In Response to Steven Snow’s Video

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Deaf Art of the Decade

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David Call’s Deaf Soul Extraction. 2017.

That is exactly why Hate Watch should also monitor cochlear implant companies for the pillars of genocide. It is easy to think that the companies’ gets away with hate crimes. We should remember that many stockholders from the cochlear implant companies invading our lives each year, finding a way to dehumanize us, hoping to erase us as not productive members of the society.

With Hate Watch supporting Deaf community and rehabilitation, the survivors who once were a member of cochlear implant number like social security numbers; we need more stories from those survivors. As long as Deafhood framework heals those people, they will become more productive than ever. They can be pillars of Deaf community.

So, I decided to let my eyes to study Call’s work, I noticed that he was drawing 7th human subject, and decide to share my love of mathematics as Georg Cantor, a German mathematician once said, “The essence of mathematics lives in its freedom.” so, I went ahead and discovered with the help of numerology for 7 and seek for the meaning and it’s where it became interesting.

The number 7 is the seeker, the thinker, the searcher of Truth (notice the capital “T”). The 7 doesn’t take anything at face value — it is always trying to understand the underlying, hidden truths. The 7 knows that nothing is exactly as it seems and that reality is often hidden behind illusions.

By focusing on education, mentoring and empowerment, the aims are to eliminate hateful tactics. Cochlear implant companies are held responsible for the crimes they committed. Hate Watch would make all the difference. Appreciate cochlear implant survivors’ real life experiences, and frank and meaningful discussions in society.

The Deaf Soul Extraction by David Call should be the Deaf Art of the Decade. Period. Why not David Call earns the highest prestigious American honor called National Medal of Arts? The Deaf Soul Extraction should be brought and sealed into National Endowment for the Arts’ database. The United States Congress recognizes the National Medal of Arts. It was founded in 1984. The same year where the Food and Drug Administration (FDA) made the biggest mistake of human evolution and authority.

“In 1984, the Food and Drug Administration (FDA) approved the first cochlear implant for use in adults ages 18 and older. Five years later, the FDA approved the first cochlear implant for use in children ages 2 years and older.” [The link will be shown in references below]

Food for thought. Notice something? Five years later, that’s 1989, right? That year where 12 Deaf children had been extracted their souls only to be carried into 12 coffins. It is a lifetime nail-biting experience. Cochlear implant companies and FDA’s actions raise the question–what are they getting out of destroying Deaf human beings? Will their business profit from a stripped-down Deaf community?

There are a lot of illegal conflict of interests and stop the bigotry and unconstitutional activity by cochlear implant companies and…FDA to the full extent of extraction and soul-wrenching fear of going against human authority and pursuit of happiness–Deaf community do not deserve to be target of a hidden agenda.

The art says it all! Deaf subjects have the essence of mathematics to live in the name of freedom! Cochlear implants are in the danger of hidden mathematical truth. They are now hidden behind the web of lies. Call’s work is all behind the illusionary art. It is a brilliant work. I nominate this artwork to be Deaf Art of the Decade.

-JT

Copyright @ 2017 Jason Tozier

This text may be freely copied in its entirely only, including this copyright message.

References:
https://report.nih.gov/NIHfactsheets/ViewFactSheet.aspx?csid=83http://www.numerology.com/numerology-numbers/7

Inside George Veditz’s World: Revolution at a Distance

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The Cards Printed by David Call

Mr. George Veditz! Slainte to the man! He is the game-changer. Veditz versus Alexander Graham Bell (AGBell) battling over intellectual turfism and this become a serious matter of respect. I decide to name the post in honor of Veditz: Revolution at a Distance. Veditz’s omission of the Revolution. He argues that while AGBell overtly avoids the subject, he covertly refers to it. Unlike many other scholars, Veditz believes AGBell chose to end his narrative at the year 1913, that it was not an accident. The year, 1913, Veditz makes a thunderous statement:

 As long as we have deaf people on earth, we will have signs. And as long as we have our films, we can preserve signs in their old purity. It is my hope that we will all love and guard our beautiful sign language as the noblest gift God has given to deaf people.

George Veditz reminds me of Ben Franklin who set up America’s first library, they look the same. Glasses. Confident. Intellectual. “Any textual feature can be called an accident of circumstances, and can therefore be considered meaningless and uninteresting”-Christopher Looby writing his thoughts about Franklin. That questions remind me—then becomes: Why could not AGBell admit his weakness when he had plenty of time to write thousands of other things? Veditz suggests that AGBell did not want to deal with the fact that signed languages is the answer of all: communication, knowledge, information, and….intellectual turfism or intellectual property because he had hoped it would wipe off the face of earth, if at all.

Before reading below, the importance of verbal imposture that Veditz found the time to examine the language bigotry wherein AGBell verbally deceives Veditz and its Deaf people. Despite ignorance, with proximity, the events presented incongruous versions of sign languages and focus on Oralism. Veditz notes that this sort of contradiction appears throughout, and AGBell’s ideologies are never established. This is a function of the piece-meal nature of Veditz’s world, shows that sign languages were simply ignored. Ultimately, the alienating nature of sign languages and AGBell’s belief that self the function of Oralism that must necessarily produce an inaccurate self.

Meanwhile, it is the gaps that in Veditz’s gaps in strength that refer to the Revolution, such as textual self-difference: Veditz believes that sign languages are a choice to use it in a paternal voice after AGBell’s quote, “grand central principle…should be the retention of the normal environment during the period of education.  [Alexander Graham Bell, Memoir Upon the Formation of a Deaf Variety of the Human Race (National Academy of Sciences: Washington, DC 1884), 46] shall noted as textual self-difference.

AGBell do not have the final act as speaking his deficit thinking to make decision for Deaf people, in short to fashion for himself a hate monger just like his father and grandfather. AGBell argues that signed languages is what allowed Americans to support AGBell as the authority of the father to shun ASL, which is exactly what the Revolution was all about what Veditz believed in and to deny AGBell’s outline suggest that the real subject of the narrative was Veditz’s words had said it all.

Veditz knew the importance for sign language in ancestry and lineage, and the value of logical continuity. Veditz begins his revolution by directly addressing AGBell, and spends some time on his lineage of preserving sign languages—for him; however, the importance is subverted by what AGBell leaves out of this background.

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George Veditz with permission by the Deaf Artist Warren Miller

In the subject of sign languages, Veditz begins by examining the acrostic poem, which became the all-time poem in Deaf community. In the poem, Veditz’s name comes from social rules and norms thus tying his individual subjectivity in with the symbolic order. He goes on to discuss and preserve sign language, the model of father role as original representative of the law. And in the film, he launched the project, Preservation of Sign Language and told the story beginning from the golden ratio of Deaf community: National Association of the Deaf (NAD). Thanks to Library of Congress, the mother of all libraries to preserve the film.

Then that shows Veditz, was able, through sign language he loved, created self-confidence in mediation with others. Finally, he shows that AGBell, rather than become a master of language, actually came to worship Veditz and submit himself. Happy birthday, Mr. Veditz and I thank you for your commitment. You deserve the best birthday!

-JT

Copyright © 2016 Jason Tozier

This text may be freely copied in its entirely only, including this copyright message.

Turn the Lights On!

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One of my favorite quotes I often use for a good debate with people, “A mathematician is a blind man in a dark room is looking for a black cat which is not there” by Charles Darwin. This quote is exactly the same sentiment what David Call’s “I can hear! I can sing!” is all about. The fat cats in the drawing show a strong message between science and nature. Science is about arranging Deaf ears and nature is about a biological fact that is very healthy: Deaf. Darwin’s work was very highly respectable in science world leading that evolution would change everything even for Deaf babies with cochlear implants (CI).

In CI, there is frequently a connection between the signal and the noise, be it the message or the sound of violin, and the system is a battery-operated and it is not a natural at all. Creativity, the ability to produce novel expressions through music is very much absent in CI users that do not depend on displacement, duality, and cultural transmission.

David Call’s message shows a mental entity in which a world seems perfect, comparing to this present world. The drawing was so powerful that it is time to confront the many challenges it faces in both ASL and sound-oriented principles even at Gallaudet University. The concern is that it has been compounded by the failure exhibited by the current university administration to understand the nature of dangers and the integrity of critical thinking—it is gone.

CI industries are aggravated by the excessive influence of an audistic doctrine—the BIG MONEY. They do not care if the CI are artificial and man-made promoting for awareness, not acquisition, therefore the person David Call drew also shows that it is an individualistic as playing piano, trombone, flute, violin or any musical instruments. There is NO guarantee to the benefit of them at all.

There is a large marine mammal known as manatees (sea cows) that they possess vocal chords which give them the ability to speak like humans, but do not do so because they have no ears with which to hear the sound. Give manatees CI!

They fail to do their professional research and deliberation; they voted on a resolution to set up CI center on the campus at Gallaudet University to give CI users the more power. They marginalize DEAF people down. The big money flowing through CI industries are making a dangerous commitment to exclusive and academic use of CI, a commitment to intellectual excellence and responsiveness in CI, and a commitment to scholarly and creative work and research in CI at Gallaudet University that practices the speculative nature of knowledge: Darwinism.

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When the society oppresses Deaf people and children under great pressure to get CI, they are treated like manatees. Darwin would be very happy! If you want to know more information, read his famous work, Origins of Species published in 1859, and also, read a book written by Douglas C. Baynton, Forbidden Signs: American Culture and the Campaign against Sign Language in a chapter called Savages and Deaf Mutes: Species and Race. 

The channels: 22. A BIG FRAUD. Charles Darwin’s cousin, Francis Galton, the father of Eugenics. Easy to figure it out. Turn the lights on!

-JT

Copyright © Jason Tozier

This text may be freely copied in its entirely only, including this copyright message.

Examine An Allegory of De’VIA Cave: From Present to Futurism

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De’VIA (Deaf View/Image Art) coined by nine artists in 1989 helps to create a unique learning environment by bringing out the creative learner in all of us. It is able to do this in three ways. The first way is by not only being a fun but also an interactive way to learn. Second it can borrow and bring in other methods of learning that have already been discussed seamlessly, and finally it allows is to teach each other in a more comfortable environment. Let’s first take a look at why it is healthy and that is where I am a strong believer in Deaf Art. Also, art does use a beloved childhood of mine, but it allows for learning rather than the construction of Deaf mind is to take place. All those De’VIA done by Deaf artists are real also we give things like names, name signs, minor back-stories, etc. We come up with inventive stories of situations that they are going through, or that one is about to die from, and then share these sometimes complex and imaginative stories. That is what exactly Edgar Degas’s quote above points out important phrase to see through inventive stories, “Art is not what you see but what you make others see” touches all the bases.

We share them with our fellow people, often times showing a new or forgotten message that the person is more than happy to learn. A New Wave needs to develop and grow a stronger event with all of this preparation to tell their stories they have created for De’VIA the people are using they may have forgot to realize that they are using the methods they learned from Deaf artists to tell a story about their artworks. To get the ideas of what will happen in the story they may have used the creativeness they exercised during their thinking session into Deaf art, resistance, liberation, and affirmation.

The use of De’VIA for these types of things is not separate from the other things we have talked about today but instead a culmination. De’VIA is what allows us to help teach and learn from another person. If they use art to express their mind you do not understand you repeat the message and then you examine it more. That is the beauty of art. Today you have read why De’VIA helps to create a unique learning environment by bringing out the creative learner in all of us.

First by learning how the use of art as a learning aid can be used, second by understanding how artworks use other methods of practice, and finally you learned by working together. Art can be used to bring everything together and teach people of any age in a fun way. From my observation with De’VIA artists, they construct their experiences with the validity of Deaf experience and address what we the Deaf know, value, and be responsible for our own intellectualism. Our knowledge as Deaf people is chiefly derived from pure reason, which is the final principle of reality.

Our being Deaf is real and true without consideration for emotions. De’VIA has awakened reasoning in Deaf mind and our search for knowing, our desire, and our enlightenment of this vast Art world are but the fabric woven in these strands for many centuries from Plato’s Cratylus to 1880 Milan to Deaf people in the 19th, 20th and 21st centuries to Deafhood Foundation.

De’VIA must bring the philosophy of Deaf art, resistance, liberation, and affirmation to a sharp focus; Those current artists does the same for Deaf world with strong message of bringing an enlightenment of the struggle. Those people are known to be in the pursuit of arete, which means reaching the highest human potential in Greek, even at the cost of their own life. For next 30 years, the stories must be carried on and they all come from the beginning.

I would like to paraphrase Michel Foucault (1926-1984) statement by advising Deaf people to purse and recognize the supremacy of arts which has made a difference. It is powerful, the stories of lies and the attempt to redeem the nature of being Deaf through the hearing restoration or invention of cochlear implants must be told. Foucault’s quote, “My general theme is not society, it is true nor false discourses: let me say it is the correlative formation of domains, of objects, and of discourses verifiable and falsifiable which are assignable to them; it is not simply this formation which interests me but the effects of reality which are linked to it”–it is about the organizing principle of power wherein De’VIA can be studied through technologies of power–not progress, not education, not conflict, not struggle and not resistance.

Power creates truth, and this truth produces a function of power. De’VIA creates truth with a function of power. It is impossible to imagine without De’VIA and their influences are most often identified with their topics rather than a method. It will challenge people to question their assumptions about truth for their resistance and stop the power dynamics of cochlear implants, Audism, Oralism, and all. The truth is that De’VIA for the next 30 years is critical because Deaf people exist. It is not an accidental at all and a reason to believe that it is necessary to garner success. Since 134 years ago, the dark side of Milan 1880, De’VIA are the recipe for success to find their magic of many more truth. We must become more committed to arts in support of intellectual freedom, the search for social justice, and find the responsibility for the sake of Deaf people. The truth is that De’VIA has spoken.

-JT

Copyright © Jason Tozier

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David Call’s Ghost: How Call Created his Deaf Art in His Own Image

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There are many inherent differences and similarities between the artwork of David Call’s, however I found that Call has to be to be very influenced by Deafhood period. Using different stylistic, and artsy techniques yet still adhering to a rather flattened result and a focus on figures, David Call made this specific mark in the transitional time shifting to Deafhood theme.

Call’s artworks is one of the powerful “alter pieces” dedicated to the lad who invented Deafhood. The same word that has been heavily influenced Call to find the golden age of Deaf stories. His artworks are considered to be one of the greatest graphic representations of Deafhood in any neither form nor shape. His artworks are heavily discussed with an ingenious, transitional “bridge” from a flatter style of art to more full-bodied, richly textured Deaf art. Pointing out Call’s tendencies toward Deafhood thinking, I would like to use one of my favorite quotes of all time, “A blind man in a dark room is looking for a black cat which is not there”-Lord Byron. Call saw the deep thinking in those stories that needs to be seen through Deaf art.

His artworks I would like to put away that he wanted to have those stories to be thoughtful and rejoicing in the gift of the Deafhood stories. His artworks are most noticeable in his ability to realistically render the human form; Call utilized a flat style typical of the Deafhood era, and Call demonstrated a higher knowledge of form and dimension.

The next point of comparison worth discussion is the nature of the composition; how the arrangement of figures and objects, and graphic sense of space were utilized comparatively by Call. For example, Submission has a series of three levels, which, due to flatness of the sense of space, appear to be like bookshelves on which rest miniature scenes. The center of the composition of his artworks in Submission whom looms magnificently over the tiny figures and is flanked by hovering audists, and the light of Deaf Metamorphosis also draws the viewer’s eye to the center of the painting, where the Deaf Metamorphosis holds one hand up in a powerful gesture, and in the other cradles, presumably, Deafhood somewhere in there.

It is very obvious that Call planned this dramatic, horizontal composition beforehand, and probably mapped exactly where to put all of the smaller figures in the composition in relation to the all-important central figure. While all of these artworks he created an image that is strong in dimensionality, there is still plenty of intrigue to be found within his artworks, such as the mystical overlapping wing design to the upper left of Deaf Metamorphosis and the multiple scenes to the right and left of Submission which depict various interactions.

Call had a clear idea of relationships of objects, perspective, some foreshortening techniques, the value scale, and dimension of Deaf space. The faces, bodies, and limbs of the two figures I mentioned above reveal detailed shading and correcting anatomy, and also suggest a real study of Deaf people for the principle of Call’s artworks and it seems to work visually on his own respective levels, Call’s version seem to be more simplified with minimal figures, and more captivating with its use of delicate shading, and perceptive sense of Deaf space. There was probably many factors contributing to these differences between his artworks, some of which might been influence of mentors and apprenticeships on and by the artist themselves, and the concept of an ever-increasing faculty for the sciences, mathematics, and visual perception. One thing can be said that David Call, his work had a profound influence on much of Deaf art that came after them. Keep up the good work!

Please visit David Call’s website: http://www.eyehandstudio.com

-JT

Copyright © Jason Tozier

This text may be freely copied in its entirely only, including this copyright message.