1,721,366 research outputs found
Chief Investigator’s Introduction
No full textOf all literary modes poetry is perhaps the one least committed to instrumentality: it has a very minor presence in the Australian curriculum, and there is neither a popular audience nor large-scale market-oriented production for contemporary English-language poetry.Despite this apparent condition of deficit in the art form, there is a substantial population of poets across the world, possessed of substantial social, intellectual and cultural capital
Publishing and its Discontents:Authors, Incomes and Alternative Models
No full text(Introductory paragraph only)Australian cultural economist David Throsby has committed several decades to examining the economic context in which creative practitioners operate, and the findings are not encouraging. Report after report has found that, on average, writers make little more than pocket money from their writing. It is, however, rare for a larger publisher, at least, to contract any manuscript that is unlikely to make a profit for the company; publishing profits do not typically find their way to the authors. Further, since few major publishers are willing to invest in non-commercial work—poetry, literary fiction—such writers often turn to alternative modes to reach an audience. Sometimes this means adopting the tradition of self-publishing, whether in print or electronic media, in which case the author does all the work of production and distribution and retains any profits from sales. In other cases, it means signing with small presses, which may not generate much financial return, but provides membership of a literary community and, for those who sign with recognised small presses, a degree of literary consecration
Chief Investigator’s Introduction
Full text linkOf all literary modes poetry is perhaps the one least committed to instrumentality: it has a very minor presence in the Australian curriculum, and there is neither a popular audience nor large-scale market-oriented production for contemporary English-language poetry.Despite this apparent condition of deficit in the art form, there is a substantial population of poets across the world, possessed of substantial social, intellectual and cultural capital
'Research Active' vs. 'Practice Active':Re-imagining the Relationship between the Academy and the Creative arts Sector
No full textWhere research active academics are also creative practitioners, the relationship between the notions of 'practice active' and 'research active' is· often vexed. Many academics, and academic institutions, would maintain that creative works do not in themselves constitute serious research, or make an explicit contribution to the generation of new knowledge. However, artist-academics have for some years contended that their creative work deserves recognition in research terms. As a result in Australia there has been an argument that creative works should be accorded 'research equivalence', thus granting creative works made by academics a status that universities are able to incorporate into their research rep01ting structures. Yet many academics continue to maintain that creative works are generated by a different kind of impulse than that which motivates researchers; that research papers and creative artefacts are different kinds of things; and that, in any case, even creative artists frequently do not identify their creative outputs as constituting a form of research. This view is as prevalent in the field of creative writing as it is in other creative fields. This paper offers a reflection on issues raised by poets about the relationship between research and their creative works in interviews we have conducted over recent years. It asks whether we need to deconstruct the current research paradigm that dominates universities and think more laterally about what constitutes new knowledge-and it also asks what kind of knowledge that might be. It questions whether the research value of many artworks lies not so much in their explicit addressing of any research question or problem, but in the ways in which such works raise issues that throw light on our relationships to the world, language, and the ineffable
Introduction:Creative Manoeuvres
No full textOne of the benefits of the growth over recent decades of creativewriting as an internationally significant discipline has been to move thestudy of creative writing practice beyond subjective accounts of ‘how Iwrite’ towards broader issues of how knowledge is addressed by, orincorporated into, or embodied in art; and towards questions of how beingitself is expressed through artistic means. It also encourages considerationof how art might represent and challenge important aspects of thezeitgeist; how it might challenge or subvert the very modes ofrepresentation that it adopts; and the extent to which research and art canbe understood not merely as bedfellows, but as aspects of the same set ofexpressions. All writing tends to constitute a kind of research into its owncondition, and into the human condition, even when it specificallyeschews any explicit research agenda or purpose
Conclusion:Universities and the CCIs
Full text linkThis concluding chapter draws together the lines of analysis raised in previous chapters, and provides some historical context for the contemporary state of creative careers, and especially the position of women within the Cultural and Creative Industries (CCis). It points to some of the arguments about the function and significance of work in the current era, within the context of the fourth Industrial Revolution, and particularly given the global pandemic and its profound impact on the CCis. Finally, it suggests some fruitful areas for future research into this topic, especially in relation to qualitative research on the motivations and lived experiences of creative graduate
Gender and Creative Careers
Full text linkThis chapter outlines the intersecting concerns of gender and graduate outcomes in creative labour research. It situates both points of critical intervention in relation to the 'creative turn' in cultural policy and the focus on employability in higher education. It reports trend data on student graduation from Australia and the UK in creative fields of study for the years 2002–2017, and introduces the UNESCO model of the Culturaland Creative Industries which is adopted by the following chapters. It describes the benefits and limitations of working with graduate destination data for understanding the early career trajectories of creative graduates
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