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A Performative Paradigm for the Creative Arts

01 Jan 2009-Vol. 5
About: The article was published on 2009-01-01 and is currently open access. It has received 30 citations till now. The article focuses on the topics: Arts in education & Visual arts education.
Citations
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01 Jan 2019
TL;DR: This paper aims to provide a chronology of the events leading up to and including the publication of this book and some of the key moments in its development.
Abstract: ...............................................................................................................................i Declaration .......................................................................................................................... ii Acknowledgments ............................................................................................................... iii Table of

40 citations

Dissertation
01 May 2018
TL;DR: In this article, a shared ontology between the sonic and the performative via an original application of what has been called the Performative Turn in art and the humanities, to sound art practice and its related theory is proposed.
Abstract: Contemporary theorising within the field of sound art practice emphasises the pursuit and function of listening as a central tenet in forming understanding and content. This research goes some way to re-balance this bias by shifting the weight of significance from listening to sounding and its practices. In its vernacular understanding, listening is commonly attributed to the human subject, whereas the potential to sound is shared by both the animate and the inanimate. It is with this in mind that I posit a doing of sound, whether anthropomorphically generated or not, as being crucial in thinking in, through and with sound. In this thesis, I examine a performative materialism of the sonic. I advance the concept of a shared ontology between the sonic and the performative via an original application of what has been called the Performative Turn in art and the humanities, to sound art practice and its related theory. This research contributes a unique merger of concepts that are often considered to be in opposition. In combining theories that stress the primacy of objects with those that foreground agency, I am suggesting procedures for relational and generative sonic pedagogies that differ from currently accepted practices. Moreover, this adaptation moves the relational within these concepts to centre stage, creating a thinking that is disposed toward deed and emergence rather than thingness I expound a Deed-Oriented Ontology (DOO) of the sonic through a conceptual re-purposing of recent trends in philosophy, such as object-oriented ontology (OOO), speculative realism and new materialism. This is predominantly achieved by using outcomes that employ variations upon the theme of performance presentation and lecture-event. The structure of this thesis is such that it makes use of performative-writing practices and materiality (be that of text or sound or performance) as possessing modes of transformation, organisation and knowledge dissemination. Central to this thesis is the idea that sound art is capable of generating its own kind of thinking which is only accessible through practice-led procedures or doing-thinking.

27 citations


Cites background from "A Performative Paradigm for the Cre..."

  • ...As Bolt would have it the performative paradigm as a research methodology within the creative arts is inevitable being, “that originary knowledge or the new is revealed through handling rather than [merely] through conscious acts of transgression” (Bolt, 2008, p.5)....

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Dissertation
01 Jan 2019

20 citations


Cites background from "A Performative Paradigm for the Cre..."

  • ...PaR is inherently interdisciplinary (Barrett, 2010a; Barrett, 2010b; Barrett, 2010c; Bolt, 2006; Bolt, 2009; Bolt, 2016; Nelson, 2013; Sullivan, 2005; Gray, 1996)....

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  • ...Prominent supporters of PaR argue for a paradigmatic shift towards the performative (Haseman, 2010; Haseman, 2006; Bolt, 2016; Bolt, 2009; Barrett, 2010a; Barrett, 2010b; Barrett, 2010c)....

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Dissertation
01 Oct 2017
TL;DR: In this article, the authors describe the relationship between the author and the Badger Stone, a Neolithic cup and ring marked statutory monument on Ilkley Moor in the North of England.
Abstract: Yeld is a Scottish/North of England word meaning barren. The practice-based research contradicts binary notions of fertile/unfertile, nature/culture and inside/outside, arguing for a more nuanced entanglement of the human with the non-human animal and the other-than-human environment. The thesis details the productive ‘naturecultural’ relationship between the author and the Badger Stone, a Neolithic cup and ring marked statutory monument on Ilkley Moor. The three key aims of my practice-based research relate to geographical boundaries, the structuring of identity and cultural resistance to issues of power and control. The research tests postcolonial theory as a strategy for reading landscape and investigating geographical boundaries and relates postcolonial theory to phenomenological and other theories about the structuring of identity in relation to performance and place. My research to date has signified a change in emphasis from a definition of postcolonialism as necessarily boundaried and territorial to a potentially new understanding of postcolonialism as signifying a political tactic of resistance to issues of power and control. The primary themes of walking, collecting, mapping and printmaking were the catalyst into performance and land art. Four key performances on the Moor investigated considerations of place in relation to what I term ‘heritage control’ as a strategy for land management and access to scheduled monuments. By intertwining different theoretical ideas and actions, print forms became natural/cultural objects situated somewhere between physical artefacts and ephemeral performance. It is the combination of performance with principles of mapping that form the potentially original contribution to knowledge that this thesis attempts to outline.

16 citations


Cites background or methods from "A Performative Paradigm for the Cre..."

  • ...2.2.2 Materializing Practice Barbara Bolt (2004, p.148) extends dialogic research as a form of ‘materializing practice’....

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  • ...Barbara became a teacher....

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  • ...Barbara Bolt’s (2004, 2008) materializing practice. Then I will formulate what Robyn Stewart (2010) terms a bricolage approach....

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  • ...“It snapped the bolt” answers Simon. He reckons he can do a temporary fix: he can weld it later. If humans can act upon the Moor, perhaps it is only right that the Moor can act back. Just as the ancients saw the Badger Stone as living rock, the living Moor has propensities that can best be understood as animacy. The ancients were observant: they understood that a great force had once moved the Badger Stone. How they interpreted that force can be read as their inscriptions in stone. The act of creation, whether pecking a cup and ring mark in rock, or cutting a mark in heather, releases a force field. The latent power residing in the Badger Stone is transferred to its satellite by means of the cut.164 After all, Baruch Spinoza (1677) states that stones like people endeavour to continue in their motion....

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  • ...Firstly, I examine Estelle Barrett’s (2010) dialogic research and Barbara Bolt’s (2004, 2008) materializing practice....

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References
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Book
01 Jan 1962
TL;DR: In this paper, the authors presented a series of lectures with the following topics: Lecture I * Lecture II* Lecture III * Lectures IV* Lectures V * LectURE VI * LectURES VI * LII * LIII * LIV * LVI * LIX
Abstract: * Lecture I * Lecture II * Lecture III * Lecture IV * Lecture V * Lecture VI * Lecture VII * Lecture VIII * Lecture IX * Lecture X * Lecture XI * Lecture XII

15,492 citations

Book
01 Jan 1969
TL;DR: A theory of speech acts is proposed in this article. But it is not a theory of language, it is a theory about the structure of illocutionary speech acts and not of language.
Abstract: Part I. A Theory of Speech Acts: 1. Methods and scope 2. Expressions, meaning and speech acts 3. The structure of illocutionary acts 4. Reference as a speech act 5. Predication Part II. Some Applications of the Theory: 6. Three fallacies in contemporary philosophy 7. Problems of reference 8. Deriving 'ought' from 'is' Index.

6,839 citations

Journal ArticleDOI
01 Mar 1970-Language
TL;DR: A theory of speech acts is proposed in this paper. But it is not a theory of language, it is a theory about the structure of illocutionary speech acts and not of language.
Abstract: Part I. A Theory of Speech Acts: 1. Methods and scope 2. Expressions, meaning and speech acts 3. The structure of illocutionary acts 4. Reference as a speech act 5. Predication Part II. Some Applications of the Theory: 6. Three fallacies in contemporary philosophy 7. Problems of reference 8. Deriving 'ought' from 'is' Index.

6,645 citations