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Journal ArticleDOI

Advance Error by Error, with Erring Steps”: Embracing and Exploring Mistakes and Failure Across the Psychophysical Performer Training Space and the Page

01 Nov 2009-Journal of Writing in Creative Practice (Intellect)-Vol. 2, Iss: 2, pp 193-207
About: This article is published in Journal of Writing in Creative Practice.The article was published on 2009-11-01. It has received 2 citations till now.
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DissertationDOI
31 May 2016
TL;DR: In this article, the authors present a practice-centred teaching method for collaborative writing for design teams at M-level in higher education (HE) by using Approaches, Practices and Tools (APTs) across three case study workshops.
Abstract: This thesis offers and evaluates collaborative writing practices for teams of Design students at M-Level in Higher Education (HE). The research begins by asking why writing is included in current art and design HE, and identifies an assumption about the role of writing across the sector derived from a misreading of the 1960 and 1970 Coldstream Reports. As a result, drawing on recommendations that were made in the Reports for non-studio studies to be complementary to art and design practice in HE, I focus on how teams of design students can complement their design skills with collaborative writing. Some studies for addressing how design students learn from writing in HE already exist, but none have established a practice-centred teaching method for collaborative writing for design teams at M-level. My research captures the effects of my Approaches, Practices and Tools (APTs) across three case study workshops. I compare these with the most common writing model in HE designed for text-based study in the humanities. My APTs use participants' designerly strengths to redesign how they can use writing to complement their practice. This provides learners with a means of identifying and creating their own situated writing structures and practices. I document how my practice-centred APTs position collaborative writing practices as a designerly mode of communication between design practitioners working in teams. I show it to be more complementary to practice and so more effective in comparison to models imported from the humanities. My explorations are carried out through two thesis sections. Section One is an in-depth literature-based rationale that critically informs my investigations. Section Two presents my methodologies and reports three case studies, in which I explore the emergent data collected through a range of qualitative methods, mapping and evaluative techniques. The findings are of importance to those teaching M-Level design courses.

24 citations


Cites background or methods from "Advance Error by Error, with Erring..."

  • ...as writing Writing as Practice: Practice as Writing Sentences on Christian Bök's Eunoia: writing after language writing, Oulipo and conceptual art 
 (Jaeger, 2009) Discussion paper from the Working Group on Situational Fiction, Chelsea College of Art & Design, University of the Arts London: On the value of Situational Fiction for an artist's writing (Francis, 2009) Advance error by error, with erring steps: embracing and exploring mistakes and failure across the psychophysical performer training space and the page (Clarke, 2009) Holding a mirror to ourselves: how digital networks chAng writiN (Byrne, 2009) Parallel lines: form and field in contemporary artwriting 
 (Mulholland, 2009) Writing as Object: Object as Writing The book objects: writing and performance (Webb, 2009) Glossing Speakers, or bookmaking for amateurs 
 (Leahy, 2009) Hampstead Revisited 
 (Pollard, et....

    [...]

  • ...Both Byrne (2009) and Clarke’s (2009) articles link to the idea of mirroring within writing that has been a useful theme for my approach to this section....

    [...]

  • ...Both Byrne (2009) and Clarke’s (2009) articles link to the idea of mirroring within writing that has been a useful theme for my approach to this section. Jaeger (2009) and Francis (2009) link to the ideas of appropriation of approaches from other disciplines, which is a key element of my approach....

    [...]

  • ...With a focus on the participant in performance practice Alissa Clarke (2009) addresses the role of the language of feedback and “the hierarchical categorization of success, failure, correct and incorrect” (Clarke, 2009:203) in, Advance error by...

    [...]

References
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Book
01 Jan 1994
TL;DR: The Helene Cixous Reader as mentioned in this paper is a collection of essays, works of fiction, lectures, and drama written by the author over twenty years of her life, and demonstrates clearly the development of one of the most creative and brilliant minds of the twentieth century.
Abstract: This is the first truly representative collection of texts by Helene Cixous. The substantial pieces range broadly across her entire oeuvre, and include essays, works of fiction, lectures and drama. Arranged helpfully in chronological order, the extracts span twenty years of intellectual thought and demonstrate clearly the development of one of the most creative and brilliant minds of the twentieth century.With a foreword by Jacques Derrida, a preface by Cixous herself, and first-class editorial material by Susan Sellers, The Helene Cixous Reader is destined to become a key text of feminist writing.

83 citations

Journal ArticleDOI
TL;DR: In this paper, a post-Merleau-Ponty phenomenology is used to understand the embodied work of the actor in the performance of an actor. But, like all accounts of embodiment and experience, this one is necessarily limited by our propositional modes of representation, since it is extremely difficult to express the full meaning of our experience.
Abstract: How can the contemporary actor’s body and experience in performance be theorized? 2 What methodological tools are useful in an attempt to better understand the embodied work of the actor? This essay applies one among a set of complimentary methodological tools to this question—a post‐Merleau-Ponty phenomenology. 3 Like all accounts of embodiment and experience this one is necessarily limited by “our propositional modes of representation,” since it is extremely difficult “to express the full meaning of our experience.” 4 In spite of such limitations, this essay is intended to contribute to phenomenological studies of embodiment by extending their focus from

81 citations

Journal ArticleDOI
01 Jun 2002-TDR
TL;DR: The studio is a place where words count less, where something comes of nothing, sound from silence, action from impulse as mentioned in this paper, and the deep work of the Indian martial art kalarippayattu can take place in the studio.
Abstract: The studio is a place where words count less, where something comes of nothing—sound from silence, action from impulse. Zarrilli muses on the deep work—drawn from his long practice of the Indian martial art kalarippayattu—that can take place only “in the studio.”

25 citations

Journal ArticleDOI
TL;DR: A Portrait of the Artist as a Young Man as discussed by the authors is an imitation of the title of Joyce's A Portrait, and it has been recognized that the essay title of this paper is an extension of the one of the essays in the book.
Abstract: OU HAVE PROBABLY recognized that the title of my essay is an imitation of the title of Joyce's A Portrait of the Artist as a Young Man. I have chosen to pursue a kind of meditation on creation and perhaps also on the different attitudes that men and women show with regard to becoming an artist. The moment I say that, I reproach myself for using the words men and women. We have difficulties nowadays with those words. At first I want simply to give a kind of warning. We always get confused because of those words, but we have to deal with them, we have to struggle with them. We must be very careful not to be too fascinated and deceived by them. When I use the word man or woman, I should open a parenthesis and explain what I mean by it. The first thing I want to say is simply this: when an author signs with a woman's name, it does not mean that the book can be said to be "feminine." This is banal, this is obvious, but I want to say it because I myself am a victim of what I am saying. Because I thought they were the best possible examples, I had to choose Joyce and Clarice Lispector-Joyce in order to illustrate what I feel about the artist as a young man and Clarice Lispector because of what she has to say about women. And it happens that he is a man and she is a woman. It could happen a little differently, maybe a man would have had something to say about female or "feminine" writing, or vice versa. And so every time I say "masculine" or "feminine," or "man" or "woman," please use as many quotation marks as you need to avoid taking these terms too literally. I'll tell you a series of stories regarding the first story in the world, which is Genesis. I'll tell you something about how an artist is formed, about what actually makes an artist. The genesis of an artist is not unrelated to genesis generally speaking. There is a whole genre of literature which is concerned with that, the Bildungsroman, and this is

21 citations