Making_Writing (2017-2019) [multi-component output with contextualising information]
- Submitting institution
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Bath Spa University
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 3387
- Type
- T - Other
- DOI
-
-
- Location
- -
- Brief description of type
- A collection of writing outputs: catalogue essay, book section or chapter. Also includes contextualising information.
- Open access status
- Out of scope for open access requirements
- Month
- -
- Year
- 2017
- URL
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https://doi.org/10.17870/bathspa.c.5015711
- 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
- No
- Number of additional authors
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0
- Research group(s)
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-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- Making_Writing contains two published texts, produced between 2017 and 2019, that explore relationships between language and making: ‘Light Pricks: :whispers and kicks’ (2017) and ‘SCULPTURE, MODELLING AND POTTERY’ (2019). The research develops the proposition of ‘making’ as a nexus of body, material and
language, located within particular physical and temporal spaces.
Each project explores making through a writing process that is proposed, itself, as a form of making, with different registers of language employed to produce ‘constructed’ texts. Both projects employ interviewing as a research method; the use of multiple voices and the appropriation of existing text shows the influence of
Mikhail Bakhtin’s dialogism, Kenneth Goldsmith’s work in Uncreative Writing and the poetics of Medbh McGuckian. The heavily designed texts are considered as ‘image-texts’. ‘Light Pricks’ is a remaking of a particular production space at a specific moment in time. Using a sequence of photographs of works in progress in the studio as a structuring device, a polyvocal image-text was constructed from interview notes and subsequent research on the artist’s influences.
Visually, ‘SCULPTURE’ is relatively simple and is a purer example of 'uncreative writing'. It is a textual collage, cut from a working document of over 3,500 appropriated words. An interview was conducted with a Bath Academy of Art Sculpture alumna, who was taught by Tower. While this material informed the process, it does not appear in the final text.
An overriding question sits at the heart of an open-ended, aleatory research process: How might methods that engage the researcher with both physical making spaces and image-text spaces – on the screen and page – contribute to the development of theories of making?
Brought to bear on a professional brief, this question generates dialogue between academia and professional practice and facilitates the dissemination of research outcomes beyond an academic audience.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -
