How to do things with words: textual typologies and doctoral writing
01 Jul 2009-Journal of Writing in Creative Practice (Intellect)-Vol. 2, Iss: 1, pp 91-103
About: This article is published in Journal of Writing in Creative Practice.The article was published on 2009-07-01. It has received 1 citations till now.
••05 Feb 2021
TL;DR: Wright et al. as mentioned in this paper explored the potentiality for research in marine sustainability to develop through poetic logics, visual, filmic, relational art practices that bring diverse communities into conversation, to ask; how might we engage artistic processes to better understand actual and perceived risks to marine sustainability and facilitate community engagement, beyond the circulation of scientific publication.
Abstract: Touching Outward; Art-making at the seam where care meets risk.What it is to touch? If we think with, and take seriously a fluid ontology, can we recognise embodiment itself as fluid? Drenched with unknowing and drenched with sensation and made possible by movement, vibration and magnetism.This video article engages with the potentiality for research in marine sustainability to develop through poetic logics, visual, filmic, relational art practices that bring diverse communities into conversation, to ask; “How might we engage artistic processes to better understand actual and perceived risks to marine sustainability and facilitate community engagement, beyond the circulation of scientific publication?Touching Outward; Art-making at the seam where care meets risk presents two artistic maps, iterations of a single project that explores methods for engaging diverse publics to imagine, feel, consider and care about marine-related issues of risk which impact oceans and coastlines.These artistic maps explore institutional, social and cultural factors influencing coasts and oceans in Aotearoa New Zealand. Embodiment is at the heart of these collaborative projects. We think of how embodied experience folds through imagination to create potentials for unseating convention, perspective, actuality, reproducibility, common sense.Our transdisciplinary project was developed by four artist-researchers from diverse disciplinary backgrounds, each of us working beyond our conventional practices– a geographer, a performance maker, a visual artist, and a film maker. We are moving between philosophy, social science, pedagogy, ecology, performance, poetry, installation and film. The framework of weak theory provides a kind of permission to reach beyond the conventions of our disciplines, to make space for modes of embodied research that entangle abstract and material concepts through relational, artistic and pedagogical intentions.Throughout the process and development of this artistic research, we question where a body begins and ends, how the voice as a vibratile force touches through time and space, and how moving image as a body of textures and cuts might contribute to methods of weak theory (Wright, 2015) and transdisciplinary creative practice.
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
01 Jan 2009
01 Jan 2003
TL;DR: The Archive and the Repertoire as discussed by the authors explores how the archive and the repertoire work together to make political claims, transmit traumatic memory, and forge a new sense of cultural identity.
Abstract: In The Archive and the Repertoire preeminent performance studies scholar Diana Taylor provides a new understanding of the vital role of performance in the Americas. From plays to official events to grassroots protests, performance, she argues, must be taken seriously as a means of storing and transmitting knowledge. Taylor reveals how the repertoire of embodied memory—conveyed in gestures, the spoken word, movement, dance, song, and other performances—offers alternative perspectives to those derived from the written archive and is particularly useful to a reconsideration of historical processes of transnational contact. The Archive and the Repertoire invites a remapping of the Americas based on traditions of embodied practice. Examining various genres of performance including demonstrations by the children of the disappeared in Argentina, the Peruvian theatre group Yuyachkani, and televised astrological readings by Univision personality Walter Mercado, Taylor explores how the archive and the repertoire work together to make political claims, transmit traumatic memory, and forge a new sense of cultural identity. Through her consideration of performances such as Coco Fusco and Guillermo Gomez-Pena’s show Two Undiscovered Amerindians Visit . . . , Taylor illuminates how scenarios of discovery and conquest haunt the Americas, trapping even those who attempt to dismantle them. Meditating on events like those of September 11, 2001 and media representations of them, she examines both the crucial role of performance in contemporary culture and her own role as witness to and participant in hemispheric dramas. The Archive and the Repertoire is a compelling demonstration of the many ways that the study of performance enables a deeper understanding of the past and present, of ourselves and others.
01 Jan 1985
TL;DR: Krauss as mentioned in this paper explores the ways in which the break in style that produced postmodernism has forced a change in our various understandings of twentieth-century art, beginning with the almost mythic idea of the avant-garde.
Abstract: Co-founder and co-editor of October magazine, a veteran of Artforum of the 1960s and early 1970s, Rosalind Krauss has presided over and shared in the major formulation of the theory of postmodernism. In this challenging collection of fifteen essays, most of which originally appeared in October, she explores the ways in which the break in style that produced postmodernism has forced a change in our various understandings of twentieth-century art, beginning with the almost mythic idea of the avant-garde. Krauss uses the analytical tools of semiology, structuralism, and poststructuralism to reveal new meanings in the visual arts and to critique the way other prominent practitioners of art and literary history write about art. In two sections, "Modernist Myths" and "Toward Postmodernism," her essays range from the problem of the grid in painting and the unity of Giacometti's sculpture to the works of Jackson Pollock, Sol Lewitt, and Richard Serra, and observations about major trends in contemporary literary criticism.
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01 Dec 2009