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Journal of Writing in Creative Practice - Volume 17, Issue 2, 2024

Volume 17, Issue 2

Volume 17, Issue 2, 2024

Language: English
  • Articles

      • AI vs. ecological wisdom

        https://doi.org/10.1386/jwcp_00071_1

        In seeking to extend humanity’s long-term future, several reports from UNESCO have called for the re-purposing of education in order to catalyse cultural change across the world. Ideally, this would entail re-imagining education’s deep ecological purpose. But this means acknowledging that universities emerged from two separate traditions that see the purpose of learning very differently. In the atelier culture of artisanship, tacit and embodied practices of learning are the norm. By contrast, the dominant tradition is more scholastic and bookish and therefore focuses more on language-based knowledge that is able to be written. One way to achieve the change that UNESCO seeks is to encourage more creative and opportunity-finding approaches. This would mean encouraging thinking processes that are more imaginative and future-oriented, and less embedded in extant knowledge. Of course, this would make it harder to retain the traditional emphasis on fairness and transparency over curiosity and learning. Recently the task also became even more challenging when mainstream institutions decided to normalise the use of AI systems as an adjunct to traditional learning. In seeking ways to reconcile all of the above issues, this article calls for a radical revisioning of the term ‘wisdom’. A suitably revised definition (known as ‘Wisdom’) would need to be much broader, holistic, pluralistic, ecosystemic and, therefore, less anthropocentric.

    • Art writing as nomadic subjects

      https://doi.org/10.1386/jwcp_00069_1

      The practice research project (), presented in partnership with the Australian Centre for Contemporary Art (ACCA), brings together participants of interdisciplinary writing and creative backgrounds for the duration of one exhibition to explore new ways of writing and responding to art. To date, the project has worked with 47 participants including novelists, essayists, artists, curators, critics, dancers, musicians, designers, architects and academics, whose works are published by ACCA in four experimental digital volumes available on their website. The works produced in this programme have exceeded expectations in their diversity and inventiveness. They include writing that is critical, personal, poetic, essayistic and autotheoretical, performative and polyphonic: all speak to the diverse relations of knowledge and experience at play in an encounter with art. As the research and project leader of (a role that includes research design, workshop facilitation, writing, editorial and curatorial practices as well as partner relations), I am keenly aware of the importance of situation, embodiment and spatiality to the richness and variety of texts the project has produced. This article explores the concept of art writing as posthuman ‘nomadic’ subject by critically reviewing a selection of works from volumes 1–4 (2018–22). I will outline ’s project and practice methodology, paying particular attention to space, situation and sensory attunement as a way into writing and a work of art. Rendell’s is drawn upon to identify the specific situation of the art writing subject; then, honing in on expressions of desire in certain works, the Deleuzian subject-as-assemblage and its spatial configurations will be raised. It is this dynamic ‘becoming subject’ that underpins Braidotti’s nomadic writing and thinking modes. Reading these texts through Braidotti's posthuman nomadic subject, I will propose that offers a container not only for new ways of approaching art writing, but also for mapping ‘adequate cartographies’ and figurations that account for the complexity and multiplicity of contemporary writing subjects and positions. Here the reader will find important insights and methodological ideas that can be taken up beyond the field of art criticism. Creative practitioners with an interest in situated knowledge and writing-with space, place and objects will find use in understanding how this expanded art writing project enables diverse expressions of ‘nomadic’ intersectional subjectivity.

  • Report on Creative Process

      • Cascading with effective/affective procrastination

        https://doi.org/10.1386/jwcp_00072_7

        While revising a manuscript, sometimes we come to see how we have missed a point or effect, or something else – either at the local or global level of the text. This is, therefore, attributed to the writer’s own prudence, reasoning and finding. While acknowledging this kind of attribution, I go a bit further in this poetic report to make a note of how one of my manuscripts put forth its own being and voice. Once thought calm and complete, and even submitted for publication, the manuscript presented itself to me as being in discord with itself, here and there, in different layers, and thereby with me, which caused its retraction. This post-humanistic plane involving, among others, (in-)stable textual layers and connections, together with my analytical reflections, (serendipitously) took me to both alien and native metaphors (e.g. Pusteblume and triptych) – for fine reasons – and spaces of evaluative linking and relinking in my still ongoing refinement of the manuscript. As an eventual sub-process, this plane, following my trust in the potentially sensible fruition that flashed, particularly made me realize the value of relational and shared agency and their ‘conversion’ in the creative process and revision involved. Briefly, I attempt to experimentally recreate in this piece, preceded by a preamble, my impressions of this very learning space, visited by an air of ‘revisionism’ that, if need be, is applied even to published works.

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