Writing in the arts and its various contexts (original) (raw)
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Writing from within the creative process
2010
In this text we discuss the role of writing in artistic research and the importance of developing language, form and content that suits research in Fine Art, drawing from the Post Modern critique of Western epistemology. We search for a new kind of writing that accompanies the often uncontrollable creative process of art making. We choose to call this reflective writing. By means of a text-production that accompanies the artistic process from within, it is possible to write away from the analytical distance that otherwise characterizes the (critical) art text, and that tend to render us a critic of our own art. We write ourselves out from academic traditions, using examples from our own artistic practices. The reflective texts are complemented by critical writing, typographically separated on the pages. Hence two levels, or layers, of writing are multi-vocally intertwined, contradicting and communicating in the same text. Writing out from within. Is it possible to write the artistic...
Broadening the Notion of Text: An Exploration of an Artistic Composing Process
In language arts classes a "composition" generally refers to a written text. Semiotic theory based on C. S. Peirce's work suggests that writing is only one of many forms o2 composition available for mediating thought and activity. According to J. V, Wertsch (1991), writing should be one tool in a tool kit of mediational means available to students. Stimulated recall was used to elicit retrospective accounts from alternative school students after their production of artistic texts as a response to a short story. Focus is on one student who drew a picture representing his view of tha relationship between two central characters in a story. The study was done in a residential drug and alcohol rehabilitation facility that provided therapy for recovery and public school education classes. The student's account indicates that in composing his text he: (1) initiated his interpretation by empathizing with one of the characters; (2) represented action symbolically; (3) created an intertextual link; and (4) produced a text that both shaped and was shaped by his thinking. His account of non-linguistic composing processes suggests that non-linguistic texts have great potential for enabling students to construct meaning in their responses to literature. The study, while exploratory, suggests several hypotheses about the potential of composing non-verbal texts in helping students construct meaning and express understanding. (Contains 44 references.) (Author/SLD)
Uitgeverij, 2015
*Writing Art* is an attempt to respond to the possibilities of art, the potentialities in art, to the possible event that art is. Keeping in mind that events are always already potentially beyond us, are quite possibly unknown, unknowable. In this book, Jeremy Fernando meditates on art through a response to specifics works, to the specificity of the craft, *tekhnē*, of each work; offering a reading of specific works of photography (Photovoice sg), poetry (Tammy Ho Lai-Ming), installation art (Charles Lim), film (Tan Chui Mui), conceptual art (ZXEROKOOL), and charcoal drawings (Yanyun Chen). Through writing. For, to write is always also to scribble, to scratch, tear, quite possibly open — and perhaps more importantly, to open the possibility of a relation with another, to the unknowability that is the other. At the risk that this writing causes one to writhe, to be torn, to cry out; even if the very one is himself. Or, as Alessandro De Francesco, in his introduction, says: “ … Jeremy Fernando, essayiste del contemporaneo, pensa e realizza una teoria che è allo stesso tempo una pratica artistica. La teoria è dunque pratica dell’arte, nel senso che pratica l’arte, la attraversa, la frequenta, la rilancia e la riattiva nel reale, e pratica artistica, perché diviene essa stessa, nel momento in cui riflette, oggi, sul suo possibile — e il tema del possibile, fondamentale, è anch’esso ricorrente nel lavoro di Fernando —, una forma d’arte.”
Writing Through the Visual and Performing Arts
2021
While doctoral writing in the broader academy is a site of anxiety and contestation (Paré, 2019), doctoral writing in the visual and performing arts inhabits an even more contested space. For social and institutional reasons, the visual and performing arts are relative newcomers to the practice of doctoral writing (Baker et al., 2009; Elkins, 2014), and with theses that incorporate a creative/performed component, whole new ways of doctoral writing have opened up, including such features as new academic voices; highly innovative forms of typography, layout, and materiality; and varied relations between the written and creative components. Understanding such diverse texts requires a multi-valent approach to recognise the ways in which doctoral writing has been re-imagined in this context and the ways in which the academy can re-imagine a legitimate space for such academic work. In this chapter, we use a broadly social-semiotic framework to demonstrate the value of Legitimation Code Th...
An account of writing as creative design
The Science of Writing: Theories, Methods, Individual …, 1996
This chapter attempts to answer the question "how do we write?" by looking beyond writing as a problem-solving process to consider the writer as a creative thinker and a designer of text. The aim is to take a step towards a general account of the processes of writing, and to resolve some of the seeming contradictions in studies of writers, such as:
Artful Language: Academic Writing for the Art Student
International Journal of Art & Design Education, 2009
The task of writing about the process of making and contextualising art can be overwhelming for some graduate students. While the challenge may be due in part to limited time and attention to the practice of writing, in a practice-based arts thesis there is a deeper issue: how the visual and written components are attended to in a manner that neither is subjugated and both are fully realised. Helping students to revision art and writing as similar creative processes that can be structured around a framework designed to address both processes can override the conception that writing and art are polarising forces. This article describes one such framework that was found to be effective from both the perspective of the professor and the student in fleshing out the heart of both artistic processes and finding an integrating structure that moves a thesis to fruition.
Translated by Heather Dashner Some of the most common questions my students and readers ask me are: Does inspiration exist? How is a writer trained? How does the creative process in writing happen? What do you recommend us to start writing? And although these might seem to be very simple questions, the four are interlinked and have differing degrees of difficulty, since each can be answered in different ways. About Inspiration In classical antiquity, it was believed that writers-and artists in general-were inspired by the Muses, the nine Greek goddesses who breathed life into art. They were referred to under the generic name of "Mneidae," which means "remembrance." The daughters of Zeus and Mnemosyne, each was related to one or several art forms and fields of knowledge: the greatest of all was 2 Calliope, the muse of epic poetry and eloquence; she was followed by Clio, the muse of history and also epic poetry; then came Erato, the muse of love poetry; the fourth was Euterpe, muse of music and, in particular, the art of flute playing; the fifth, Melpomene, was the muse of theater; the sixth, Polyhymnia, who invented the lyre and harmony, was the muse of music and dance, as well as geometry and rhetoric; the seventh, Talia, was the muse of comedy and bucolic or pastoral poetry; the eighth, Terpsichore, was the muse of light poetry and dance; and the ninth, Urania, was the muse of astronomy and astrology. According to the Greeks and Romans, the nine helped poets and artists by providing divine inspiration and ordering their thoughts in different creative ways. This is why it was even common that at the beginning of a composition, the aoidos, or bard, would invoke the Muses or Mneiae, asking them to narrate or sing. Theogony, by the Boeotian aoidos Hesiod (7 th century BC), consists of a long genealogy of the Greek gods from the beginning of time. In 1022 verses, he describes the muses as unequalled singers of soft, lily-like voices and petalsoft feet, who, "on Mount Helicon, high and holy,/. .. begin their choral dance on Helicon's summit./ So lovely it pangs, and with power in their steps/ Ascend veiled and misted/… Treading the night, and in a voice beyond beauty/ They chant:/ Zeus Aegisholder and his lady Hera of Argos,/ … And the Aegisholder's girl, owl-eyed Athena,/ And Phoibos Apollo and arrowy Artemis,/ Poseidon Any self-respecting noble in the Middle Ages and the Renaissance was not only skilled in arms, horseback riding, and hunting, but also in the art of composing ballads, that is, in writing verses and composing for and playing a musical instrument. Alfonso X, for example, in addition to fulfilling his functions as monarch, was a composer and promotor of the arts; that is why he was called "Alfonso the Wise." And numerous lay poets belonged to or served the nobility mastered the minor arts, or even the fine arts, such as the troubadour
Artistic composing as representational process
Journal of Applied Developmental Psychology, 1997
Sigel's distancing theory and notion of representational competence provides the framework for examining students' interpretations of literature through artistic depictions. Through their productions the students represented not only the relationships they saw in the literature but also their own experiences as reflected in the action in the story. Their texts then served as representations that enabled them to reflect on their own experiences. The research procedure, which required students to respond to a videotape of their composing process, further prompted them to develop the material text they had created into a mental representation of their vision of themselves as instantiated in the characters of the story. The students engaged in three processes during their