Translations is a personal history written at the intersection of colonial anthropology, creative practice and migrant ethnography. Renowned postcolonial scholar, public artist and radio maker, UK-born Paul Carter documents and discusses a prodigiously varied and original trajectory of writing, sound installation and public space dramaturgy produced in Australia to present the phenomenon of contemporary migration in an entirely new light. Rejecting linear conceptualisations of migrant space–time, Carter describes a distinctively migrant psychic topology, turbulent, vortical and opportunistic. He shows that the experience of self-becoming at that place mediated through a creative practice that places the enigma of communication at the heart of its praxis produces a coherent critique of colonial regimes still dominant in discourses of belonging. One expression of this is a radical reappraisal of the ‘mirror state’ relationship between England and Australia, whose structurally symmetrical histories of land theft and internal colonisation repress the appearance of new subjects and subject relations. Another is to embrace the precarity of the stranger–host relationship shaping migrant destiny, to break down art’s aesthetic conventions and elide creative practice with the poetics (and politics) of social production – what Carter calls ‘dirty art’. Carter tackles the argument that immigrants to Australia recapitulate the original invasion. Reflecting on collaborations with Aboriginal artists, he frames an argument for navigating incommensurable realities that profoundly reframes the discourse on sovereignty. Translations is a passionately eloquent argument for reframing borders as crossing-places: framing less murderous exchange rates, symbolic literacy, creative courage and, above all, the emergence of a resilient migrant poetics will be essential.
This volume maps out various ways in which the arts and creativepractices are
manifest in contemporary university-based adult education work, be it the classroom, in research or in the community. It is written for all who work or would like
to work beyond normative fine arts structures, who work or would like to work
with community artists, who work or would like to work with arts and cultural
institutions or to those who simply wish to augment the human aesthetic dimension in their educational and research practice or service work.
apparent gulf between dermatology researchers
or clinicians and the young grime artists. These are not questions of
physical distance as such – it is a 30-minute bus ride from the hospital to
Handsworth and many people from the area will be treated at the hospital. What constitutes this gulf or boundary then? Why might it be a problem in political terms? Is it helpful even to think the problem in spatial
terms like gulf, boundary or gap? How might creativepractices respond
to such boundaries by reconceptualising them or even bridging them?
Influential accounts of
Managing multiple embodiments in the life drawing class
There has been growing interest in the role of sketching, drawing and other forms of artistic and/or creativepractice as a research method within (and beyond) the social sciences (see also Heath and Chapman, this collection). As a geographer (and a lapsed art historian) my interest lies in how artistic, craft-based and creativepractices can be used to investigate, express and (re)construct spatial experience and understanding (see, among others, Bain, 2004 ; Banfield, 2016 ; Hawkins, 2011, 2012 ). Such practices are often seen as
throughout Sopinka's novel, detailing women's struggles with autonomy, self-presentation, and emotional labour. The practical, minimalist design of Horses Atelier would seem tailor-made for Sopinka's intrepid character and suggests that Sopinka embeds her vision into her entire creativepractice. Sopinka is also a licensed helicopter pilot and has worked as a travel writer in South-East Asia and bush cook in the Yukon, roles which have significantly shaped her views on ecology and survival in extreme environments.
The complexities of ‘radical openness’ in collaborative
achieved in a context where disenfranchised communities are actively part of the research process and are situated as agents making claims on their own terms through creativepractice. This leads us to provide a critical account of the opportunities and challenges that accompany creative collaboration. By critically surveying the dynamic and negotiated nature of co-creation, the chapter highlights some of the contrasts between the promises of collaboration and its reality. It thus expands the discussion about co-creation and does not ‘naively assume that [co
Leonora Carrington’s cinematic adventures in Mexico
——— . Surrealism and the Politics of Eros, 1938–1968 . London : Thames & Hudson , 2005 .
Manacorda , Francesco , Chloe Aridjis , and Lauren Bates . ‘ Leonora Transgressing Discipline ’. In Leonora Carrington and the International Avant-Garde , edited by Jonathan Eburne and Catriona McAra , 198–9 . Manchester : Manchester University Press , 2017 .
Markova , Lora , and Roger Shannon . ‘Leonora Carrington on and off Screen: Intertextual and Intermedial Connections between the Artist’s CreativePractice and the Medium of Film’. Arts 8
disclose the formal treasure, a migrant psychology favoured the imagery of moisture, overflow, osmosis, seepage, erosion and siltage. Instead of pursuing rarefaction, it practised liquefaction, which, as a creativepractice, has as its object the image of form in water. With reference to the phenomenon of surface tension or of the colloidal matter that exploits it, D’Arcy Wentworth Thompson wrote, its ‘softness partakes of fluidity, and enables the colloid to become a vehicle for liquid diffusion, like water itself’.
, it could not be avoided. Even more so was it inevitable for a painter such
as Lee Krasner to take it on in her canvas.
Lee Krasner, City Verticals , 1953
Lee Krasner, Milkweed , 1955
Krasner’s creativepractice echoes Bataille on hybridity and
decomposition in modernism, rather than Greenberg’s teleological and all-male,
theatres and printing industry under Elizabeth first
provided a platform for creativepractices of stereotyping
– a collective search for an emerging pattern of problematic
behaviour – and the identification of its causes based on an
existing body of assumptions. Only then did a character-based
stereotype of the projector come to be elaborated by a literary
genius in the shape of Jonson. In revealing corruptions, these earlier
texts turn out to be as uncompromising and politically explosive as