Showing papers in "Journal of Writing in Creative Practice in 2017"
TL;DR: In this paper, the relationship of writing to making is explored, with a focus on the role of landscape in the process of research process, the volume of information gathered, and the insertion of other disciplinary perspectives.
Abstract: Situating myself as a visual artist with a multi-modal practice, this article will explore the relationship of writing to making, using the relationship of writing to my own practice to explore questions relating to research processes, the volume of information gathered, and the insertion of other disciplinary perspectives. Here, I will address the element of my practice that is based in landscape, specifically explorations that begin with the idea that places are multi-layered, ever-changing, embodied and always active. In seeing places as experiential fields of investigation, writing can add a more complex dimension as it flows from the landscape itself and research about it, to practice, with writing occasionally becoming the artform itself.
TL;DR: The essay is restless, always a little too hungry, always too thirsty (2006) as mentioned in this paper, and the essay is unquenchable, undefinable, and unsummarizable.
Abstract: Rachel Blau DuPlessis writes that the essay is restless, always a little too hungry, a little too thirsty (2006). Implicit in this statement is the fact that a good essay is full of desire and creates this response in readers too – building a thirst for more knowledge, for more emotion, for stimuli, satisfaction. Here the essay is unquenchable, undefinable and unsummarizable. This experimental essay talks about the practice and application of writing experimental essays and their capacity to be genre-bending, form-curious texts. Considering specific texts that explore artistic practice and/or, in their hybridity, bring image and text together in essential ways, the hybrid essay will emerge as a way of making, seeing, reading, interpreting and acquiring knowledge. By discussing intentional ambiguity, the unfamiliar familiar, knowledge in context, and the role of language and structure in the creation of presence, silence and absence in texts, this essay draws attention to the complications (and possibilities) of essays and their forms. The best essays create subtle, lively interactions between and within subjects, forms and languages that can howl and shape-shift in the final essay itself. These genre-bending essays can deepen and complicate the knowledge we make for ourselves – as we experience reverberations of meaning in the multiple readings each specific open text encourages. Included here is the writing and thinking of Anne Carson, Gertrude Stein, Rachel Blau DuPlessis, Lyn Hejinian and others.
TL;DR: In this paper, the intimate, cerebral and emotional voice of a writer is used as a post-critical device and a politics of the personal-made-public, where criticality is charged by correlation to one's own life.
Abstract: Collaging epistolary passage and theoretical discussion, this article both embodies and investigates the intimate, cerebral and emotional voice as a post-critical device and a politics of the personal-made-public. Forms of critical memoir and autotheory are examined as rhetorical forms where criticality is charged by correlation to one’s own life. First-person critique, or the ‘radically intimate’, is recognized as a post-critical turn and as a revisionist return to poststructuralist critiques of subjectivity and citational practices of self-writing. A particular focus is this mode of enquiry applied to art writing and acting as a meta-critique of the conditions of creative practice. As a self-reflexive research methodology, it is argued that first-person observation, inflected by affect, intimacy and the quotidian, can be understood not only as a countercultural trend but as a radical intervention in the means, production and historiography of contemporary art, literature and its discourses.