What does it meme? The exegesis as valorisation and validation of creative arts research

This paper will draw on Richard Dawkin's idea of the 'meme' to discuss how the creative arts exegesis can operate as valorisation and validation of creative arts research. According to Dawkins, the rate and fecundity of replication permits an artefact to achieve recognition and stability as a meme within a culture. The value and application of traditional forms of research is underpinned by a secondary order of production, publication, that establishes visibility of the work and articulates its empirical processes and findings as sources of social benefit and cultural enhancement.

In the arts, conventional modes of valorisation such as the gallery system, reviews and criticism focus on the artistic product and hence, lack sustained engagement with the creative processes as models of research. Such engagement is necessary to articulate and validate studio practices as modes of enquiry.

A crucial question to initiate this engagement is: 'What did the studio process reveal that could not have been revealed by any other mode of enquiry?'

Re-versioning of the studio process and its significant moments through the exegesis locates the work within the broader field of practice and theory. It is also part of the replication process that establishes the creative arts as a stable research discipline, able to withstand peer and wider assessment. The exegesis is a primary means of realising creative arts research as 'meme'.

Enzymes for food waste remediation and valorisation

Industrial food processing operations are among the largest contributors of environmental waste. The use of enzymes in food waste remediation and valorisation is the central theme of this chapter. Specifically, the chapter first discusses the sources and values of food waste in food supply chains. Different strategies for bioremediation of wastewater using enzymes are then reviewed. The last part of the chapter focuses on waste valorisation—how to turn food waste into valuable products using enzymes—including a discussion of emerging trends in this field.

What does it meme? The Exegesis as valorization of creative arts research

This paper will draw on Richard Dawkin's idea of the 'meme' to discuss how the creative arts exegesis can operate as valorisation and validation of creative arts research. According to Dawkins, the rate and fecundity of replication permits an artefact to achieve recognition and stability as a meme within a culture. The value and application of traditional forms of research is underpinned by a secondary order of production, publication, that establishes visibility of the work and articulates its empirical processes and findings as sources of social benefit and cultural enhancement.

In the arts, conventional modes of valorisation such as the gallery system, reviews and criticism focus on the artistic product and hence, lack sustained engagement with the creative processes as models of research. Such engagement is necessary to articulate and validate studio practices as modes of enquiry.

A crucial question to initiate this engagement is: 'What did the studio process reveal that could not have been revealed by any other mode of enquiry?'

Re-versioning of the studio process and its significant moments through the exegesis locates the work within the broader field of practice and theory. It is also part of the replication process that establishes the creative arts as a stable research discipline, able to withstand peer and wider assessment. The exegesis is a primary means of realising creative arts research as 'meme'.

A Jamesonian theory of theological practice: a critical response to the work of Roland Boer

In a conjuncture marked by the “resurgence of religion,” the problem of historical materialism’s relation to religious ideologies has acquired a new urgency. The work of Roland Boer, recently awarded the Deutscher Prize for his magnum opus on Marxism and Theology poses this question from a surprising perspective. While his main claim is that religious influences in Marxist theory represent a sort of theological unconscious in historical materialism, at the same time Boer also advances an original Marxist interpretation of the Abrahamic religions, especially Christianity. This line of research, which extends from his dissertation on Jameson and Jeroboam through to his most recent work on The Sacred Economy, proposes that theology is a reflective representation of the social totality. In this article, I criticise Boer’s valorisation of theology as a practical discourse that is post-ideological but non-theoretical, and conclude by indicating an alternative.