Digital alchemy : two experiments in form processing

Programmatic form-finding and the visual analysis of creative works (architecture, sound, sculpture, painting, music or dance) can be combined to develop “alchemical” processes for the computational exploration of form. This paper reports two project-based form exploration experiments using such a process. The first experiment develops a process for capturing, manipulating and generating form based on a piece of dance choreography. The second experiment explores the decompression of space and architectural elements encoded within the Duchamp painting “Nude descending a staircase”. A discussion for incorporating programmatic strategies and for developing an innovative approach to conceptual form processing based on the language of geometry is presented.

'Creative destruction': knowledge economy policy and the future of arts and humanities in the academy

Policy conceptualizations of the global knowledge economy have led to the channelling of much Higher Education and Research and Development funding into the priority areas of science and technology. Among other things, this diversion of funding calls into question the future of traditional humanities and creative arts faculties. How these faculties, and the disciplines within them, might reconfigure themselves for the knowledge economy is, therefore, a question of great importance, although one that as yet has not been adequately answered. This paper explores some of the reasons for this by looking at how innovation in the knowledge economy is typically theorized. It takes one policy trajectory informing Australia's key innovation statement as an example. It argues that, insofar as the formation of this knowledge economy policy has been informed by a techno-economic paradigm, it works to preclude many humanities and creative arts disciplines. This paper, therefore, looks at how an alternative theorization of the knowledge economy might offer a more robust framework from within which to develop humanities and creative arts Higher Education and Research policy in the knowledge economy, both in Australia and internationally.
1 This article draws on the Australian Research Council project, Knowledge/economy/society: a sociological study of an education policy discourse in Australia in globalising circumstances, being conducted by Jane Kenway, Elizabeth Bullen and Simon Robb. This 3-year project looks at how understandings of the knowledge economy and knowledge society inform current education policy and, in turn, how this policy translates into educational practice. The methodology includes policy analysis, interviews with policy makers in government, and supranational organizations. It also includes cameo studies of innovative educational practice, two of which we draw on here.

Clarifying creative nonfiction through the personal essay

In a recent issue of TEXT, Matthew Ricketson sought to clarify the ‘boundaries between fiction and nonfiction’. In his capacity as a teacher of the creative nonfiction form he writes, ‘I have lost count of the number of times, in classes and in submitted work, that students have described a piece of nonfiction as a novel’. The confusion thus highlighted is not restricted to Ricketson’s journalism students. In our own university’s creative writing cohort, students also struggle with difficulties in melding the research methodology of the journalist with the language and form of creative writing required to produce nonfiction stories for a 21st century readership.
Currently in Australia creative nonfiction is enthusiastically embraced by publishers and teaching institutions. Works of memoir proliferate in the lists of mainstream publishers, as do anthologies of the essay form. During a time of increasing competition and desire for differentiation between institutions, when graduate outcomes form a basis for marketing university degrees, it is hardly surprising that, increasingly, tertiary writing teachers focus on this genre in their writing programs.
A second tension has arisen in higher education more generally, which affects our writing students’ approaches to tertiary study. The student writers of the 21st century emerge from a digitally literate and socially collaborative generation: the NetGen(eration). From a learner-centric viewpoint, they could be described as time-poor, and motivated by work-integrated learning with its perceived close links to workplace contexts and to writing genres. They seek just-in-time learning to meet their immediate employment needs, which inhibits the development of their capacity to adapt their researching and writing to various genres and audiences.
This article examines issues related to moving these NetGen student writers into the demanding and rapidly expanding creative nonfiction market. It is form rather than genre that denotes creative nonfiction and, we argue, it is the unique features of the personal essay, based as it is on doubt, discovery and the writer’s personal voice that can be instrumental in teaching creative nonfiction writing to our digitally and socially literate cohort of students.

Precarious decencies: negotiating creative (im)mortalities, in life, together

This paper takes up the question of what might hinder the collaborative impulse among artists and specifically poets, and offers—as one possible answer—the complication posed by the urge of an artist for immortality, or for their (individual) name to live on. The paper begins by returning to a moment in Plato, namely that of the Symposium and its observations concerning the connection between poiesis (making) and a questing after immortality. Contrasting with what seems like Plato's broadly positive framing, the paper takes up a second reading of immortality (or the 'will-to-live') found in an early text of the Yogic canon, that of Patanjali's Yoga Sutras. In this second text, written somewhat later than Plato's, the will-to-live is framed otherwise, as one of five afflictions that can be 'made thin' by practice. The paper's wager is that, viewed in this way, as an affliction, the will-to-live (or urge for immortality) deserves consideration as a hindrance to the impulse towards collaboration. Noting, however, that in the poiesis of writing poetry, where there is both the making of things and the action of making things, this creative constellation always contains the tempering solution to its own inherent lures. Writing, although providing fuel for immortal appetites (due to what it makes), also works to temper the worst of this same impulse via the contribution of practice—as dedication, craft and community-as-practice. The practice of writing, therefore, is already at play, and can be emphasised explicitly for any poet or maker who also wants to be able to want to collaborate. The practice of writing, then, and its turn away from investments in identity, works to thin out the more destructive face of an urge for a dubious eternity that can eclipse our ability to work together creatively with others in this life.