Pub Date : 2021-01-01DOI: 10.1007/978-3-030-73674-3_11
D. Adelaide
{"title":"The Corrections: Succeeding at Failure in the Creative Process","authors":"D. Adelaide","doi":"10.1007/978-3-030-73674-3_11","DOIUrl":"https://doi.org/10.1007/978-3-030-73674-3_11","url":null,"abstract":"","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":"24 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76254002","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}
Pub Date : 2021-01-01DOI: 10.1007/978-3-030-73674-3_2
Sarah Attfield
{"title":"The Ethics of Working-Class Realism in Poetry","authors":"Sarah Attfield","doi":"10.1007/978-3-030-73674-3_2","DOIUrl":"https://doi.org/10.1007/978-3-030-73674-3_2","url":null,"abstract":"","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":"5 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78502180","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 attempts to first speculate and then demonstrate how Dada methods can be used by creative practitioners or writers in general within an academic essay. In particular, the inclusion of randomness and chance is examined in the writing process with a view to foreground materiality in writing development and execution. Methods to make use of chance and to randomize text are outlined and the distinction between randomness and chance is clearly drawn. Antecedents to Dada and to the cut-up techniques that form the focus of the method outlined here are examined and offer context for the development of an embodied and empowered approach to challenges encountered around academic writing. Furthermore, contemporary scholarship that reflects on writing in higher education is drawn on to highlight the article’s primary purpose; that being to offer a background, explanation and useful methodology for the inclusion of randomness and chance which addresses the institutional demands encountered by students. The article draws on work created and discussed at a workshop that took place at Central St Martins in 2019, called ‘Breaking Into and Out of Academic Writing’. This workshop included various students from University of Arts London experimenting with the cut-up techniques and discussing their potential use in writing.
{"title":"Randomness and chance as writing methodology: Is there a case for Dada in the academic essay?","authors":"M. Eden","doi":"10.1386/JWCP_00015_1","DOIUrl":"https://doi.org/10.1386/JWCP_00015_1","url":null,"abstract":"This article attempts to first speculate and then demonstrate how Dada methods can be used by creative practitioners or writers in general within an academic essay. In particular, the inclusion of randomness and chance is examined in the writing process with a view to foreground materiality in writing development and execution. Methods to make use of chance and to randomize text are outlined and the distinction between randomness and chance is clearly drawn. Antecedents to Dada and to the cut-up techniques that form the focus of the method outlined here are examined and offer context for the development of an embodied and empowered approach to challenges encountered around academic writing. Furthermore, contemporary scholarship that reflects on writing in higher education is drawn on to highlight the article’s primary purpose; that being to offer a background, explanation and useful methodology for the inclusion of randomness and chance which addresses the institutional demands encountered by students. The article draws on work created and discussed at a workshop that took place at Central St Martins in 2019, called ‘Breaking Into and Out of Academic Writing’. This workshop included various students from University of Arts London experimenting with the cut-up techniques and discussing their potential use in writing.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":"14 1","pages":"79-106"},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66738097","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}
Language, and by extension writing, are used in conjunction with art to explain, decipher and decode. With the move of art education to be increasingly in line with academic practice, the written work undertaken by art students is measured and governed by expectations of being refined, finished and persuasive. Practice is often an altogether messier endeavour than the writing that accompanies, explains and justifies it would have you believe. Considering the relationship between writing and practice, It’s Just a Draft proposes the relevance of writing that falls short of academic expectations: the messy, the unfinished and the speculative. The article focuses on various aspects of written practice, namely: process, and the notion of embracing all stages of writing in a finished text; drafts, the idea of writing and rewriting/thinking and rethinking text as a continuous and developmental cycle; and style, more specifically what constitutes an academic voice. The article reflects somewhat on its own implication in relation to these ideas, being paradoxically more formulaic than the sort of writing that it discusses.
{"title":"It’s Just a Draft: On the messy, the unfinished and the speculative in writing","authors":"Joseph Doubtfire","doi":"10.1386/jwcp_00006_1","DOIUrl":"https://doi.org/10.1386/jwcp_00006_1","url":null,"abstract":"Language, and by extension writing, are used in conjunction with art to explain, decipher and decode. With the move of art education to be increasingly in line with academic practice, the written work undertaken by art students is measured and governed by expectations of being refined, finished and persuasive. Practice is often an altogether messier endeavour than the writing that accompanies, explains and justifies it would have you believe. Considering the relationship between writing and practice, It’s Just a Draft proposes the relevance of writing that falls short of academic expectations: the messy, the unfinished and the speculative. The article focuses on various aspects of written practice, namely: process, and the notion of embracing all stages of writing in a finished text; drafts, the idea of writing and rewriting/thinking and rethinking text as a continuous and developmental cycle; and style, more specifically what constitutes an academic voice. The article reflects somewhat on its own implication in relation to these ideas, being paradoxically more formulaic than the sort of writing that it discusses.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":"13 1","pages":"229-241"},"PeriodicalIF":0.0,"publicationDate":"2020-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48204139","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 Middlemarch, George Eliot makes a claim for the superiority of writing over painting: ‘Language is a finer medium’, she has her character claim, because it is ‘[…] all the better for being vague’ (1871: 140). This is a perceived advantage that many artists would find it difficult to agree with as we find the use of text in both academia and in relationship to visual art to be anything but vague. On the contrary, language (and specifically writing) is the means by which hierarchies of power are established and reinforced and it is crucial in defining and conveying the meaning of images. For artists, this poses particular, well-rehearsed problems as we try to find a path between the ‘not-knowing’, the uncertainties of the visual and the authority of the written word. Rather than becoming trapped in the conventions of authoritative text, this article argues for a different way of writing in both academia and in the art world at large: one that reflects the processes of visual practice and thinking. Drawing on current experiments in collaborative writing, it argues for forms of texts that are more akin to speech: texts that forgo the authority of the word in favour of approaches that provide a space where uncertain and imperfectly formed ideas can be expressed and tested.
{"title":"All the better for being vague? The authority of text","authors":"J. Stewart","doi":"10.1386/jwcp_00008_1","DOIUrl":"https://doi.org/10.1386/jwcp_00008_1","url":null,"abstract":"In Middlemarch, George Eliot makes a claim for the superiority of writing over painting: ‘Language is a finer medium’, she has her character claim, because it is ‘[…] all the better for being vague’ (1871: 140). This is a perceived advantage that many artists would find it difficult to agree with as we find the use of text in both academia and in relationship to visual art to be anything but vague. On the contrary, language (and specifically writing) is the means by which hierarchies of power are established and reinforced and it is crucial in defining and conveying the meaning of images. For artists, this poses particular, well-rehearsed problems as we try to find a path between the ‘not-knowing’, the uncertainties of the visual and the authority of the written word. Rather than becoming trapped in the conventions of authoritative text, this article argues for a different way of writing in both academia and in the art world at large: one that reflects the processes of visual practice and thinking. Drawing on current experiments in collaborative writing, it argues for forms of texts that are more akin to speech: texts that forgo the authority of the word in favour of approaches that provide a space where uncertain and imperfectly formed ideas can be expressed and tested.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":"13 1","pages":"259-270"},"PeriodicalIF":0.0,"publicationDate":"2020-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47478033","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 phrase ‘writing up’ is often framed as the point where a research project is nearing its end, with only a summarizing thesis between a student and their completion. This text seeks to interrogate this dichotomy between research practice and writing. Instead, the text engenders reflective writing as a constant undercurrent of dialogue that continually shapes research through reflective thought. The text implements concepts from two key texts to meet these ends: Kamler and Thompson’s Helping Doctoral Students Write: Pedagogies for Supervision and Bolt and Barrett’s Practice as Research: Approaches to Creative Arts Enquiry. The first of the texts problematizes the notion of a formal ‘writing up’ stage often cited by students and supervisors in research study, arguing instead for a shift towards a more dynamic role for writing in research, or indeed writing as research. The second of the contributing texts presents Barbara Bolt’s notion of the ‘exegesis’ as ancillary to this thought – outlining written practice in arts research as an intrinsic, generative process, married to any practical outcome. Using the rhetoric outlined in these two references, this article then summarizes with an application of the notion of the ‘exegesis’ to an assortment of personal written texts, such as reflective journal entries and assessed written works across three years of postgraduate study. Herein lies the key claim of this article – that exegesis permeates every meaningful or developmental step of practice-led research, forming a crucial reciprocal relationship between visual and written work not unlike other hybridized methodologies outlined by authors such as Mieke Bal in her text, Travelling Concepts in the Humanities: A Rough Guide.
{"title":"Reflecting on reflection: Exploring the role of writing as part of practice-led research","authors":"J. Quinn","doi":"10.1386/jwcp_00007_1","DOIUrl":"https://doi.org/10.1386/jwcp_00007_1","url":null,"abstract":"The phrase ‘writing up’ is often framed as the point where a research project is nearing its end, with only a summarizing thesis between a student and their completion. This text seeks to interrogate this dichotomy between research practice and writing. Instead, the text engenders reflective writing as a constant undercurrent of dialogue that continually shapes research through reflective thought. The text implements concepts from two key texts to meet these ends: Kamler and Thompson’s Helping Doctoral Students Write: Pedagogies for Supervision and Bolt and Barrett’s Practice as Research: Approaches to Creative Arts Enquiry. The first of the texts problematizes the notion of a formal ‘writing up’ stage often cited by students and supervisors in research study, arguing instead for a shift towards a more dynamic role for writing in research, or indeed writing as research. The second of the contributing texts presents Barbara Bolt’s notion of the ‘exegesis’ as ancillary to this thought – outlining written practice in arts research as an intrinsic, generative process, married to any practical outcome. Using the rhetoric outlined in these two references, this article then summarizes with an application of the notion of the ‘exegesis’ to an assortment of personal written texts, such as reflective journal entries and assessed written works across three years of postgraduate study. Herein lies the key claim of this article – that exegesis permeates every meaningful or developmental step of practice-led research, forming a crucial reciprocal relationship between visual and written work not unlike other hybridized methodologies outlined by authors such as Mieke Bal in her text, Travelling Concepts in the Humanities: A Rough Guide.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":"13 1","pages":"243-258"},"PeriodicalIF":0.0,"publicationDate":"2020-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43255669","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 universities become accustomed to the complexities of their art and design faculties, a body of literature has emerged that explores some of the possibilities of a doctorate in the creative arts. In the area of fine art in particular, although not exclusively, there has been a drive towards a purely practice-based thesis. This article argues that the notion of the practice-only thesis is not only an unrealistic illusion that puts pressure on students, but also does not reflect contemporary professional practices. For an art practice to communicate any sort of specific knowledge it must be embedded in a pre-existing and continuously evolving flux of discourse produced through written and spoken language. The American artist Trisha Donnelly’s 2014 Serpentine Gallery exhibition is taken as an example. Critical writing in the art press produces an accepted interpretation, and this is what the artist ‘Trisha Donnelly’ comes to stand for. So artwork that might appear to be producing its meaning autonomously should be seen as a collaborative practice involving the artist together with their professional interpreters. Research students are required to produce a self-contained project which would seem to preclude the incorporation of writing or academic interpretation by others. But it is fundamentally unfair to demand a thesis without any written component since it does not exist in an expanded notion of the contemporary art world.
{"title":"The phantom ‘practice-only thesis’","authors":"M. Wilsher","doi":"10.1386/jwcp_00005_1","DOIUrl":"https://doi.org/10.1386/jwcp_00005_1","url":null,"abstract":"As universities become accustomed to the complexities of their art and design faculties, a body of literature has emerged that explores some of the possibilities of a doctorate in the creative arts. In the area of fine art in particular, although not exclusively, there has been a drive towards a purely practice-based thesis. This article argues that the notion of the practice-only thesis is not only an unrealistic illusion that puts pressure on students, but also does not reflect contemporary professional practices. For an art practice to communicate any sort of specific knowledge it must be embedded in a pre-existing and continuously evolving flux of discourse produced through written and spoken language.\u0000The American artist Trisha Donnelly’s 2014 Serpentine Gallery exhibition is taken as an example. Critical writing in the art press produces an accepted interpretation, and this is what the artist ‘Trisha Donnelly’ comes to stand for. So artwork that might appear to be producing its meaning autonomously should be seen as a collaborative practice involving the artist together with their professional interpreters. Research students are required to produce a self-contained project which would seem to preclude the incorporation of writing or academic interpretation by others. But it is fundamentally unfair to demand a thesis without any written component since it does not exist in an expanded notion of the contemporary art world.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":"13 1","pages":"219-227"},"PeriodicalIF":0.0,"publicationDate":"2020-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66738150","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}
Through the analysis of the drawing Sans Titre (Apres P. B. Notations) (2017), the following article seeks to explore the role of writing in my own artistic practice, which is concerned with the relation between music and drawing. This article examines the creative process that is carried out in relation to drawing with a musical composition, in this case Pierre Boulez’s Notations (1945), and how the imbrication of text influences and shapes the process and outcome of the artwork. In addition, this article analyses how the text engages with a wider theoretical approach of time, through ‘Chronos’ and ‘Aion’, two categories of time developed by French philosopher Gilles Deleuze primarily in The Logic of Sense ([1969] 2004), and the way they relate to drawing and opening up new ways of understanding it. Thus, the research will look at the role of the spiral line or helix as a visual model that could lend shape to musical time constituting the main frame of the drawing.
{"title":"Layering lines and thoughts: A study of musical time through drawing","authors":"Juan José Guerra-Valiente","doi":"10.1386/jwcp_00004_1","DOIUrl":"https://doi.org/10.1386/jwcp_00004_1","url":null,"abstract":"Through the analysis of the drawing Sans Titre (Apres P. B. Notations) (2017), the following article seeks to explore the role of writing in my own artistic practice, which is concerned with the relation between music and drawing. This article examines the creative process that is carried out in relation to drawing with a musical composition, in this case Pierre Boulez’s Notations (1945), and how the imbrication of text influences and shapes the process and outcome of the artwork. In addition, this article analyses how the text engages with a wider theoretical approach of time, through ‘Chronos’ and ‘Aion’, two categories of time developed by French philosopher Gilles Deleuze primarily in The Logic of Sense ([1969] 2004), and the way they relate to drawing and opening up new ways of understanding it. Thus, the research will look at the role of the spiral line or helix as a visual model that could lend shape to musical time constituting the main frame of the drawing.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":"13 1","pages":"201-217"},"PeriodicalIF":0.0,"publicationDate":"2020-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46996872","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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