Art/Research International (Journal)
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How Can My Poem Be True? Using Poetic Inquiry to Explore the Meaning and Value of Poetic Fictions
No full textHow can a poem be true? This autoethnographic study uses poetic inquiry to explore the boundaries between fiction and reality within poetic experience. A series of poems composed during, and about, the current COVID-19 pandemic, provides a means of understanding the experience of having one’s everyday reality overturned by crisis. A central theme of the author’s poems and accompanying reflections is how art can be used to explore psychological experiences, such as melancholia and depression, and, in turn how the experience of suffering can be used to facilitate artistic expression. Using poetic inquiry, the author examines the complex interplay between speaker and authorial intention, fiction and truth, text and the performance of writing, reading, and poetic interpretation
A Review of Tsing, Swanson, Gan, and Bubandt’s (2017) Edited Volume: Arts of Living on a Damaged Planet
No full textThis is a review of Arts of Living on a Damaged Planet: Ghosts and Monsters of the Anthropocene, an edited volume from Anna Tsing, Heather Swanson, Elaine Gan, and Nils Bubandt. The text showcases historical abuses of the earth and offers a myriad of opportunities to creatively inquire about our current relationship and interactions with other matter, creating a sense of urgency within the precarity of the Anthropocene
A Review of Artistic Research and Literature : Edited by Corina Caduff and Tan Wälchli
No full textThe intersection between artistic research and literature has so far found little attention in the literature of arts research (Caduff & Wälchli, 2019). This is surprising as artistic research regularly encompasses creative forms of language, but also because creative writing has established itself as an academic discipline for quite some time. The anthology I review here, Artistic Research and Literature, edited by Corina Caduff and Tan Wälchli offers a heterogeneous and hybrid collection of contributions engaged with the performative quality of the research, the definition of the subject, institutional affiliations and self-positionings as well as a diverse range of case studies.
20:30 BRUXSELS TALKS : FICTION AS A METHOD, FICTION AS A FORMAT, FICTION AS A SPACE FOR PARTICIPATION
No full textOn the 23rd of January 2020, a radio talk show of the future, 20:30 Bruxsels Talks, took place in Brussels. With guests and artists from the year 2030, it discussed how the transition to a climate-proof city had happened since 2019. In this article, we present and frame the development of the show and provide insight into the participative creation process. The radio show exemplifies (a) how future fiction can be used as a tool to evoke change and (b) how the participatory development of futurist fiction can be used as a method to trigger imagination and conversation on what citizens want for our cities. We argue that there is an opportunity for researchers to explore fiction as a method, as a format and as a space. Foresight practitioners who want to create engaging stories may find inspiration in the body of knowledge of arts-based research and the arts.
Note: This article should be read in conjunction with 20:30 Bruxsels Talks: A Script for a Future Fiction Radio Show, in this issue, written by the same author team and published in this volume
POET(H)IC INQUIRY AND THE FICTIVE IMAGINATION: SILENCE, VOICE AND STORY
No full textWomen’s voices have historically been silenced in a vast array of contexts. Ethical incongruities exist between theoretical perspectives regarding right action for protection of women’s dignity and the tangible dilemma presented by systemic silencing. A fictive imagination found in the arts – and literature in particular – often plays a role in bridging that ethical gap between theory and practice. Using my arts-based approach of poet(h)ic inquiry (Duff, 2016a), I portray the symbolic power of women’s voices, fictionality, and textual polyvocality in a research-based play. Poet(h)ic inquiry is a method for ethical reflection incorporating spiritual and poetic-aesthetic values: a pedagogical space of inquiry within a non-fixed site of teaching, life-long learning, creativity, and knowing, located at the confluence of the creative writing process (in the context of fiction as research), ethics, and spirit. In “Story about Story. Toronto 2001,” I inquire poet(h)ically, in a speculative fictional tale about a woman’s journey with her baby, using research journal data and “freefall writing” notes as springboard for a “fictive leap” (Mitchell, 1977). Through the fictive writing process, knowledge is generated with respect to themes of isolation and connection towards re-finding the lost self’s language. Voices heard and unheard, pinpoint an ethic of meaning towards transcending silence, suffering, and colonial injustices. My story evokes ironies and eco-ethical queries within wildlife research, as well as questions evoked by the sensory overload of urban commerce, and an unspoken class system. I include reflections on fictionality, literature, and redemption
Keep Candy in the House: Exercising Arts-Informed Research Methodology in Lived Experience of Eulogy Writing
No full textMy mother’s love of Tootsie Rolls was the only fact I could grasp after her sudden passing. I wanted to share this and other memories of her through a eulogy that was whimsical, far-ranging, and entertaining, but I struggled to write one. My struggles reminded me of other writing challenges, such as my recent dissertation proposal, although there I was partly guided by my arts-informed research methodology framework. Gradually, I found some of those methodological elements could illuminate parts of eulogy writing: formal concerns, audience, presence and engagement, subjectivity, and meaning-making all resonate with arts-informed research’s commitment to form, audience, creative enquiry, researcher presence, and holistic quality. These connections show arts-informed research affords lifelong learning opportunities apart from academic practice; in this case, arts-informed research is a resource tool for navigating lived experiences of grief and grief writing. Moreover, arts-informed research encourages affective narratives and socially-constructed meanings to produce new understandings, which I realize here by including eulogy excerpts to produce an artistic representation of “research” about my mother (including her undying love of chocolate)
Rhetorical Questions and Ruminations: Examining Early Career Faculty Experiences through Found Poetry
No full textTransitioning from graduate student to early career faculty can often provoke uncertainty and questioning. This study explores the rhetorical and revealing nature of such questioning (i.e., Am I really this lost? Am I in the right place?). Utilizing methods from arts based research (Barone & Eisner, 2012), specifically poetic inquiry (Prendergast et al., 2009; Richardson, 1992), we created found poetry around rhetorical questions from our existing collaborative autoethnographic journal. We frame our findings with a selection of poems to provide insight into our lived experiences of transition. The question poems illustrate that our first year as assistant professors were preoccupied with managing tasks, balancing work, avoiding burnout, building relationships, and discovering how to belong in the new context. While rhetorical questions do not necessarily produce answers, questioning in a collaborative space allowed us to explore the struggle, complexity, and ambiguity of academic identity construction as early career faculty
Literary Philosophy and the Use of Uselessness
No full textWe build this work from the memory of the time we stumbled into tulips at city hall. As guard sirens fled off into the night, we wondered, “Maybe we can borrow some.” We ripped handfuls from the ground and ran. “Don’t worry,” we said, “they are too busy to catch us stealing tulips.” Likewise, we get away with this useless project because others are busy doing useful work: exigent, coherent, important work. We support much of that busyness, and at the same time wonder what is lost with all that attention towards usefulness. What we offer here, through a hybrid of reflective, poetic, essayistic and scholarly forms, may be an attempted escape from the obligations of scholarship. It may be indulgent. It may tell the reader nothing, or only what the reader already knows. Yet it is oriented towards an enduring promise. This is the promise of a literary experience, understood as a kind of resonance, ineffable primarily, but nevertheless one that matters. Such a promise is found in the power and possibility of story, through poetic lines that must be broken and conceptual tethers left incommensurable. We enter this space of breaking and unfurling through an inquiry into use.
The question of use and uselessness is one way of holding human contradictions in both hands. By this we mean that we make and leave space for literary and philosophical inquiries considered useless—in that they do not resolve anything—but nevertheless matterful. We suggest that readers meander these curated pages as they \ meander through an art exhibition or a museum. Within a literary exhibition one can wander through pages, spaces, and ideas. Pause. Dwell. Think. We curate a literary home beyond the demands of making something of use and we invite the reader to sit with us. As with an exhibition, possibility cannot be controlled for and so we exist in potentiality acknowledging both its positive and negative potential. Through our use, misuse, and abuse of literature and philosophy, we make ourselves a home in a possibility that can only be offered, not demanded. We manifest this literary home through fragments of philosophy evoked through a series of microfictions.
As scholars, learners, teachers, and writers we are often asked to defend what our writing does. And it is implicitly suggested that knowledge creation is the result. What is the use of a work that cannot promise new knowledge? Literary knowledge may only be one gorgeous possible ordering. It is a practice which produces a kind of knowledge which is no knowledge, which is useless. If we must answer what it is that our writing does we suppose that—if anything—it offers up fictions for philosophizing. We explore a home for this work in scholarly contexts which too often find it useless, which is to say we position uselessness as a concept of value for our work as scholars, writers, and teachers. In the end we name no new uses but fiction; we steal tulips
Re-touche: Re-Stitching Fissures Through Affect in Families with a Family Member who is Labelled as Disabled
No full textCreativity and affect in families with a family member, who is labelled as disabled, is central in this article. These families are often pinned down to individual, closed categories where everything revolves around the label “disability.” Our research goes beyond binary thinking in terms of abled/disabled and other linear explanations by using artistic processes as ethnography. We start from encounters between two people who both created something about their “non-ordinary” brothers. One (first author) made a shortfilm/documentary about her own family, the other (research participant) wrote a TV series about a man who takes care of his brother after their mother’s death, which was not autobiographical yet inspired by his own experiences. The first author distilled etchings from their encounters, which piece together different layers: the scenarist’s biographical story, the story of creating the series, the series’ script and the first author’s thoughts and readings. The concept of re-touche—of touching and being touched, and in this way returning to family fissures and creating something new from them—runs through this art-based project
A REVIEW OF J. E. SUMERAU\u27S "PALMETTO ROSE"
No full textJ. E. Sumerau’s latest fiction novel Palmetto Rose tells the story of Kid, a bi+, gender fluid twenty-something, living with grief for their romantic partner, alongside their chosen family of LGBTQIA+ friends. This review looks at how Sumerau’s writing presents complex concepts, research, and lived experience for an academic and wider audience