{'fraction_non_alphanumeric': 0.021505376344086023, 'fraction_numerical': 0.0, 'mean_word_length': 4.676829268292683, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
Sensing and making sense: art-things in a small part of the world

Abstract This paper addresses issues with which I have grappled in teaching, researching and writing about forms of creative production which have been incorporated into the ‘art’ world. I have taken the questions of sensing and making sense as a leitmotif for interactions between people objects and contexts, placing the body, along with ‘value’ as elements central to the ways in which we make sense of objects, or make objects make sense. The concern with the body as a vector of traditional values also leads me to an analysis of the interplay between the category of the traditional as ‘history’ and heritage on the one hand, and the status of artists as trained or untrained, educated or self-taught on the other. The artists used in these discussions are Samson Mudzunga, Deborah Bell and a host of others whose names have not been recorded for posterity.