Andrew J. Corsa
@artzthoughts.bsky.social
Philosophy. Artworks & reflections on acting, art, theatre, improv, and Dropout TV (Dimension 20 & Very Important People).
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?
This thread reflects on the notion of site-specific artworks in relation to the art of Artscape Nordland.
Artscape Nordland (Skulpturlandskap Nordland) is a collection of outdoor artworks in Northern Norway. They change how the landscapes in which they appear are viewed.
See replies for more.
Artscape Nordland (Skulpturlandskap Nordland) is a collection of outdoor artworks in Northern Norway. They change how the landscapes in which they appear are viewed.
See replies for more.
January 11, 2026 at 10:28 AM
This thread reflects on the notion of site-specific artworks in relation to the art of Artscape Nordland.
Artscape Nordland (Skulpturlandskap Nordland) is a collection of outdoor artworks in Northern Norway. They change how the landscapes in which they appear are viewed.
See replies for more.
Artscape Nordland (Skulpturlandskap Nordland) is a collection of outdoor artworks in Northern Norway. They change how the landscapes in which they appear are viewed.
See replies for more.
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.
How did Baruch Spinoza, the 17th-century philosopher, view himself? If he drew a self-portrait, how did it look? It might have looked a little like this portrait, by Pieter de Jode, of Tommaso Aniello, who was also called "Masaniello."
See the rest of this THREAD in the REPLIES to this post.
See the rest of this THREAD in the REPLIES to this post.
January 9, 2026 at 1:26 AM
How did Baruch Spinoza, the 17th-century philosopher, view himself? If he drew a self-portrait, how did it look? It might have looked a little like this portrait, by Pieter de Jode, of Tommaso Aniello, who was also called "Masaniello."
See the rest of this THREAD in the REPLIES to this post.
See the rest of this THREAD in the REPLIES to this post.
I enjoyed reading Mark Wilk's novella "Oligopolis" - an engaging dystopian science-fiction story about a terrible, violent city. In this THREAD, I want to share a few thoughts about the book's cover art.
See the REPLIES below for much more.
See the REPLIES below for much more.
January 9, 2026 at 12:56 AM
I enjoyed reading Mark Wilk's novella "Oligopolis" - an engaging dystopian science-fiction story about a terrible, violent city. In this THREAD, I want to share a few thoughts about the book's cover art.
See the REPLIES below for much more.
See the REPLIES below for much more.