From the 'mad' poet to the 'embodied' poet: reconceptualising creativity through cognitive science paradigms

 Written by the author of three collections of poetry, this paper contests the enduring stereotype of the ‘mad’ poet, present in Romantic, psychoanalytic and psychological theories of creativity. Mobilising theories of embodied cognition, it offers a demystified and de-pathologised vision of poiesis and poetry. The paper focuses on three traits typically associated with the ‘mad’ poet in popular representations and theoretical understandings of that figure: extreme emotionality; divergent thinking; and a tortured unconscious. Using findings in the cognitive sciences, the essay demonstrates how emotional experience, divergent thinking, and the unconscious are integral parts of brain functioning, rather than traits exclusive to psychopathology. Poiesis is not informed, in any essential way, by madness but rather by the normal conditions of embodied cognition.

Affect : initiating heuristic life

This paper re-examines the relationship between affect and effect, discussing them as research values that have emerged from the life sciences, the arts and philosophy and, more importantly, considering them as systems of relations underpinning experiential orientation by which to initiate change and hold the world in place. The notion of æffect may be defined as the continuous measure performed upon the systems of affect/effect and reapplied to events and things. Æffect is a coordinated system of cognition where concurrent measures impact on each other. In doing so, they specify perception and action on multiple registers and scales of events. It is important to recognise that the functioning of affective and effective systems in the body allows, and even requires, paradoxical logics to coexist and be deployed as processes that shape the organism-person-environment. Discussion of selected works from Arakawa and Gins will supply examples of tactics that combine built environments with discursive constraints to guide embodied attention. The practice of embodied cognition dilates the thresholds separating the organism from person and the person from environment, and moves towards an atmospheric intricateness (Arakawa and Gins 2003a:25) that may become the blocs of a new materialism for heuristic life.

Lissitzky : new materialism and diagrammatic living

Lissitsky's spatial and architectural work anticipates the contemporary fascination with expanded fields of activity that have resulted in transdisciplinary approaches to research and the role of practice-led research. This paper will discuss Lissitzky's suprematist perspective in relation to contemporary practices - under the rubric of the "diagram" - that re-imagine and enact the relationship between the built surround and embodied cognition. Lissitzky's work will serve as the starting point for a discussion of contemporary practitioners and theorists working across philosophy, cognitive science and built environment in order to draw out, through the act of diagramming, life on new terms.

The gainers

Performed over 3 nights, The Gainers is an exploration of object-led creative practice within a psychophysical performance approach. Exploring Gibbs (2005) proposition that places the body as central to perception, the research questioned the relationship between object, task and movement when devising and investigated how the inherent structure within each purpose (object’s purpose, the purpose of the task, and purposeful movement) interacted to support greater divergence within the creative work, and similarly acted to provide additional coherence in convergent stages. Perception, Gibbs claims, ‘is not something that only occurs through specific sensory apparatus (e.g. eyeballs and visual system) in conjunction with particular brain areas, but is a kinesthetic activity that includes all aspects of the body in action’ (12). The research, through practice, found that solo bodied are cohered around shared task and object purposes bringing a shared embodied vocabulary to the ensemble and enhancing the way the actor/s invest meaning between their bodies. Just one outcome from The Charlie Project in which the forms of Charlie Chaplin provide the context and are investigated as structures for inter-textual performativity and design led performance making, The Gainers was developed in February-June 2015, and played to three general public audiences: 3, 4, 5 June.

Experience and the artist's body : resisting the Uber-artist construct in socially engaged performance

Looking back over the past 20 years of my practice, the vista is littered with ambiguities of process and form within socially engaged performance. Sifting through the debris, one question arises: what have I been doing?; another might be: what have I been making? What feels relevant to me is the aggregate of my experiences; the who I am. With the current sector creep towards instrumentalising arts for social agendas, the value and relevance of experience ebbs. Demands on artists extend well beyond aesthetic skill, process facilitation and project management. In this essay, I critique the risk within socially engaged practice of art becoming subservient to social agendas and consider how the shift towards an uber-artist construct renders the sector unsustainable.

'A dark / Inscrutable workmanship:' Shining a ‘scientific’ light on emotion and poiesis

Max Nordau’s physiognomic study of criminality, Degeneration (1895), notably dedicated to the Italian pioneer of criminal anthropology Cesare Lombroso, labels poets and other artists—alongside criminals, prostitutes, anarchists, and lunatics—as ‘degenerates’. The Symbolist poets come under particular scrutiny in Nordau’s pseudo-scientific study. Paul Verlaine is described as ‘a repulsive degenerate subject with asymmetric skull and Mongolian face’ (1920 [1895]:128), while Stéphane Mallarmé is said to have ‘long, pointed, faun-like ears’ (131). The emotional and metaphorical intensity of their poetry, for Nordau, is another reflection of their alleged degeneracy. These poets write ‘twaddle’ (116), engaging in a ‘babbling and stammering’ (119) resonant of children and animals, which only ‘imbeciles and idiots’ profess to understand. While the Symbolists are viewed as avant-garde, Nordau is at pains to demonstrate that their irrational use of language actually exposes them as atavistic. Nordau proclaims: ‘clear speech serves the purpose of communication of the actual’ (118). By contrast, the Symbolists, ‘so far as they are honestly degenerate and imbecile, can think only in a mystical, that is, in a confused way… their emotions override their ideas.’

Identified by Nordau as one of the fin de siècle’s degenerates, Oscar Wilde evoked Nordau’s book in a petition for clemency when he was imprisoned in 1896, arguing that Nordau’s findings proved he required medical rather than punitive intervention. His plea was not successful, with Wilde later quipping: ‘I quite agree with Dr Nordau’s assertion that all men of genius are insane, but Dr Nordau forgets that all sane people are idiots’ (cited in Hitchens 2000: 18).

Joint action and the expression of shared intentions: an expanded Taylorian account

After having identified several shortcomings of the so-called 'standard accounts' of shared intentions, this paper will develop a novel framework for understanding such intentions. The framework to be advanced hinges on a notion of ‘expression’, as well as on the claim that shared intentions are expressed—that is, manifested, grasped, shaped and clarified—throughout the unfolding of the joint actions they animate, as well as in the various expressive activities and behaviours that accompany joint action. This claim will be defended with particular reference to the work of Charles Taylor on expression, as well as recent work on embodied cognition.

Using national input-output data for embodied energy analysis of individual residential buildings

Embodied energy (EE) analysis has become an important area of energy research, in attempting to trace the direct and indirect energy requirements of products and services throughout their supply chain. Typically, input-output (I-O) models have been used to calculate EE because they are considered to be comprehensive in their analysis. However, a major deficiency of using I-O models is that they have inherent errors and therefore cannot be reliably applied to individual cases. Thus, there is a need for the ability to disaggregate an I-O model into its most important 'energy paths', for the purpose of integrating case-specific data. This paper presents a new hybrid method for conducting EE analyses for individual buildings, which retains the completeness of the I-O model. This new method is demonstrated by application to an Australian residential building. Only 52% of the energy paths derived from the I-O model were substituted using case-specific data. This indicates that previous system boundaries for EE studies of individual residential buildings are less than optimal. It is envisaged that the proposed method will provide construction professionals with more accurate and reliable data for conducting life cycle energy analysis of buildings. Furthermore, by analysing the unmodified energy paths, further data collection can be prioritized effectively.

An analysis of embodied energy of office buildings by height

Aims to compare the energy embodied in office buildings varying in height from a few storeys to over 50 storeys. The energy embodied in substructure, superstructure and finishes elements was investigated for five Melbourne office buildings of the following heights: 3, 7, 15, 42 and 52 storeys. The two high-rise buildings have approximately 60 percent more energy embodied per unit gross floor area (GFA) in their materials than the low-rise buildings. While building height was found to dictate the amount of energy embodied in the “structure group” elements (upper floors, columns, internal walls, external walls and staircases), other elements such as substructure, roof, windows and finishes seemed uninfluenced.