lived 1647 revolt against the rule of Spain before he was murdered and torn apart.
Spinoza liked to draw, and created portraits - sketches - of prominent people he met using ink and charcoal. One of Spinoza's early biographers - Colerus - maintained that Spinoza had also sketched a self-portrait (Stewart, p. 97).
January 9, 2026 at 1:26 AM
Spinoza liked to draw, and created portraits - sketches - of prominent people he met using ink and charcoal. One of Spinoza's early biographers - Colerus - maintained that Spinoza had also sketched a self-portrait (Stewart, p. 97).
If you read the book, you might catch the the cover art itself is mentioned once in the book's story. It's a bit of an Easter-egg. (Can you find it?)
January 9, 2026 at 12:56 AM
If you read the book, you might catch the the cover art itself is mentioned once in the book's story. It's a bit of an Easter-egg. (Can you find it?)
In such simple cover-art, the minor difference between the smoke and the rest of the image is noticeable. And that visual difference, in combination with the book's story, can catch the imagination.
January 9, 2026 at 12:56 AM
In such simple cover-art, the minor difference between the smoke and the rest of the image is noticeable. And that visual difference, in combination with the book's story, can catch the imagination.
Such a simple image is imbued with so much significance. And, for me, the smoke in the cover art works particularly well because it stands out - and is just a little different - from the rest of the image.
January 9, 2026 at 12:56 AM
Such a simple image is imbued with so much significance. And, for me, the smoke in the cover art works particularly well because it stands out - and is just a little different - from the rest of the image.
On the surface, the cover's image provides a simple representation of buildings described in the book's story. But more than that, the cover-art provides a graphical representation of the idea of hierarchy. And the book - which is a fast-paced, engaging read - invites reflection on this idea.
January 9, 2026 at 12:56 AM
On the surface, the cover's image provides a simple representation of buildings described in the book's story. But more than that, the cover-art provides a graphical representation of the idea of hierarchy. And the book - which is a fast-paced, engaging read - invites reflection on this idea.