This article reflects upon my short visual recording Eyedrops: A Monoculogue (2021). It describes the thinking process of creative avoidance (both making something new, but recycling ideas and materials which already exist, both in the mind and close to hand); pleasure in making (the haptic joy of production); considerations of performance; being audience to one’s own work when exhibited alongside other work responding to the same initial call; re-presenting the work in a workshop context. While it draws upon interdisciplinary theoretical writing to provide phenomenological and ekphrastic considerations of the work, moving between the three-point dynamic which links and divides viewing positions: the image (screen), subject (eye) and the object (puppet), it employs an immediacy of writing, which resists the usual considerations of academic scholarship in a move to free up thinking and to expose the emotional and experiential, questioning what it is to ‘see’.
{"title":"Iris in, Iris out: Reflections on the production, exhibition and viewing of a bisected-eyeball hand-puppet","authors":"Clair Schwarz","doi":"10.1386/jwcp_00042_1","DOIUrl":"https://doi.org/10.1386/jwcp_00042_1","url":null,"abstract":"This article reflects upon my short visual recording Eyedrops: A Monoculogue (2021). It describes the thinking process of creative avoidance (both making something new, but recycling ideas and materials which already exist, both in the mind and close to hand); pleasure in making (the haptic joy of production); considerations of performance; being audience to one’s own work when exhibited alongside other work responding to the same initial call; re-presenting the work in a workshop context. While it draws upon interdisciplinary theoretical writing to provide phenomenological and ekphrastic considerations of the work, moving between the three-point dynamic which links and divides viewing positions: the image (screen), subject (eye) and the object (puppet), it employs an immediacy of writing, which resists the usual considerations of academic scholarship in a move to free up thinking and to expose the emotional and experiential, questioning what it is to ‘see’.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48142847","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}
In the summer of 2021 I organized and facilitated a short series of three online workshops to launch the Ways of Writing in Art and Design Research Network (WoW). This article reviews the collaborative writing exercises I devised for the workshops, designed to explore potential approaches to writing in/on/about/beside/with art and design beyond the conventional academic essay and in relation to the condition and experience of living and working through the COVID-19 pandemic and subsequent lockdowns. The article adheres to academic convention in its presentation and format, while gently pushing against academic orthodoxies in its playful execution, as the text is interwoven with anecdotal asides, subjectivity, description and metaphor. Alongside familiar staples of academic art writing, such as Barthes and Csikszentmihalyi, I draw on a broader range of resources that include poetry and song lyrics. Rather than set out to efficiently argue or prove a point or position, the writing takes a more meandering path (it is littered with the academically maligned word ‘perhaps’) that resembles the ‘carrier bag’ approach of the gatherer, rather than the target driven spear trajectory of the hunter.
{"title":"Sprinkle lunacy over legs: A review of WoW workshop writing exercises","authors":"L. Taylor","doi":"10.1386/jwcp_00033_1","DOIUrl":"https://doi.org/10.1386/jwcp_00033_1","url":null,"abstract":"In the summer of 2021 I organized and facilitated a short series of three online workshops to launch the Ways of Writing in Art and Design Research Network (WoW). This article reviews the collaborative writing exercises I devised for the workshops, designed to explore potential approaches to writing in/on/about/beside/with art and design beyond the conventional academic essay and in relation to the condition and experience of living and working through the COVID-19 pandemic and subsequent lockdowns. The article adheres to academic convention in its presentation and format, while gently pushing against academic orthodoxies in its playful execution, as the text is interwoven with anecdotal asides, subjectivity, description and metaphor. Alongside familiar staples of academic art writing, such as Barthes and Csikszentmihalyi, I draw on a broader range of resources that include poetry and song lyrics. Rather than set out to efficiently argue or prove a point or position, the writing takes a more meandering path (it is littered with the academically maligned word ‘perhaps’) that resembles the ‘carrier bag’ approach of the gatherer, rather than the target driven spear trajectory of the hunter.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42735166","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 illustrated article offers a record of work done for a third-year undergraduate module called Creative Writing and the Self, as part of the Creative and Professional Writing programme at the University of the West of England, Bristol, in the autumn term of 2021, where students created zines as a record of their student experiences, which corresponded to the years of the pandemic. The article considers the students’ creative process and what is communicated in the zines, pages from which illustrate the article, informed by the methodology of Lynda Barry. The module offered the opportunity for staff and students to use a more open-ended rhetoric than elsewhere on their course(s), and the article considers this alongside the pedagogical implications of a hybrid and multimodal form and approach, of telling stories using text and images, inviting acknowledgement and observation, rather than judgement.
{"title":"‘But what are they?’: Zine-making and invitational creative practice in an undergraduate creative writing class inspired by the work of Lynda Barry","authors":"A. Cartwright","doi":"10.1386/jwcp_00037_1","DOIUrl":"https://doi.org/10.1386/jwcp_00037_1","url":null,"abstract":"This illustrated article offers a record of work done for a third-year undergraduate module called Creative Writing and the Self, as part of the Creative and Professional Writing programme at the University of the West of England, Bristol, in the autumn term of 2021, where students created zines as a record of their student experiences, which corresponded to the years of the pandemic. The article considers the students’ creative process and what is communicated in the zines, pages from which illustrate the article, informed by the methodology of Lynda Barry. The module offered the opportunity for staff and students to use a more open-ended rhetoric than elsewhere on their course(s), and the article considers this alongside the pedagogical implications of a hybrid and multimodal form and approach, of telling stories using text and images, inviting acknowledgement and observation, rather than judgement.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45164486","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}
A writing/making divide, within the broader theory/practice myth, is part of the historical narrative in art and design education that both clashes with, and persists in, current practices of writing in art and design. The theory/practice myth separates thinking from doing, head from hand, and writing from making, causing internal frictions in art and design subjects. This article provides a historical and contextual mapping of the writing/making binary in creative practice, drawing on Ivor Goodson’s (, , , 2002) work on ‘antecedent subject subcultures’ to discuss the formation and maintenance of subject cultures and – ultimately – their potential to change.
{"title":"‘I came here to do art, not English’: Antecedent subject subcultures meet current practices of writing in art and design education","authors":"J. Rintoul","doi":"10.1386/jwcp_00035_1","DOIUrl":"https://doi.org/10.1386/jwcp_00035_1","url":null,"abstract":"A writing/making divide, within the broader theory/practice myth, is part of the historical narrative in art and design education that both clashes with, and persists in, current practices of writing in art and design. The theory/practice myth separates thinking from doing, head from hand, and writing from making, causing internal frictions in art and design subjects. This article provides a historical and contextual mapping of the writing/making binary in creative practice, drawing on Ivor Goodson’s (, , , 2002) work on ‘antecedent subject subcultures’ to discuss the formation and maintenance of subject cultures and – ultimately – their potential to change.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46044217","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}
If Matter Poetics, Melange and the Lichenised Posthuman is a universal examination of the interconnected fragments of life, Method/s for Hereafter is a far more personal look into what has transpired in the artist’s life since the original submission of the first essay. Fidkin uses their theory of Matter Poetics as a tool for processing grief, experiencing pleasure, suffering and sickness, and understanding their ever-evolving existence and connection to the more-than-human. Events – both poignant and inconsequential – are scrutinized at a molecular level, attempting to draw parallels between rhizomatic thinking and personal adversity and joy.
{"title":"Matter Poetics, Melange and the Lichenised Posthuman: How artists and writers present visions of an inter-connected life between man and non-human others in the age of the Anthropocene and Method/s for Hereafter","authors":"Hat Fidkin","doi":"10.1386/jwcp_00040_3","DOIUrl":"https://doi.org/10.1386/jwcp_00040_3","url":null,"abstract":"If Matter Poetics, Melange and the Lichenised Posthuman is a universal examination of the interconnected fragments of life, Method/s for Hereafter is a far more personal look into what has transpired in the artist’s life since the original submission of the first essay. Fidkin uses their theory of Matter Poetics as a tool for processing grief, experiencing pleasure, suffering and sickness, and understanding their ever-evolving existence and connection to the more-than-human. Events – both poignant and inconsequential – are scrutinized at a molecular level, attempting to draw parallels between rhizomatic thinking and personal adversity and joy.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42241958","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 the COVID-19 pandemic gathered momentum in 2020, it became clear that online teaching spaces risked a distancing from the embodied knowledge so necessary to creative education. Teaching written texts to creative practitioners is a process that calls for alternative spatial and visual literacies, for ontological methods, for honouring experience and reflection – especially in a neo-liberal climate of higher education. In my teaching practice, as well as writing and painting practices, I like so many others have sought spaces for nourishment during this era. Through my teaching and a collaborative research group, one space in which I located this was via hope. This is a time to ask if we can use this moment in history to encourage thinking in an untrammelled manner and to move more freely in the unfamiliar, to transform the classroom; to seek materiality as a method of interpretation, even online; to encourage fearlessness, plurality and relationality; to use craft methods; and to enter a space of care and emotional openness. This contribution will consider creative allyship between staff and students, with the written text as a place of beginning. This is a deliberately open-ended, exploratory, personal and reflective piece of writing, gathered during teaching and research from 2020 to 2022. ‘Ways of Writing’ are explored both through the method of this article as well as its content.
{"title":"Untrammelled ways: Reflecting on the written text, nourishment and care in online teaching","authors":"R. Bell","doi":"10.1386/jwcp_00034_1","DOIUrl":"https://doi.org/10.1386/jwcp_00034_1","url":null,"abstract":"As the COVID-19 pandemic gathered momentum in 2020, it became clear that online teaching spaces risked a distancing from the embodied knowledge so necessary to creative education. Teaching written texts to creative practitioners is a process that calls for alternative spatial and visual literacies, for ontological methods, for honouring experience and reflection – especially in a neo-liberal climate of higher education. In my teaching practice, as well as writing and painting practices, I like so many others have sought spaces for nourishment during this era. Through my teaching and a collaborative research group, one space in which I located this was via hope. This is a time to ask if we can use this moment in history to encourage thinking in an untrammelled manner and to move more freely in the unfamiliar, to transform the classroom; to seek materiality as a method of interpretation, even online; to encourage fearlessness, plurality and relationality; to use craft methods; and to enter a space of care and emotional openness. This contribution will consider creative allyship between staff and students, with the written text as a place of beginning. This is a deliberately open-ended, exploratory, personal and reflective piece of writing, gathered during teaching and research from 2020 to 2022. ‘Ways of Writing’ are explored both through the method of this article as well as its content.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45447709","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}
Writing is not, and has never been, our only means of communication or communion. In the university, writing continues to occupy the dominant position in terms of how ideas ‘should be’ communicated – and, more importantly, assessed. This is the case even in the visual arts where it is well understood that written language can feel limiting. This article considers the impact that the value afforded to the traditional academic essay has on working-class students, whose relationship to writing often differs from the norm. Impacts that are often conveniently forgotten – and set to become worse under the current UK government.
{"title":"Desk job","authors":"R. Miles","doi":"10.1386/jwcp_00036_1","DOIUrl":"https://doi.org/10.1386/jwcp_00036_1","url":null,"abstract":"Writing is not, and has never been, our only means of communication or communion. In the university, writing continues to occupy the dominant position in terms of how ideas ‘should be’ communicated – and, more importantly, assessed. This is the case even in the visual arts where it is well understood that written language can feel limiting. This article considers the impact that the value afforded to the traditional academic essay has on working-class students, whose relationship to writing often differs from the norm. Impacts that are often conveniently forgotten – and set to become worse under the current UK government.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49508459","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}
Citing a recently published book on metadesign the article asks whether designers could learn to change paradigms. Defining metadesign as an extensible superset of adaptable and comprehensive practices, it suggests that we also need to include the many ‘conditions’ of design (e.g. education and training, evaluative frameworks, international standards and protocols, etc.) that shape the outcomes of practice. Given the complexity and scope of this idea, it seems likely that we will need to develop genres of writing that are judged by outcomes, rather than by style, veracity or logic. The article outlines a diagnostic tool that enables users to register, evaluate and map the critical relationships that co-sustain a given paradigm. Mapping enables them to be evaluated holistically. Modifying individual parts of the map might help to change the paradigm as a whole. The article also draws upon gastronomic and chemical analogies to bring non-serial clusters of critical elements together in effective ways. These would be designed, for example, to ‘emulsify’ team relations or to ‘catalyse’ active engagement within groups.
{"title":"Writing the paradigm","authors":"John Wood","doi":"10.1386/jwcp_00031_1","DOIUrl":"https://doi.org/10.1386/jwcp_00031_1","url":null,"abstract":"Citing a recently published book on metadesign the article asks whether designers could learn to change paradigms. Defining metadesign as an extensible superset of adaptable and comprehensive practices, it suggests that we also need to include the many ‘conditions’ of design (e.g. education and training, evaluative frameworks, international standards and protocols, etc.) that shape the outcomes of practice. Given the complexity and scope of this idea, it seems likely that we will need to develop genres of writing that are judged by outcomes, rather than by style, veracity or logic. The article outlines a diagnostic tool that enables users to register, evaluate and map the critical relationships that co-sustain a given paradigm. Mapping enables them to be evaluated holistically. Modifying individual parts of the map might help to change the paradigm as a whole. The article also draws upon gastronomic and chemical analogies to bring non-serial clusters of critical elements together in effective ways. These would be designed, for example, to ‘emulsify’ team relations or to ‘catalyse’ active engagement within groups.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44554526","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 challenges the assumption that traditional genres of academic writing are as appropriate for practice-based students of art, drama or design as they were for book-centred disciplines, such as the humanities or sciences. It argues that scholarly writing diminished the importance of embodied and situated aspects of human ‘knowledge’ within mainstream university art school courses, such as visual and performative arts. In the traditional book-centred disciplines, scholarly writing was useful for encoding declarative knowledge (e.g. ‘knowing that’) but is less effective for the kinds of procedural knowledge (e.g. ‘knowing how’) that are vital in creative, studio-/practice-based learning. Now that academic writing is aided by technologies offering automatic spelling and grammar checks, global text search, cut-and-paste this has further widened the gaps between the knowledges pertaining to head, heart and hand. Soon, however, the combined benefits of 5G, virtual reality, artificial intelligence and ambisonic technologies look likely to make ‘immersive’ and ‘experiential’ technologies almost ubiquitous. Given the appropriate research and development, the ‘metaverse’ could encourage students to think in ways that are more presently situated, relational, embodied and multidimensional.
{"title":"Will metaversive technologies help writers to reclaim tacit knowledge?","authors":"Olu Taiwo","doi":"10.1386/jwcp_00030_1","DOIUrl":"https://doi.org/10.1386/jwcp_00030_1","url":null,"abstract":"This article challenges the assumption that traditional genres of academic writing are as appropriate for practice-based students of art, drama or design as they were for book-centred disciplines, such as the humanities or sciences. It argues that scholarly writing diminished the importance of embodied and situated aspects of human ‘knowledge’ within mainstream university art school courses, such as visual and performative arts. In the traditional book-centred disciplines, scholarly writing was useful for encoding declarative knowledge (e.g. ‘knowing that’) but is less effective for the kinds of procedural knowledge (e.g. ‘knowing how’) that are vital in creative, studio-/practice-based learning. Now that academic writing is aided by technologies offering automatic spelling and grammar checks, global text search, cut-and-paste this has further widened the gaps between the knowledges pertaining to head, heart and hand. Soon, however, the combined benefits of 5G, virtual reality, artificial intelligence and ambisonic technologies look likely to make ‘immersive’ and ‘experiential’ technologies almost ubiquitous. Given the appropriate research and development, the ‘metaverse’ could encourage students to think in ways that are more presently situated, relational, embodied and multidimensional.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49448080","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}
Tackling complex social justice and sustainability challenges through design calls for a more comprehensive understanding of a design context. This involves encouraging designers and non-designers alike to work together to recognise the implications of designing ‘beyond a product’. This article explores what this approach might entail, reflecting upon the development of a design tool called the ‘Intersectional Design Cards’. This card-based design activity has been created to address multiple, interacting social and environmental inequities and inequalities, largely in the designing of emerging technologies in Silicon Valley. The cards have been made primarily for professional design and technology teams and start-up companies – but could also be used in other educational or social innovation contexts. They have been produced by team researchers, educators and practitioners who teach together on the ‘Innovations in Inclusive Design’, spring quarterly, ten-week class, at the Hasso Plattner Institute of Design (d.school), Stanford University, the United States. The article reflects upon how writing and mapping have played a part in integrating intersectionality research and design thinking, and shares examples of how the cards have been prototyped and tested with students, to develop intersectional design concepts across four levels of designing.
{"title":"Intersectional Design Cards: Exploring intersecting social and environmental factors across four levels of design","authors":"Hannah Jones","doi":"10.1386/jwcp_00025_1","DOIUrl":"https://doi.org/10.1386/jwcp_00025_1","url":null,"abstract":"Tackling complex social justice and sustainability challenges through design calls for a more comprehensive understanding of a design context. This involves encouraging designers and non-designers alike to work together to recognise the implications of designing ‘beyond a product’. This article explores what this approach might entail, reflecting upon the development of a design tool called the ‘Intersectional Design Cards’. This card-based design activity has been created to address multiple, interacting social and environmental inequities and inequalities, largely in the designing of emerging technologies in Silicon Valley. The cards have been made primarily for professional design and technology teams and start-up companies – but could also be used in other educational or social innovation contexts. They have been produced by team researchers, educators and practitioners who teach together on the ‘Innovations in Inclusive Design’, spring quarterly, ten-week class, at the Hasso Plattner Institute of Design (d.school), Stanford University, the United States. The article reflects upon how writing and mapping have played a part in integrating intersectionality research and design thinking, and shares examples of how the cards have been prototyped and tested with students, to develop intersectional design concepts across four levels of designing.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49308656","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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