The penumbra (or shadow) of the non-verbal is a phrase taken from Sarat Maharaj’s article ‘Know-how and no-how’ in which Maharaj describes a kind of making that does not solely rely on the verbal but on what he calls the ‘sticky’, somatic and material qualities of the artwork. He argues that these qualities exist independently of the discursive side of the process. This article explores the complicated dynamic between the material, ‘sticky’ aspects of making and the various texts that were written alongside the making in my own Ph.D. How can the practical and written components work to support rather than usurp each other? I will argue that the relationship between theory (as written) and theory (as practice) forms concertina-like push-and-pull tensions that each inform the other. Using Pierre Bourdieu’s concept of ‘habitus’ the material, or ‘sticky’, qualities of artworks may be seen to link to our bodily and haptic understanding of the world. This discussion has implications for anyone undertaking practice-based research who wishes to gain a deeper understanding of the theory-practice dynamic within it.
{"title":"Exploring the ‘penumbra of the non-verbal’: The relationship between writing and making in a practice-based Ph.D.","authors":"S. Horton","doi":"10.1386/jwcp_00003_1","DOIUrl":"https://doi.org/10.1386/jwcp_00003_1","url":null,"abstract":"The penumbra (or shadow) of the non-verbal is a phrase taken from Sarat Maharaj’s article ‘Know-how and no-how’ in which Maharaj describes a kind of making that does not solely rely on the verbal but on what he calls the ‘sticky’, somatic and material qualities of the artwork. He argues that these qualities exist independently of the discursive side of the process. This article explores the complicated dynamic between the material, ‘sticky’ aspects of making and the various texts that were written alongside the making in my own Ph.D. How can the practical and written components work to support rather than usurp each other? I will argue that the relationship between theory (as written) and theory (as practice) forms concertina-like push-and-pull tensions that each inform the other. Using Pierre Bourdieu’s concept of ‘habitus’ the material, or ‘sticky’, qualities of artworks may be seen to link to our bodily and haptic understanding of the world. This discussion has implications for anyone undertaking practice-based research who wishes to gain a deeper understanding of the theory-practice dynamic within it.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":"13 1","pages":"187-199"},"PeriodicalIF":0.0,"publicationDate":"2020-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48788919","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}
Words, utterance, gesture, mark-making, ink, nut shells, a peach or a stray button prompt material-discursive engagement. Nothing is taken for granted in terms of knowledge or experience other than a belief that such engagement is a practice, revealing of itself. This article proposes and exemplifies an ‘apparatus’ of such practice, in which the materially embedded and/or physically embodied production of speech, writing, objects and images are intermingled. This practice has evolved through collaboration, within and across successive performative encounters. Through the intra-acting agencies of performative encounter, the material and the verbal are in conversation, questioning the production of knowledge, critically and metaphorically determined as a ‘digestive tract of knowing’. A material engagement emerges that is continuously enmeshed, unravelled and revealed as an embodied tract that surfaces as diagram, apparatus or a conjunction of vertices. In this context, words, whether written, spoken, uttered or as yet unsaid, are interior to the practice. Together and continuously, their shared and formative meanings are mobile, never settling, always productive. Whether critically informed or invented on the spur of the moment, words (including the writing of this article) act as material-discursive fabric. This research-in-action is evident both in the operative engagement and in the subsequent opening of the practice to others, whether as display, text, performance or dialogic example.
{"title":"Pears, pistachios, pencils and punctuation: Performative encounter and the art of conversation","authors":"Karlie Foster, Kimberley Foster, V. Mitchell","doi":"10.1386/jwcp_00002_1","DOIUrl":"https://doi.org/10.1386/jwcp_00002_1","url":null,"abstract":"Words, utterance, gesture, mark-making, ink, nut shells, a peach or a stray button prompt material-discursive engagement. Nothing is taken for granted in terms of knowledge or experience other than a belief that such engagement is a practice, revealing of itself. This article proposes and exemplifies an ‘apparatus’ of such practice, in which the materially embedded and/or physically embodied production of speech, writing, objects and images are intermingled. This practice has evolved through collaboration, within and across successive performative encounters. Through the intra-acting agencies of performative encounter, the material and the verbal are in conversation, questioning the production of knowledge, critically and metaphorically determined as a ‘digestive tract of knowing’. A material engagement emerges that is continuously enmeshed, unravelled and revealed as an embodied tract that surfaces as diagram, apparatus or a conjunction of vertices.\u0000In this context, words, whether written, spoken, uttered or as yet unsaid, are interior to the practice. Together and continuously, their shared and formative meanings are mobile, never settling, always productive. Whether critically informed or invented on the spur of the moment, words (including the writing of this article) act as material-discursive fabric. This research-in-action is evident both in the operative engagement and in the subsequent opening of the practice to others, whether as display, text, performance or dialogic example.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":"13 1","pages":"169-186"},"PeriodicalIF":0.0,"publicationDate":"2020-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48299186","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 White Pube present the emoji summaries that accompany their exhibition reviews on thewhitepube.com. The emoji summaries are there to replace the quantitative 1–5 star rating that normally heads typical art and film reviews. Rather than claim the same authoritative objectivity, The White Pube writers will respond to the exhibition with three selective emojis to offer a description of their personal experience.
White Pube在thewhitepube.com上展示了表情符号摘要及其展览评论。表情符号摘要取代了通常领先于典型艺术和电影评论的1-5星定量评分。《白色酒吧》的作者们将用三个选择性的表情符号来描述他们的个人经历，而不是声称同样的权威客观性。
{"title":"emoji summaries","authors":"G. de la Puente, Zarina Muhammad","doi":"10.1386/jwcp.13.1.147_3","DOIUrl":"https://doi.org/10.1386/jwcp.13.1.147_3","url":null,"abstract":"The White Pube present the emoji summaries that accompany their exhibition reviews on thewhitepube.com. The emoji summaries are there to replace the quantitative 1–5 star rating that normally heads typical art and film reviews. Rather than claim the same authoritative objectivity,\u0000 The White Pube writers will respond to the exhibition with three selective emojis to offer a description of their personal experience.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41573746","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}
Hardeep’s Egg is a collaborative work by Pandhal and Steans that proposes a definition for a new noun, based on a real-life experience of Pandhal’s. The definition is illustrated in different ways each time it is presented.
{"title":"Hardeep’s Egg","authors":"Hardeep Pandhal, D. Steans","doi":"10.1386/jwcp.13.1.9_7","DOIUrl":"https://doi.org/10.1386/jwcp.13.1.9_7","url":null,"abstract":"Hardeep’s Egg is a collaborative work by Pandhal and Steans that proposes a definition for a new noun, based on a real-life experience of Pandhal’s. The definition is illustrated in different ways each time it is presented.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":"13 1","pages":"9-11"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66736063","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 principle that classification may always be provisional and illusory continues to be of relevance and concern to art and curation that seeks to expose the fallacies of systematic order and taxonomy. Taking the museum as a starting point, this article explores the curation of information and objects by writers and artists who offer alternative spaces of representation and interpretation. Language is fundamental to these curatorial undertakings, for example: the keywords chosen as starting points by Daniel Spoerri and Marie-Louise Plessen for their 1981 Musée Sentimental de Prusse; Tate Liverpool’s choice of artwork for their 2014 interpretation of Raymond Williams’ 1988 book Keywords; and Rose English’s choice of words to explore during her 1983 performance Plato’s Chair, included in the Keywords exhibition. Developing into a consideration of social networking as a space of curated representation, the article examines my own use of the hashtag and its relation to classification and keywords in a recent Instagram project @cartography_for_girls. I set up the account to share the thoughts of philosopher and novelist Iris Murdoch’s fictional women characters on a platform synonymous with personal articulation and connection seeking. The hashtag offered a taxonomy with which to engage with Iris Murdoch’s advocacy of the acceptance of contingency and to her assertion that ‘the task of classifying […] can perhaps never be more than a (serious) game’.
分类可能永远是暂时的和虚幻的原则继续与艺术和策展相关和关注，寻求揭露系统秩序和分类法的谬论。本文以博物馆为出发点，探讨作家和艺术家对信息和物品的策展，他们提供了另一种表现和解释的空间。语言是这些策展工作的基础，例如:丹尼尔·斯波里和玛丽-路易丝·普莱森在1981年出版的《mussame sentise de Prusse》中选择的关键词作为出发点;泰特利物浦美术馆2014年对雷蒙德·威廉姆斯1988年作品的诠释选择;Rose English在1983年的表演《柏拉图的椅子》(Plato’s Chair)中探索的词汇选择，也被收录在关键词展览中。这篇文章将社交网络视为一个精心策划的表现空间，并研究了我自己在最近的Instagram项目@cartography_for_girls中对标签的使用及其与分类和关键词的关系。我建立这个账号是为了在一个与个人表达和寻求联系同义的平台上分享哲学家兼小说家艾瑞斯·默多克虚构的女性角色的想法。这个标签提供了一种分类法，与Iris Murdoch倡导的接受偶然性和她的断言“分类的任务[…]可能永远不会超过一个(严肃的)游戏”相呼应。
{"title":"The (serious) game of classification: (I think I’m happy, she thought, but am I real?)","authors":"Carol Sommer","doi":"10.1386/jwcp.13.1.117_1","DOIUrl":"https://doi.org/10.1386/jwcp.13.1.117_1","url":null,"abstract":"The principle that classification may always be provisional and illusory continues to be of relevance and concern to art and curation that seeks to expose the fallacies of systematic order and taxonomy. Taking the museum as a starting point, this article explores the curation of information and objects by writers and artists who offer alternative spaces of representation and interpretation. Language is fundamental to these curatorial undertakings, for example: the keywords chosen as starting points by Daniel Spoerri and Marie-Louise Plessen for their 1981 Musée Sentimental de Prusse; Tate Liverpool’s choice of artwork for their 2014 interpretation of Raymond Williams’ 1988 book Keywords; and Rose English’s choice of words to explore during her 1983 performance Plato’s Chair, included in the Keywords exhibition. Developing into a consideration of social networking as a space of curated representation, the article examines my own use of the hashtag and its relation to classification and keywords in a recent Instagram project @cartography_for_girls. I set up the account to share the thoughts of philosopher and novelist Iris Murdoch’s fictional women characters on a platform synonymous with personal articulation and connection seeking. The hashtag offered a taxonomy with which to engage with Iris Murdoch’s advocacy of the acceptance of contingency and to her assertion that ‘the task of classifying […] can perhaps never be more than a (serious) game’.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":"56 1","pages":"117-129"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66735515","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}
I sent Zara Worth this Facebook post because I thought the chicken nugget would make a good full stop at the end of her guest-edited issue of the Journal of Writing in Creative Practice on the subject of Social Media Speak (SMS).
我给扎拉·沃斯发了这篇Facebook帖子，因为我觉得鸡块可以作为她客串编辑的《创意实践写作杂志》(Journal of Writing in Creative Practice)关于社交媒体话题(Social Media Speak，简称SMS)的结语。
{"title":"Untitled (chicken nugget Facebook post)","authors":"Simon L. Morris","doi":"10.1386/jwcp.13.1.155_7","DOIUrl":"https://doi.org/10.1386/jwcp.13.1.155_7","url":null,"abstract":"I sent Zara Worth this Facebook post because I thought the chicken nugget would make a good full stop at the end of her guest-edited issue of the Journal of Writing in Creative Practice on the subject of Social Media Speak (SMS).","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":"13 1","pages":"155-157"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66735582","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 following article selects twelve works from Mark Staniforth’s year-long ‘Anti-sonnets’ series, for which Staniforth created an experimental sonnet for each day of the year. The project forms part of a broader investigation into the potential exploitation of subjectivity in modern, multi-media-inspired praxis. The sonnets recognize the inevitable failure of the pursuit of absolute objectivity: that authorial influence can never entirely be purged. Therefore it was appropriate that the sonnets were created for and shared on a blog – one of the earliest examples of Web 2.0 user-generated content-driven web design (https://antisonnets.wordpress.com/).
{"title":"Anti-sonnets","authors":"M. Staniforth","doi":"10.1386/jwcp.13.1.47_3","DOIUrl":"https://doi.org/10.1386/jwcp.13.1.47_3","url":null,"abstract":"The following article selects twelve works from Mark Staniforth’s year-long ‘Anti-sonnets’ series, for which Staniforth created an experimental sonnet for each day of the year. The project forms part of a broader investigation into the potential exploitation of subjectivity\u0000 in modern, multi-media-inspired praxis. The sonnets recognize the inevitable failure of the pursuit of absolute objectivity: that authorial influence can never entirely be purged. Therefore it was appropriate that the sonnets were created for and shared on a blog – one of the earliest\u0000 examples of Web 2.0 user-generated content-driven web design (https://antisonnets.wordpress.com/).","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49665816","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 following article addresses the changing nature of human identity in the digital age, with a focus on the emergence of the ‘inner self’ via digital communication. Three models of ‘self’ are presented in this text, which have emerged as a result of our rising use of digital technology, entitled ‘The Constructed Self’, ‘The Programmed Self’ and ‘The Absent Self’. The first model, ‘The Constructed Self’, focuses on our ability online to manipulate the public portrayal of the ‘inner self’ via carefully constructed social media profiles and virtual identities. This model compares the instances in which the ‘online self’ and the ‘actual self’ develop as extensions of one another, with examples that highlight how they can also act in opposition. ‘The Programmed Self’ is concerned with the amalgamation of humans and technology. As machines become increasingly intelligent and humanized, new possibilities are arising for our relationship with technology to become ever more personal. Finally, ‘The Absent Self’ brings to light what we miss through our immersion in the screen; how do online environments capture our attention so effectively and what does this do to our ability to self-reflect?
{"title":"New models of the inner self: Identity in the digital age","authors":"Gabriella Warren-Smith","doi":"10.1386/jwcp.13.1.131_1","DOIUrl":"https://doi.org/10.1386/jwcp.13.1.131_1","url":null,"abstract":"The following article addresses the changing nature of human identity in the digital age, with a focus on the emergence of the ‘inner self’ via digital communication. Three models of ‘self’ are presented in this text, which have emerged as a result of our rising use of digital technology, entitled ‘The Constructed Self’, ‘The Programmed Self’ and ‘The Absent Self’. The first model, ‘The Constructed Self’, focuses on our ability online to manipulate the public portrayal of the ‘inner self’ via carefully constructed social media profiles and virtual identities. This model compares the instances in which the ‘online self’ and the ‘actual self’ develop as extensions of one another, with examples that highlight how they can also act in opposition. ‘The Programmed Self’ is concerned with the amalgamation of humans and technology. As machines become increasingly intelligent and humanized, new possibilities are arising for our relationship with technology to become ever more personal. Finally, ‘The Absent Self’ brings to light what we miss through our immersion in the screen; how do online environments capture our attention so effectively and what does this do to our ability to self-reflect?","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":"13 1","pages":"131-146"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66735570","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 text is from ‘Art Thoughts’; a collection of texts shared on The White Pube’s website that discuss art more broadly than the Reviews section. The piece investigates how the critic positions themselves in terms of objectivity and subjectivity when their identity does not afford them the supposed authority and neutrality of the cis-het white male writer.
本文摘自《艺术思想》;这是在The White Pube网站上分享的一系列文本，它们讨论艺术的范围比评论部分更广泛。这篇文章调查了当批评家的身份没有赋予他们所谓的权威和中立的顺式白人男性作家时，他们是如何在客观性和主观性方面定位自己的。
{"title":"obj///subj—ectivity","authors":"Zarina Muhammad","doi":"10.1386/jwcp.13.1.55_3","DOIUrl":"https://doi.org/10.1386/jwcp.13.1.55_3","url":null,"abstract":"This text is from ‘Art Thoughts’; a collection of texts shared on The White Pube’s website that discuss art more broadly than the Reviews section. The piece investigates how the critic positions themselves in terms of objectivity and subjectivity when their identity does not afford them the supposed authority and neutrality of the cis-het white male writer.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":"13 1","pages":"55-61"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66735641","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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