Non-Representational Theory and the Creative Arts
- Submitting institution
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Arts University Bournemouth, the
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- Edwardes_32007 Theory
- Type
- B - Edited book
- DOI
-
-
- Publisher
- Springer; Palgrave Macmillan
- ISBN
- 9789811357480
- Open access status
- -
- Month of publication
- -
- Year of publication
- 2019
- URL
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-
- Supplementary information
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- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- Yes
- Number of additional authors
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1
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This output was co-edited by Edwardes with Candice Boyd; Edwardes also co-authored the 15 page introduction and sole-authored a chapter.
The book presents distinct perspectives from both geographically-oriented creative practices and geographers working with arts-based processes. It fills a significant gap in non-representational discourse by bringing together images and reflections on performances, art practice, theatre, dance, and sound production alongside theoretical contributions and examples of creative writing. It is unique in its format and experimental approach in bringing together a collection of styles, practices, and techniques of non-representational approaches to creative geographic research.
The contributors in this volume represent leading international voices in creative geographies and artistic research, including: Dr. Sarah Bennett, Head of the School of Art and Architecture at Kingston University; Tim Edensor, Professor of Human Geography at Manchester Metropolitan University; Andrew Gorman-Murray, Professor of Geography at Western Sydney University; and Harriet Hawkins, Professor of GeoHumanities at Royal Holloway, University of London. The foreword is provided by Prof. Nigel Thrift, who originated the term Non-Representational Theory.
Contributors were invited to submit drafts in relation to a number of apposite themes that addressed both artistic and creative geographic perspectives. As this is an emerging area of research interest, the contributors were selected on the basis of their existing work and publishing history in the field.
Edwardes’ chapter, Microgeographies of the Studio, reconsiders the atmospheric and affective forces that constitute the specialised intensities of studio work. It examines studio spaces as shifting affective thresholds rather than architectural extents. In so doing, it offers an alternative to historical accounts of studio atmospheres connected to notions of artistic identity and agency.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -
