Foucault's 'What is an author' : towards a critical discourse of practice as research

A vexed issue for many artistic researchers is related to the need for the artist/researcher to write about his or her own work in the research report or exegesis. In the creative arts, the outcomes that emerge from an alternative logic of practice are not easily quantifiable and it can be difficult to articulate conclusions objectively given the emotional and ideological investments and the intrinsically subjective dimension of the artistic process. How then, might the artist as researcher avoid on the one hand, what has been referred to as 'auto-connoisseurship', the undertaking of a thinly veiled labour of valorising what has been achieved in the creative work, or alternatively producing a research report that is mere description or history?

In this paper I suggest that a way of overcoming such a dilemma is for creative arts researchers to shift the critical focus away from the notion of the work as product, to an understanding of both studio enquiry and its outcomes as process. I’d like to draw on Michel Foucault’s essay ‘What is An Author ‘ to explore how we might move away from art criticism to the notion of a critical discourse of practice-led enquiry that involves viewing the artist as a researcher, and the artist/critic as a scholar who comments on the value of the artistic process as the production of knowledge.

Foucault’s essay provides artistic researchers with a template for more objective and distanced discourse on the practice-led research process and its writing. It allows researchers to locate themselves within contexts of theory and practice and provides an analytical framework though which researchers might locate themselves and their work within the broader social arena and field of research, As I will show with reference to the work of Donna Haraway and a number of commentaries on Pablo Picasso’s Demioselles d’Avignon, an application of Foucault’s ideas need not negate those subjective and situated aspects of practice as research.

Author-reader relationship at the site of the work

Within the format of a critical exegesis and four original works of extended prose fiction, this thesis explores the interaction between the author and reader and argues that literary meaning is the outcome of shifts of power between these two entities. It concludes that because these shifts in power are orchestrated by the author, the author is relevant to understanding how meaning is produced.

Author's intent and translation : some Runyankore culture-bound expressions

This thesis explores the movement of the author's intent in the process of translating expressions (originally oral) deemed to be culture-reflecting. The author's intent can be freed from the bondage thrust upon a text through particularities of culture, linguistics and genre in the process of translation. These elements constitute the toolkit used by the author to deliver his/her intent. A translation owes it's existance to the original text with it's intent and this element should be preserved through the translator's assumption of authorial powers.

Multimodal synthesis and the voice of the multimedia author in a Japanese EFL context

This paper examines a powerful potential of multimodal design: meaning that transcends the total semiotic contribution of a text's constituent parts. With reference to data drawn from the digital storytelling practices of Japanese university students, the author argues and demonstrates that in the current semiotic climate, characterised by the increasing availability and complexity of communication tools and ready appropriation of available designs, practices of multimedia authorship truly can evince expression that is authentically multiplicative. However, this sort of meaning making does not automatically come about. Controlling the inherent polysemy of multimodal texts, in the author's view, is a matter of recognising points of semantic correspondence among co-deployed images, language, etc. and creating syntheses of potential meaning that cut across these semiotic modes. The author further argues that it is in this way that the voice of the multimodal author can most clearly be heard, particularly in cases in which a language learner–author integrates elements within a multimedia text that encode meaning in the L2.

Representative actions, proof of fact and author identification in copyright law: a history and a concern

Recent judgments in Australia have called for author identification in order that copyright subsistence may be established. There is a risk that such calls will be taken too literally, to the detriment of author privacy. This article considers the legal mechanisms by which author identity has historically been shielded from disclosure, without the operation of the copyright system being impaired. It expresses the hope that those who are responsible for developing copyright law will be mindful of the concern for author privacy which has long been part of copyright discourse.

One minute's silence by David Metzenthen and Michael Camilleri

Deakin University Library hosted the awarding winning author and illustrator event. Author David Metzenthen and illustrator Michael Camilleri spoke about their award-winning picture book One Minute's Silence, published by Allen and Unwin.

David and Michael discussed their creative inspirations, and how this original and contemporary work came about.