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Precarity in the fashion system
Ilaria Vanni

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

in Precarious objects
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Stephen Orgel

sources of the play’s unique intensity and to the peculiar power it has always exercised over audiences. In “ King Lear and the art of forgetting” I propose that forgetting, or the suppression or subversion of memory, is an essential creative principle. I have in mind both really big creative acts like forgetting that the Lear story has a happy ending, and really small but even more baffling creative

in Spectacular Performances
Catherine J. Frieman

of singular acts of invention is likely futile. That said, from an archaeological perspective, it is worth our time to question whether invention is simply a momentary conjunction of person, place, thing, and concept, rather than a more extensive and culturally embedded process. Consequently, this chapter will explore the concept of invention – both as a creative act and as part of larger technological systems – to suggest that, like innovation, it emerges from and exists within complex relationships between individuals, technological systems, and wider social

in An archaeology of innovation
Stephen Greer

-​exploitation are informed by the intersection of creative and economic imperatives. In doing so, I first locate the work of the contemporary solo performer in relation to the figure of the solitary, entrepreneurial arts worker. Though theatre-​makers involved in the creation of solo performance are not necessarily solo workers –​and are more frequently engaged in collective or collaborative labour with a range of others in different creative and administrative roles  –​the paradigm of individualised entrepreneurship nonetheless dominates the larger context in which contemporary

in Queer exceptions
John Narayan

4 Social Intelligence and Equality The democratic faith in human equality is belief that every human being, independent of the quantity or range of his personal endowment, has the right to equal opportunity with every other person for development of whatever gifts he has. (LW14: 227) We talk a great deal about democracy as equality of opportunity and then we adopt a system of private ownership of opportunities that makes our boast a farce and a tragedy. (LW11: 256) Throughout his life and beyond it, Dewey’s work on creative democracy has largely been criticized

in John Dewey
Open Access (free)
John Narayan

2 The Global Democrat The new era of human relationships in which we live is one marked by mass production for remote markets, by cable and telephone, by cheap printing, by railway and steam navigation. Only geographically did Columbus discover a new world. The actual new world has been generated in the last hundred years. (LW2: 323) As the last chapter made clear, John Dewey’s conception of creative democracy points towards the perpetual adaption of social institutions, including democratic institutions and practices themselves, as new publics are engendered

in John Dewey
The Virgin in the Garden and Still Life
Alexa Alfer and Amy J. Edwards de Campos

also between the creative and the critical imagination. As both writer and critic, A. S. Byatt is acutely aware of the formal and philosophical difficulties that have bedevilled the realist project from the outset. If she professes ‘a strong moral attachment to its values’, such attachment is always already bound up with ‘a formal need to comment on [these values’] fictiveness’ and a profound sense

in A. S. Byatt
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Science and art in Antarctica
Mike Pearson

world, in the form of a number of gilt picture frames.13 On arrival, he refashioned them into a traditionally designed sledge. He also took a number of models, toys and children’s books – from Action Man to the Ladybird book Scott of the Antarctic. These he photographed in the Antarctic landscape, carefully using perspective and the distance between foreground and background to suggest humorously that the toy is of equal stature to its authentic counterpart – so his sledge appears to be pulled by dogs, absent on the continent since 1994. Architecture All creative

in Extending ecocriticism
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Cosmologies of substance, production, and accumulation in Central Mozambique
Bjørn Enge Bertelsen

historically contingent wider concerns with both production and various phases of Mozambican state formation, as I have also developed elsewhere (Bertelsen forthcoming). The argument is theoretically concerned with what is sometimes analysed as cosmology’s central dynamic: perceptions of the workings of creative and degenerative forces present in different social and cultural orders (see, e.g., Beidelman 1966). Specifically the chapter will expose how the mill creates intense concerns through engaging households’ production, substance, and accumulation. Such instances, I

in Framing cosmologies
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Dreamer, realist, analyst, writing
Nicholas Royle

, but also in terms of how her critical work (which resides in her so-called fictional writings as well as in her essays) affects our understanding of ‘fiction’, ‘the novel’, ‘poetry’, ‘literature’, ‘creative writing’, ‘criticism’, ‘narrative theory’, ‘autobiography’, ‘life writing’ and so on. Cixous is not so much ‘a writer’s writer’, as a poetic thinker who compels us to develop new ways of approaching both creative and critical writing, both literature and literary criticism and theory. Historians, critics and theorists alike have tended to overlook

in Hélène Cixous