The non-verbal and the verbal: expanding awareness of practice-led research in creative writings

This paper takes up the concept of practice-led research: research (or the production and performance of knowledge) that is implicit within practice – in this case creative arts practice and more specifically, creative writing practice. Does practice-led research offer new possibilities for recognition of contributions to research by writers? This exploration of creative practice and research stretches out tendrils between creative writing and other art forms. What may the predominantly non-verbal creative arts disciplines offer creative writing in terms of exploring modes of knowledge production and performance?

Kristevan aesthetics, performativity and the production of situated knowledge

In this paper, I will draw on the work of Julia Kristeva to argue that performativity can be understood in terms of a materialist ontology that underpins creative production and the knowing subject. To understand this, we need to examine the relationship between individual history, biology and culture and processes through which creative practice attributes value by translating psychic representations of affect and drive into verbal and visual signs. Kristeva's aesthetics does not plunge us into an obscure metaphysics, but provides a model for articulating material-discursive practices that emerge from corporeal responses. Enactments, predicated by desire give rise to agency and judgement allowing practice to test theory through the production of situated knowledge.

Kristeva's psychoanalytical position reveals the necessity of linking material and individual practices of art with the social through language and interpretation. Material-discursive practices can only acquire meaning through their relationship between the speaking subject and addressees. Art itself provides us with the means for discovering the knowledge it produces. In and through material practice, the work of art is capable of transferring back to the artist as viewer, structures of meaning that have hitherto been hidden. In practice, this involves a constant movement between the biological self (the self as 'other') and the social self, the ego. In artistic research, it can be said that the first addressee is the artist her/himself, as social other. Constant movement between the two in creative practice can thus be understood as a performative production of knowledge.

Ferals, nomads, drifters, gypsies, vagrants, blow-ins, thieves, troublemakers, tricksters and terrorists : creative writing, from creative industries to creative ecologies

In this paper I consider some issues that I, as a creative writer and academic, find with the concept and current understandings of the term creative industries. The subject of creative industries is not one that has been adequately teased out in relation to creative writing, even though the creative industries model has been a strong force in cultural policymaking internationally since the late 1990s. It influences policies that in turn may affect writers, especially those applying for state or national funds to resource their writing, and also writers working within the academy and attempting to gain recognition and funding for creative work there. The issues relating to creative industries are also particularly pertinent at this time in Australian universities, as the new system of research quality measurement is negotiated, and creative arts scholars, including those in creative writing, struggle to define their work in terms of those negotiations. I will argue that the recent work of Paul Carter looks towards ways in which creative industries may be more inclusive and useful for the creative arts, including creative writing, and suggest that a reclaimed term, creative ecologies, indicates a good way of taking creative industries into the future.

Creative redemption : uncertainty in poetic creativity

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Sustaining collaborations : creative research and cross-cultural engagement

Increasingly, the linear, instrumentalist and culturally hegemonic character of dominant sustainability discourse is under critique, with the term accruing new or expanded associations that challenge the its future-oriented, temporally stable, and ontologically determinate history. In Australia, these shifts take in a recognition that indigenous Australian understandings of and relationships with the environment profoundly challenge the generic claims of sustainability applied to both theory and practice. But how do these radically different and still marginal understandings actually enter into the process of producing sustainable designs on the world? This paper will report on the beginnings of a collaborative project that seeks to advance a proposal for an Aboriginal cultural precinct in the heart of Melbourne. This project's intention is to develop innovative methods for consultation and participation through collaborative creative research between Aboriginal artists and academic architects. The paper will discuss this method as a strategy for moving beyond traditional modes of cross-cultural engagement in the design and construction of sustainable cultural precincts.

Material thinking : the theory and practice of creative research

This intimate account of how ideas get turned into artwork—including dance performance, film, sound installation, sculpture, and painting—looks at how the material thinking that art embodies produces new understandings about individuals, their histories, and the cultures they inhabit. Discussing the philosophy of signs (images, text, and their interaction), the psychology of visual perception, and the overarching notion of mythopoeic place-making, this intellectually wide-ranging and anecdotally narrated primer provides a fresh perspective to the concept of inventing. All active practitioners in the fields of performance, media, film, museum, painting, sculpture, and cultural studies will benefit from this look at how artists participate in the conceptual invention of their world.

Valuing creativity in the higher education sector : what price the creative knowledge economy?

Contemporary economic and social contexts including the creative knowledge economy provide competing perspectives on ‘the future’ of higher education and the role of the academic within these contexts. Increasingly educators and educationa leaders are expected to act in ‘futures’ oriented ways whilst remaining true to the professional standards of their present environments. Working in the creative industries or as part of the creative knowledge economy increasingly contributes to Australia’s strategic directions for the future but also has an influence on what is valued in the higher education sector.
This paper explores the impact of the creative knowledge economy on the higher education sector and its response to the changing educational landscapes. An exploration is undertaken of the shift towards creative industries where the value of creativity and the arts is linked to economic value. It is argued that this shift requires researchers to alter their identities from that of having ‘academic’ value to engaging with the commodification of knowledge. The paper concludes with a suggested way forward for both the creative industries and the higher education sector using Giri’s (2002) model for transdisciplinarity.

Creative partnerships? Cultural policy and inclusive arts practice in one primary school

This article traces the 'cultural turn' in UK educational policy through an analysis of the Creative Partnerships policy (New Labour's 'flagship programme in the cultural education field') and a consideration of an arts project funded under this initiative in one primary school. It argues that current educational policy foregrounds the economic importance of cultural activity and its contribution to the social inclusion agenda. However, 'creativity' is seen as being located outside mainstream school structures, in projects rather than in the National Curriculum, and in artists rather than in teachers. The emphasis is on enjoyment and inclusion rather than cultural or social critique, or significant curriculum change. The transformative potential of involvement in the arts is marginalised in favour of a relatively weak form of social inclusion.