A circuit of sniffs doesn’t refer to a virus exactly, though indirectly it does in the way that currently everything does. As I look forward to my most pared back Christmas ever under Covid-19, I wonder why I feel such a sense of joy.
So I write with a renewed sense of my identity as an autistic person who doesn’t want to spend her life passing, which is a bitter sweet moment. There’s a real rub to it, which is that ‘feeling more autistic’ is often a result of being more disabled. But until more progress is made in the wider world, anything else is a mirage.
I’m interested in viewing the global impact of ND challenge across a lifetime as potentially being an inherent and ongoing trauma, requiring specialised safeguarding, support and recovery. It could be especially useful to consider the concept of global impact in the present circumstances.
Wash your hands. Wear a mask. Keep your distance. Mind your tweets!
I’m not suggesting Twitter use is deadly, though my relationship with the platform has begun to feel like it could be terminal. Lately I log on and wonder what’s happened to us all?
I hope that in understanding myself, and in sharing this brief account, I can help other autistics, family and friends. Reaching a resolution of feelings really helps. Giving your autistic loved one guilt-free time and permission to decompress is the best thing you can do.
I know a a lot about posthumous collaboration. As an artist I work in multiple forms to respond to my father’s life story and his plays. I’ve even written a play about a playwright with my father’s name, and adopted his voice to narrate my take on his story. In many ways I view Richard Butchins’ 213 Things About Me as a kindred project. At an artist’s talk last year, I was caught by surprise when asked what my father would think about my work. This question has stayed with me and makes me wonder what the real Rose would make of these podcasts. It takes a profound level of trust in a relationship for work quite so intimate. The first episode of the series is called, You What?
In this blog I share my provocation for the Public Conference – Disability Arts: Slaughtering the Sacred Cows at the Midland’s Art Centre in Birmingham. Anna Berry is an artist and the curator of the exhibition Art and Social Change: The Disability Arts Movement at the Midlands Art Centre. For her DASH Arts Curatorial Residency, Anna curated this closing event as a public conversation.
I’m loving this phase of my becoming. My post-it isn’t designed for sympathy, no, no! For me this is a powerful image, brimming with ownership. I’m all for that!
It’s important to feel useful to stay alive. We must all feel that we have agency over the things which matter to us. In my studio I know that my tomatoes will dance, sing, and play with me, until they’re ripe and ready to emerge as talismans for a way of being that can’t be silenced – it is too joyful and beautiful.
I know I can’t effect culture shift with my tomatoes – thought I can help to signal a growing impetus in the arts sector. Thinking though this blog post, I’ve also been enabled by my conversations with colleagues about the power of silence.
I will hold the possibility of silence as a response for future encounters with unwitting social ableism. Let’s see what opens up in the gap.
A blog post in which I talk through some new thinking about the term ‘social disability’. I love an epiphany! God, being autistic is sometimes an absolute blast. I get to peel back layers of a life time’s accumulation of faulty learning and go, wow! so that’s how it really works… Recent adventures haveContinue reading “The building blocks of learning. Thinking about ‘social disability’ and access.”