Packing as practice: creative knowledges through material interactions

Contemporary travellers are presented with a range of material, spatial, bodily and environmental interactions, and may use these to develop experiential modes of creative knowledge production. The study of tourism has had many recent calls for a greater awareness to the interactions between humans and non-humans, particularly the importance of material encounters we have in-transit.

Examining the process of packing a bag, this paper advocates the need for a greater understanding of materiality within travel processes that leads to collaborative and creative knowledges. In addition the process of packing a bag evolves into a creative practice that facilitates a series of strategies that assist in reconceptualising traditional notions of materiality. A rethinking of material interactions presents affirmative, global, and nomadic encounters for a multitude of actors and situations. In the rigorous, daily process of packing, objects are transformed into fluid, malleable forms – as a mass of material that is being collaboratively negotiated.

A range of interdisciplinary propositions, such as Bruno Latour’s collective action and Rosi Braidotti’s nomadic theory, suggest how we may conceive of objects not as singular forms situated within specific representations. These theories open up methods of embodied and situated knowledge production that informs how we, as global citizens, shift between individual and collective modes of experience. Drawing on interviews and photographic documentation of travellers, this paper discusses the potential of creative practices to reveal an array of affective, relational situations that hold potential for collaborative forms of knowledge production.

Zombie processes and undead technologies

Zombies in the Academy taps into the current popular fascination with zombies and brings together scholars from a range of fields, including cultural and communication studies, sociology, film studies, and education, to give a critical account of the political, cultural, and pedagogical state of the university through the metaphor of zombiedom. The contributions to this volume argue that the increasing corporatization of the academy—an environment emphasizing publication, narrow research, and the vulnerability of the tenure system— is creating a crisis in higher education best understood through the language of zombie culture—the undead, contagion, and plague, among others. Zombies in the Academy presents essays from a variety of scholars and creative writers who present an engaging and entertaining appeal for serious recognition of the conditions of contemporary humanities teaching, culture, and labor practices.

Transiting with the environment: an exploration of traveller’s reorientations as creative and collaborative practice

Travellers undertake a process of reorientation and realignment that is particular to each destination. This process intensifies when travelling long distances across borders, cultures and climates, as travellers utilise performative, embodied and creative methods that respond to each new environment. Certain destinations, such as those with unique and extreme natural environments, induce a socio-cultural imaginary that primes travellers for what kind of experience they might have. Large, immersive landscapes and climates congeal with expectations of what each destination requires in order to navigate through it. Common bearings of distance and scale are skewed, as travellers are positioned within areas of vastness. In these moments immersive experiences contrast with daily processes, such as the act of packing a bag, as this heightened sensory awareness exacerbates the subtle material and spatial negotiations. Utilising interviews and photographic documentation of travellers to Iceland and Nepal, this paper develops the proposal that certain destinations intensify our attunement to these moments of reorientation, facilitating situated and creative methods.

As recent developments in the fields of mobilities and tourism draws attention to material interactions during travel, and current ‘new materialism’ movements in theory and practice reveal alternative affective methods of engagement, an exploration of interactions with/in immersive sites is needed in order to evaluate the potential that these kinds of transitions offer everyday experiences of movement. Nigel Thrift’s proposition of Non-Representational Theory provides clarity on the ways in which spatial awareness influences such transitions and environmental experiences. Using his acknowledgement of a more ontologically driven responsiveness to space, this permits a shift away from the presupposed containment of spaces as isolated destinations, toward a relational spatiality that encompasses all actors – including environments – as vital elements in the generative processes of situating our movements.

Creative strategies that afford sensory, aesthetic and embodied performances provide ways to examine these experiences, providing a multitude of possibilities as individual experiences shift towards collective and collaborative performances, as we are immersed within a range of human and non-human actors. This paper explores the transition away from ‘consuming’ environments, and advocates for the need to turn towards a situated collaboration with environments, propelling an awareness of sustainable and creative travel practices. An understanding of affirmative differences is required within travel cultures, rather than expressing transitions as confined within the ‘home’ versus ‘away’ dichotomy that lingers from elite western travel narratives. In order to undertake the many movements required, this paper draws on the theoretical approaches of sustainable nomadism as described by Rosi Braidotti to highlight the linkages of environmental and bodily experiences.

Through multidisciplinary literature, interviews and personal reflections, this paper proposes that certain destinations amplify processes of alignment with the environment, developing affective, embodied and situated experiences that overcome the human/non-human divide.

Borrowings; or ways of making poetry by taking, working and returning: a study in creative practice

The collaborative poetry project ‘Borrowings’ investigates and theorises some of the processes of poetic composition. Two collaborators, by making use of incepts from each other's work, have generated new poems by exploring the nature of intertextual genesis. This paper presents key ideas generated by this activity and, in doing so, applies Deleuze's analysis of games to its consideration of the nature of poetic composition, along with his contention that ‘[t]o pass to the other side of the mirror is to pass from the relation of denotation to the relation of expression … It is to reach a region where language no longer has any relation to that which it denotes’. The project explores some of the ways in which poetry makes ‘sense’, both to the writer and reader; as well as questioning the extent to which poetry depends on its author's ‘decision’ about what to write. It also teases out some of the implications for how we understand authorship if authorial decisions may be generated by incepts of one kind or another that occur to the poet apparently randomly, or may be given to them by a line or phrase that they encounter while reading. This paper's ultimate wager, and one put to the test in the project itself, is that limitation has an expansive effect on the generation of creative work.

Rethinking creativity: three case studies of the social processes of creativity

Creativity and innovation are often seen as being important in terms of organisations, not only dealing with large amounts of change, but also being able to flourish in uncertain times. Yet, despite large amounts of creativity research, it continues to be a contested subject and fragmented field which leaves researchers without clear direction. Thus the approach to studying creativity needs to be rethought in order to develop new insights into the phenomenon. This research contributes to the debate on creativity by developing concepts around how creativity unfolds within a specific social context. It does this by approaching the study of creativity from a critical perspective and conducting a series of case studies into creativity in organisations. This research finds that, while the production of an artefact is a prerequisite, creativity is not an enduring feature of a given artefact. Rather, creativity exists when an artefact is labelled creative within a particular social system. In addition, as part of the interpretive research process, aspects of identity work emerged. Exploration of creativity as part of the process of identity work provides novel insight into creativity and a conceptual map which may be utilized as part of ongoing research into creativity. This research makes a significant contribution to the understanding of creativity by unpacking the processes of creativity, in three diverse organisational settings, and showing how creativity may be conceptualised as a contextually bound, socially constructed label which is underpinned by identity related motives.

Failing to see the woods for the trees: in search of critical creative research

Not all examples of creativity can be explained by the functionalist view that creativity is inherent in an artefact and comes about due to a “creative” individual’s efforts within a conducive environment. I build a case for creativity research which overturns assumptions inherent in functionalist research and conceptualises the phenomenon as a context specific, social construction. However, reviewing the limited critical research, I find that there is inconsistency in the theoretical models and the empirical work and ongoing privileging of the individual. It is unsurprising therefore, that, this research has been criticised for causing fragmentation within the field. I argue, to build knowledge, critical creativity research needs to adopt a systemic perspective, focus on social processes and consider collectives.