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
The complexities of ‘radical openness’ in collaborative
Daisy Hasan-Bounds, Sarita Malik, and Jasber Singh
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’.
Noelle M.K.Y. Kahanu, Moana Nepia, and Philipp Schorch
, shifting our centres off balance
towards and away from the wall. With this larger than life-sized video loop
that repeats and inverts itself, I wanted to convey the sense of uncertainty
and self-reflection that can accompany investigative thinking within a creativepractice prior to the completion of an art work – as whakatītahataha, a
teetering sensation, as if being perilously positioned on the edge of an abyss
while peering into the unknown.
Devised as part of my doctoral investigation into how Te Kore might
be represented and explored through different media and in
This book aims to demystify the place and power of the screenwriter within French film production, in creative and artistic terms, but also in the context of film criticism and film discourse more generally, whether that be in mainstream, popular or auteur cinema. Critical discourses on French cinema have tended to consider words to be of secondary importance to the image, regarding screenwriters as either over-dominant or completely eclipsed. The reality is, of course, that screenwriting has remained an integral part of the industry since the coming of sound. This book takes a number of key figures in the history of French screenwriting from the transition to sound to the present day, in order to explore the shifting function and position of screenwriters and major trends in screenwriting practice. It considers the industrial categorisation of screenwriting as adaptation, script development and dialogue writing, and explores creative practices around these three specialist areas – which are rarely as clearly defined as film credits might have us believe. It addresses and questions the myths that have emerged around certain writers in critical discourses, as well as the narrative mythologies that these writers have helped to shape in their films: from fatalism and the working-class (anti)hero to the small-minded petit bourgeois; from the neurotic protagonist to the naive fool of comedy. In doing so, it also reflects on the methodological challenges of screenwriting research, and the opportunities opened up by shedding light on these frequently neglected figures.
It is important to address the key social and cultural theorisations around issues such as freedom, democracy, knowledge and instrumentalism that impact the university and its relationship with and to the arts. This book maps out various ways in which the arts and creative practices are manifest in contemporary university-based adult education work, be it the classroom, in research or in the community. It is divided into three sections that reflect the normative structure or 'three pillars' of the contemporary university: teaching, research and service. The focus is on a programme that stems from the university's mission and commitment to encouraging its graduates to become more engaged citizens, willing to think critically and creatively about issues of global import, social justice and inequality. The Storefront 101 course, a free University of Calgary literature course for 'non-traditional' adult learners, aims to involve students in active dialogic processes of learning and civic and cultural engagement. Using the concept of pop-up galleries, teacher education is discussed. The book contextualises the place and role of the arts in society, adult education, higher education and knowledge creation, and outlines current arts-based theories and methodologies. It provides examples of visual and performing arts practices to critically and creatively see, explore, represent, learn and discover the potential of the human aesthetic dimension in higher education teaching and research. A more holistic and organic approach to lifelong learning is facilitated by a 'knowing-through-doing' approach, which became foregrounded as a defining feature of this project.