This article explores writing as a way to make the invisible labour of art practitioners visible. More specifically, it engages with the performativity of words and the embodied knowledge and skills performed in and through art educational practices. Building on the notion of artwork as invisible labour, I explore writing as a way to articulate the embodied work of professionals in art education. Drawing from the analyses of the words of professionals in embodied work, the article presents a writing exercise for articulating embodied labour.
{"title":"Working Words: Words as tools to visualize embodied labour","authors":"Ulrike Scholtes","doi":"10.1386/jwcp_00061_1","DOIUrl":"https://doi.org/10.1386/jwcp_00061_1","url":null,"abstract":"This article explores writing as a way to make the invisible labour of art practitioners visible. More specifically, it engages with the performativity of words and the embodied knowledge and skills performed in and through art educational practices. Building on the notion of artwork as invisible labour, I explore writing as a way to articulate the embodied work of professionals in art education. Drawing from the analyses of the words of professionals in embodied work, the article presents a writing exercise for articulating embodied labour.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140770738","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This contribution takes the form of a transcript of a prayer/interview. A prayer is a speech act directed into a void, towards an absence (a hole, so to speak). It ‘lays claim to an immediate connection with the Being whose absence fills the world’ as Anne Carson writes in reference to the mystics Simone Weil and Marguerite Porete (2005: 177). The aspiration of a prayer, not unlike a spell or curse, is to directly affect something or someone in the real and physical world through an act of speech (Carson 2005: 177). The following text is developed in reference to the three existing books of the writings and teachings of the mystic St. Catherine of Siena. Parts of the text are fictionalized, reassembled and borrow direct and attributed quotes of these books. The script features characters called K, an amalgam of the researcher and the persons, figures and subjects I converse with in my research. K blurs the authorial voice by mingling it with others, in an attempt to flatten the authority of the narrating voice towards polyvocality. Combining the forms of prayer, interview, dialogue, written conversation and play serves to explore and apply different registers of writing that correspond with St. Catherine’s chosen forms of communication and to (playfully with a nod to common academic methodologies) investigate the holeyness/brokenness of dialogical speaking voices, the wounded text and a textual approach towards the unsayable/unthinkable.
{"title":"Dialogue with St. K(aterina): An attempt at a prayer – a (not the) divine comedy","authors":"Katharina Ludwig","doi":"10.1386/jwcp_00059_1","DOIUrl":"https://doi.org/10.1386/jwcp_00059_1","url":null,"abstract":"This contribution takes the form of a transcript of a prayer/interview. A prayer is a speech act directed into a void, towards an absence (a hole, so to speak). It ‘lays claim to an immediate connection with the Being whose absence fills the world’ as Anne Carson writes in reference to the mystics Simone Weil and Marguerite Porete (2005: 177). The aspiration of a prayer, not unlike a spell or curse, is to directly affect something or someone in the real and physical world through an act of speech (Carson 2005: 177). The following text is developed in reference to the three existing books of the writings and teachings of the mystic St. Catherine of Siena. Parts of the text are fictionalized, reassembled and borrow direct and attributed quotes of these books. The script features characters called K, an amalgam of the researcher and the persons, figures and subjects I converse with in my research. K blurs the authorial voice by mingling it with others, in an attempt to flatten the authority of the narrating voice towards polyvocality. Combining the forms of prayer, interview, dialogue, written conversation and play serves to explore and apply different registers of writing that correspond with St. Catherine’s chosen forms of communication and to (playfully with a nod to common academic methodologies) investigate the holeyness/brokenness of dialogical speaking voices, the wounded text and a textual approach towards the unsayable/unthinkable.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140781190","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article treats the temporality of writing as a place or event – which is to say somewhere which must be arrived at on time or otherwise. This arrival is vulnerable to the vicissitudes that all physical bodies/places can undergo: alteration in one’s absence, disappearance or loss. This contribution re-presents a piece of work that I produced about a place and then mislaid before it could be presented in the form that I hoped it would take. The place that it was a response to has also been lost. Both the writer of the place/event and their reader thus experience a form of belatedness. What made the place live in my mind so intensely was a series of texts scrawled on its wall, interspersed with images. I was late arriving for that. I address the reader as a latecomer in turn.
{"title":"Disfigment Bankrupsea","authors":"Robin Bale","doi":"10.1386/jwcp_00065_1","DOIUrl":"https://doi.org/10.1386/jwcp_00065_1","url":null,"abstract":"This article treats the temporality of writing as a place or event – which is to say somewhere which must be arrived at on time or otherwise. This arrival is vulnerable to the vicissitudes that all physical bodies/places can undergo: alteration in one’s absence, disappearance or loss. This contribution re-presents a piece of work that I produced about a place and then mislaid before it could be presented in the form that I hoped it would take. The place that it was a response to has also been lost. Both the writer of the place/event and their reader thus experience a form of belatedness. What made the place live in my mind so intensely was a series of texts scrawled on its wall, interspersed with images. I was late arriving for that. I address the reader as a latecomer in turn.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140769534","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article emerges from a series of phone calls with the visual artist Beth Emily Richards in anticipation of her exhibition Poor Copy at The Northern Charter in Newcastle and Jerwood Arts London in 2018. A gossipy piece, it draws lines of connection between telephones, telepathic cats, urban legends and ‘King of Pop’ Michael Jackson’s apparent visitation to Devon in 2003. This visit which, as lore goes, is also contested forms the basis for Richards’ subsequent show and sustained engagement with contemporary mythmaking. Calling up lovers of the telephone Jacques Derrida, Hélène Cixous and Avital Ronell, celebrity impersonators and television illusionists, this article writes in and through the mystics of ‘electric speech’. The outmoded phone call is engaged as both a ‘conduit for thought’ and a poor copy – the line is cut or stalked, or a story is interrupted or interfered with – revealing a forensic fascination with the sinister and the unknown.
{"title":"Eight poor copies (electric speech)","authors":"Owen G. Parry","doi":"10.1386/jwcp_00064_1","DOIUrl":"https://doi.org/10.1386/jwcp_00064_1","url":null,"abstract":"This article emerges from a series of phone calls with the visual artist Beth Emily Richards in anticipation of her exhibition Poor Copy at The Northern Charter in Newcastle and Jerwood Arts London in 2018. A gossipy piece, it draws lines of connection between telephones, telepathic cats, urban legends and ‘King of Pop’ Michael Jackson’s apparent visitation to Devon in 2003. This visit which, as lore goes, is also contested forms the basis for Richards’ subsequent show and sustained engagement with contemporary mythmaking. Calling up lovers of the telephone Jacques Derrida, Hélène Cixous and Avital Ronell, celebrity impersonators and television illusionists, this article writes in and through the mystics of ‘electric speech’. The outmoded phone call is engaged as both a ‘conduit for thought’ and a poor copy – the line is cut or stalked, or a story is interrupted or interfered with – revealing a forensic fascination with the sinister and the unknown.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140783443","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The past few decades have seen conversations around code and language exponentially intensify, with the advent of social media – X/Twitter, TikTok, Instagram and Facebook – and artificial intelligence, ChatGPT and so on. In this article, Ami Clarke makes the case for artists’ publishing as a site of affective experimentation that emerges from very specific human and technological assemblages throughout history. A posthuman reading reveals the unreliable narrator, the unstable text, fluidity and multiplicity and other emergent properties, indicative of a subjectivity that emerges in synthesis with its environment, revealing artists’ publishing as a radical site of change. This article focuses specifically on publishing as process – the idea of processual works that critique through their production and distribution, and that come out of the frameworks inherent to publishing and early networked culture, and hence the dissemination of ideas central to this.
{"title":"Artists’ publishing: Sites of affective experimentation","authors":"A. Clarke","doi":"10.1386/jwcp_00062_1","DOIUrl":"https://doi.org/10.1386/jwcp_00062_1","url":null,"abstract":"The past few decades have seen conversations around code and language exponentially intensify, with the advent of social media – X/Twitter, TikTok, Instagram and Facebook – and artificial intelligence, ChatGPT and so on. In this article, Ami Clarke makes the case for artists’ publishing as a site of affective experimentation that emerges from very specific human and technological assemblages throughout history. A posthuman reading reveals the unreliable narrator, the unstable text, fluidity and multiplicity and other emergent properties, indicative of a subjectivity that emerges in synthesis with its environment, revealing artists’ publishing as a radical site of change. This article focuses specifically on publishing as process – the idea of processual works that critique through their production and distribution, and that come out of the frameworks inherent to publishing and early networked culture, and hence the dissemination of ideas central to this.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140789197","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
My article looks at the problems generated by essay writing for two students that I taught contextual studies to, some ten years ago. Both students, bright and engaged, were poorly served by an assessment mechanism that failed to adapt to their needs – for cultural reasons, in the case of one student and due to educational needs in the other. The article explores the challenges that the students had, not in writing per se, but in the conceptual understanding of what a critical essay is, uncovering some of the limitations of art and design at tertiary level. Using my reflections as an educator, this article seeks to understand how to overcome unhelpful binaries that thwart creativity and to propose other ways of moving forward. This article is a response to Jenny Rintoul’s ‘“I came here to do art, not English”: Antecedent subject subcultures meet current practices of writing in art and design education’ (2022) in WoW Special Issue 1 of Journal of Writing in Creative Practice.
我的文章探讨了大约十年前我教过的两名学生在写作文时遇到的问题。这两名学生都很聪明，也很投入，但评估机制却不能适应他们的需要，其中一名学生是由于文化原因，另一名学生则是由于教育需要。文章探讨了学生们所面临的挑战，不是写作本身，而是对批判性论文的概念理解，揭示了高等教育阶段艺术与设计的一些局限性。本文以我作为一名教育工作者的反思，试图了解如何克服阻碍创造力的无益的二元对立，并提出其他的前进方式。本文是对珍妮-林托尔（Jenny Rintoul）的 "我是来搞艺术的，不是来学英语的 "一文的回应：前学科亚文化与当前艺术与设计教育中的写作实践"（2022年）的回应，载于《创意实践中的写作期刊》（Journal of Writing in Creative Practice）的WoW特刊1。
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The following contribution aims to convey a sense of O Complex Mass, an artwork I developed for Dilston Gallery, Southwark Park, London in 2022. O Complex Mass represents the first significant outcome resulting from a commitment to a new site-responsive approach to writing within my practice that I now refer to as ‘spatial writing’. This work is preoccupied with the complex relationship between writing and physical space – how the conditions under which we experience language (written or spoken) can have an impact on our understanding of its meaning. Could ‘site of reception’ be considered as a facet of language itself? By naming this approach ‘spatial writing’ I connect it to twentieth century avant-garde approaches within ‘spatial music’ as well as ideas around ‘critical spatial practice’ as defined by Professor Jane Rendell.
{"title":"Towards a ‘spatial writing’: O Complex Mass","authors":"John Lawrence","doi":"10.1386/jwcp_00060_1","DOIUrl":"https://doi.org/10.1386/jwcp_00060_1","url":null,"abstract":"The following contribution aims to convey a sense of O Complex Mass, an artwork I developed for Dilston Gallery, Southwark Park, London in 2022. O Complex Mass represents the first significant outcome resulting from a commitment to a new site-responsive approach to writing within my practice that I now refer to as ‘spatial writing’. This work is preoccupied with the complex relationship between writing and physical space – how the conditions under which we experience language (written or spoken) can have an impact on our understanding of its meaning. Could ‘site of reception’ be considered as a facet of language itself? By naming this approach ‘spatial writing’ I connect it to twentieth century avant-garde approaches within ‘spatial music’ as well as ideas around ‘critical spatial practice’ as defined by Professor Jane Rendell.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2024-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140779916","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article considers the experience of writing a daily journal, published daily via a public social media site. The journal began on 31 March 2020 as an attempt to account for the suddenly changed experiences of my personal and professional life (as an artist and lecturer) in the early days of the first UK coronavirus lockdown; it is still ongoing. After producing 700,000 words, this project has come to be understood as having shifted my writing in creative practice to writing as a practice for creating life. An expansive readerly engagement with a variety of creative and critical diarists provides generative perspectives for rethinking life and work. This latter part of the article’s structure considers the ‘Sheffield in virus time’ project in relation to poet Kumiko Hahn’s characterization of the zuihitsu as a fungal form. This Japanese genre (translated as ‘following the will of the pen’) develops casual, loosely connected fragments and ideas, often in haphazard order, a form well-suited to the ongoingness of writing life.
{"title":"‘Sheffield in virus time’: Forms of writing, reading, living","authors":"Joanne Lee","doi":"10.1386/jwcp_00038_1","DOIUrl":"https://doi.org/10.1386/jwcp_00038_1","url":null,"abstract":"This article considers the experience of writing a daily journal, published daily via a public social media site. The journal began on 31 March 2020 as an attempt to account for the suddenly changed experiences of my personal and professional life (as an artist and lecturer) in the early days of the first UK coronavirus lockdown; it is still ongoing. After producing 700,000 words, this project has come to be understood as having shifted my writing in creative practice to writing as a practice for creating life. An expansive readerly engagement with a variety of creative and critical diarists provides generative perspectives for rethinking life and work. This latter part of the article’s structure considers the ‘Sheffield in virus time’ project in relation to poet Kumiko Hahn’s characterization of the zuihitsu as a fungal form. This Japanese genre (translated as ‘following the will of the pen’) develops casual, loosely connected fragments and ideas, often in haphazard order, a form well-suited to the ongoingness of writing life.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47693537","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article reflects on the difficulties of writing with/alongside creative practice during periods of lockdown endured as a result of the COVID-19 pandemic. It follows my search for Lauren Berlant’s writing on the pandemic and my desire to make sense of the claustrophobic intensity of that time through their writing on attachment, precarity and ‘cruel optimism’. In reflecting on the failure to write, this article journeys through temporal rhythms, critiques of neo-liberalism, temporalities of care and unending lists to argue for the importance of hidden work in writing and/as ordinary life.
{"title":"Searching for Lauren Berlant: Reflections on writing, temporality and loss","authors":"Clare Johnson","doi":"10.1386/jwcp_00041_1","DOIUrl":"https://doi.org/10.1386/jwcp_00041_1","url":null,"abstract":"This article reflects on the difficulties of writing with/alongside creative practice during periods of lockdown endured as a result of the COVID-19 pandemic. It follows my search for Lauren Berlant’s writing on the pandemic and my desire to make sense of the claustrophobic intensity of that time through their writing on attachment, precarity and ‘cruel optimism’. In reflecting on the failure to write, this article journeys through temporal rhythms, critiques of neo-liberalism, temporalities of care and unending lists to argue for the importance of hidden work in writing and/as ordinary life.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43874697","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
As a guide to the visuality of writing, this visual essay aims to encourage those writing in Art & Design to recognize that as much as they communicate through the content of written forms, those also have a visual dimension that writers can use with various effects. And that an abstract does not have to take a written form.
{"title":"On the visuality of writing: A visual essay","authors":"Mary Anne Francis","doi":"10.1386/jwcp_00039_3","DOIUrl":"https://doi.org/10.1386/jwcp_00039_3","url":null,"abstract":"As a guide to the visuality of writing, this visual essay aims to encourage those writing in Art & Design to recognize that as much as they communicate through the content of written forms, those also have a visual dimension that writers can use with various effects. And that an abstract does not have to take a written form.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41905434","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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