Darlene E. Clover and Kathy Sanford
We need to transgress boundaries and take risks with our programmes, our learners
and ourselves as adult educators. (Lipson Lawrence, 2005: 81)
Universities should be the places where we fearlessly encourage complex thinking
and doing, creating and collaborating. (Burnett, 2011)
maginatively educate. Aesthetically elucidate. Visually illuminate. Creatively
investigate. Theatrically explicate. Artistically animate. Performatively resonate.
These concepts characterise the innovation, energy and courage Lipson
What leads to innovativeness? Are some groups really more creative than others?
If previous chapters of this book concerned themselves with asking what innovation is and how it operates as a social practice, then perhaps this chapter is best read as my attempt to answer the rather abstract question “Why is innovation?” In the previous chapter, I explored conservatism, which I pulled apart into various threads – tradition, resistance, continuity, persistence. In this one, I conduct the same sort of dissection of innovativeness. I have already suggested that most
Contexts and intertexts
An examination of David Malouf’s overall writing career reveals
a remarkably continuous concern with encounters between
self and other. What most distinguishes his work is its strong
tendency to find in otherness (or alterity) the stimulus and
orientation for a creative unsettling of identity. The other, in
Malouf, does not typically enable a consolidation of selfhood,
nor does it unproductively impede or confuse identity formation.
Encounter with the other provokes creative self-transformation,
a self-overcoming, a becoming other than
chief engineer. The book engineers itself.
If the engine cuts out, it’s a question of being patient. Patience, she suggests, is something ‘with or despite desire’, ‘something continually strange’. 3 You’re aboard, perhaps uncertainly adrift, but things start up again.
✂ Cixous works a sort of magical découpage on creative and critical writing, over all their surfaces – and in the depths.
✂ There are supposedly clear and secure distinctions between ‘critical writing’ and ‘creative writing’. Each apparently has its own name, its own
Writers in British society and tales of their private lives and personal affairs
and sexual relationships in British social history which the film biographies explore and engage with in wide-ranging, dramatically stimulating and provocative ways. Sylvia Plath’s complex story might seem as if it cannot be easily accommodated into a feature-length narrative, but I will seek to illustrate that Christine Jeff and John Brownlow’s film Sylvia is a thoughtful and compelling account of two creative writers (Plath and the future Poet Laureate, Ted Hughes), torn apart by Hughes’s infidelity and the passionate feelings of both love and resentment which
work that arose from workshops bore the marks of a more
literary approach than other texts published by Fed groups, which might have
involved an editorial group working with a single writer. In writing workshops, complex, onerous and prolonged feedback on multiple drafts ensured
this was the case. Liz Thompson’s Just a Cotchell: Tales from a Dockland’s Childhood and
Beyond has many of the hallmarks of a novel. Thompson developed her book
through involvement with Basement Writers, which provided a launch pad
into a creative exploration of her past. She developed a
(elected in 1988) planned to raise revenue from the sale of government
Challenges and creative resilience
assets: power stations, coal mines, railway infrastructure and printing
offices.7 Workers were not oblivious to these transitions, and, rather than
radicalising them, the disappearance of manufacturing often produced
in them polarised and individualised responses; they sought merely to
survive, not necessarily to overthrow the system.8 The making of foreign
orders enabled subtle subversions, rather than
beneath a structuring system that seemed to give motion pictures a
self-sustaining, dynamic existence of their own.
Sustaining the narrator system
Making a detailed assessment of the structural and editing
developments in filmmaking during what was perhaps one of the
industry’s most creative periods is fraught with difficulty. In 1908
there were ten major film-producing companies in America and numerous
lifelong learning and the arts
The wall of rationality, tradition and neoliberalism
Shukaitis, Graeber and Biddle once asked why it was that we ‘assume creative and
relevant ideas should be coming out of the universities in the first place?’ (2005:
15). They go on to say that modern universities have only existed for a few hundred
years and during this time have not really fostered much in terms of new ways of
learning and understanding or engaging with the world.
Public universities are challenged by current socio-political changes in the
culture jamming or
Situationist détournements, and more recently as a form of urban learning
aimed at the elaboration of collective forms of self-organisation.5
The significance of Serpica Naro, however, goes beyond the value
of the hoax and creative conflict produced by the intervention in Milan
Fashion Week. Instead, leaning on Markussen’s notion of disruptive aesthetics, Julier’s design activism tactics and Fry’s redirective practice, I
argue that Serpica Naro was a designerly act that reoriented the politics
of precarity embedded in the fashion system.6 In