Cross-artform creative practice as still-life recovery: Chinese-Western materialisms of time, writing and death

As argued by Norman Bryson, the still-life genre is sorely neglected by theorists and critics, largely because its concern with ‘low-plane reality’ (everyday items and acts) has obscured its genuine relevance to material thinking. By reappraising rather than abandoning the genre’s traditional themes of death and time—using a cross-cultural, Chinese-Western approach—it is possible to re-energise materialisms of time, writing and death within still life. Such a move depends above all on a re-evaluation of still life as ‘Vanitas’—the term which to date has unified, and more to the point limited, traditional still-life understandings of death and time. This article tracks a more explosive and creative materialism of still life simultaneously through the specifically Chinese approach to death (which includes the ‘Yin Yang’ 阴阳 as a sort of author of time) and via Gilles Deleuze’s cinematic philosophy of the time-image; what connects these is the very Deleuzean notion of time that subtends Chinese engagements with death. In this way, the still-life genre may be recovered from its current critical and theoretical malaise. Reconnecting with practice is a crucial aspect of this recovery, and so in its early stages this article analyses an example of still-life, creative non-fiction (authored by Cher Coad), and it concludes by establishing the value of this potentially ‘new chapter of the “still life” genre’ (in Matilde Marcolli’s terms) for the cross-artform analysis of the short story ‘Nhill’ (authored by Patrick West). Analysis, though, is only half the picture: a fully recovered still-life genre would see theory and practice endlessly circulating through each other, spurring on practice and impelling theory. Coad’s and West’s literary examples are introduced in the hope that they might trigger fresh theoretical and practice-based, still-life discoveries in prose and also in poetry.

Drawing the line: Chinese calligraphy, cultural materialisms and the “remixing of remix"

Remix in writing has very different expressions, and is grounded in very different legal, philosophical and creative materialisms, in Western and Chinese cultures. The infringement of authors’ Intellectual Property Rights (IPRs) in China is not only an irritant for Chinese-Western commercial and legal relations. It also points to different formations of the creative and legal domains across global space, and serves to introduce notions of creativity and originality that are largely unfamiliar in the West. Calligraphy, as a pictorial and material mode of writing, comprises a practice of Chinese remix in which the apprentice traces the lines of the master’s work: repetition of Yun 韵 (‘composed body movements’) stimulates the expression of Qing 情 (‘feelings’). What appears from a distance to be slavish imitation actually involves a philosophy of learning (or more precisely, of ‘unlearnt learning’) that, bypassing plagiarism’s traps, effectively ‘remixes remix’ as a creative model no longer dependent on the familiar Western rationales for the legitimacy of remix as appropriation, homage and/or pastiche. To see this though, one has to deploy a Taoist rather than a Confucian framework in the analysis of calligraphic practices. The case of Kathy Acker, allied with the work of Gilles Deleuze, reveals a largely invisible lineage of Taoist-influenced remix in Western creative writing. In this way, calligraphy emerges as a model of remix relevant to all forms of writing—for all writing is material, whether calligraphic or not. Further, as Acker shows, the materiality of writing constantly replenishes its remixing with cultural elements that may not be otherwise visible.

From ecological creativity to an ecology of well-being: 'flows & catchments' as a case study of NVivo

This paper’s research question concerns how the ecological creativity of the Volcanic Plains region of Western Victoria may be transformed into an ecology of well-being of benefit to the local community. Drawing on the philosophies of Spinoza and Gilles Deleuze, we argue that community well-being results from the richness of connections and relationships made within a place. The case study for our investigation is ‘Flows & Catchments’, which is an ongoing, collaborative, creative-arts research project auspiced by Deakin University. Its modus operandi is Practice-Based Research (PBR), and its aim is to promote community well-being in Western Victoria. However, while the whole metier of the creative arts is to make the novel connections and relationships that should bring about community wellbeing, the various artists of ‘Flows & Catchments’ have proved slightly reluctant to make connections outside of their individual or small-group sub-projects. In this way, ecological creativity has not reached its full potential as an ecology of well-being because the rich connections and relationships essential to this well-being have not yet been fully realised. This paper explores the potential of using the NVivo qualitative analysis software package to bring together the creative-arts sub-projects of ‘Flows & Catchments’, as a way of fostering an ecology of well-being out of a currently dispersed ecological creativity.

Words and things: souvenirs of over-site/over-sight for place-making

This paper addresses the problem of making things in a given place (Qatar), and asks how anticipations and memories of place contribute to practice-based manoeuvres of place-making. Flying across time zones and travelling through sites suggests aspects of place-making that would draw upon both a notion of meteorites coming to earth and an awareness of the sensory consequences of global travelling. What this experience also suggests is an ‘over-sight’ (‘over-site’) in how travellers remember a place for themselves, and how they re-member it for others in the form of souvenirs. Going to a place might often default to an envisioning of pre-emptive or imaginary souvenirs in anticipation of the destination; thinking about what a place might be like is hard to separate from what we think we will eventually take away from it. Thus, the idea to be explored is how we might ‘make in to place’ as much as we ‘make something in-place,’ which perhaps results in ‘making some thing into a place’. Etymologically, souvenir already suggests this in its derivation from Old French: ‘to remember, come to mind.’ How does one ‘come to remembering’ in a place that, like all planetary places, will always be both global and local? Perhaps it depends on how one lands in a place…. Meteoroids remain in orbit around a place: nascent souvenirs always above the horizon, un-made place-makings. Meteors come closer to landing but still, by definition, burn up in the atmospheres of the new place. Meteorites, though, land: they suggest what we mean by the human element of ‘makings in-/to place.’ Travelling from somewhere, to somewhere yet to be fully determined, meteorites (people and/or words and/or senses) reflect the dispersion and compression of sensory (thing-based) and word-based experiences of place. Drawing on the work of Paul Hopper, Paul Carter, Gilles Deleuze and Félix Guattari, Michel Serres, William Desmond and Julia Kristeva, the paper concludes that words evoke a place in which the present might take place, and that the senses evoke a present in which place might take place.

Writing “nhill” : the short story as still life

This chapter explores the philosophical, literary and practice-based elements that contributed to the writing by the author of a short story ('Nhill') and reflects upon how, as an example of creative-writing practice, the story contributes to Humanities-based research into issues of time, settlement, Aboriginality and post-coloniality. It works with theorists such as Gilles Deleuze, Julia Kristeva and Norman Bryson, as well as engaging with various painterly examples of Still Life. The possibility of a productive syncretism between Literature and Painting is proposed and extended.

Deleuze's neo-leibnizianism, events and the logic of sense's 'static ontological genesis'

In The Logic of Sense, Deleuze effectively argues that two types of relation between events govern their ‘evental’ or ‘ideal play’, and ultimately underlie determined substances, that is, worldly individuals and persons. Leibniz calls these relations ‘compossibility’ and ‘incompossibility’. Deleuze calls them ‘convergence’ and ‘divergence’. This paper explores how Deleuze appropriates and extends a number of Leibnizian concepts in order to ground the idea that events have ontological priority over substances ‘all the way down’.

The organ of repetition

This paper considers the practice of learning-by-heart and argues for its relevance to learning, to thought (as defined by Gilles Deleuze) and as a way of turning towards the ‘new’ or ‘the future’, via the operation of repetition. It considers two modes in which rote learning can be productive and provocative—firstly, when the content itself is something worth retaining, and secondly, when the actual process of the learning itself and then the repeating align themselves with the criteria of ‘practice’, as framed by the author here. In the face of rote learning’s reputation as an out-moded pedagogical tool, the paper argues that it inhabits a paradoxical and productive site, whereby what begins as a repetition of the same, can open towards pure repetition (as Deleuze frames this notion), and facilitate inventiveness and a courting of the new. In this way, poetry, and the learning of it by rote, constitute a unique constellation, disputing the platitude that learning is ‘only discovering what one already knew’ and instead proposing that learning is closer to an awesome ordeal, one that leads to concepts and collisions that did not exist before and cannot be predicted in advance.