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Titlebook: Non-Representational Theory and the Creative Arts; Candice P. Boyd,Christian Edwardes Book 2019 The Editor(s) (if applicable) and The Auth

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書目名稱Non-Representational Theory and the Creative Arts
編輯Candice P. Boyd,Christian Edwardes
視頻videohttp://file.papertrans.cn/668/667019/667019.mp4
概述Fills a significant gap in the literature by bringing together images, theatre scripts, reflections on performances, artistic practices or music production alongside academic texts that consider both
圖書封面Titlebook: Non-Representational Theory and the Creative Arts;  Candice P. Boyd,Christian Edwardes Book 2019 The Editor(s) (if applicable) and The Auth
描述This book presents distinct perspectives from both geographically-oriented creative practices and geographers working with arts-based processes.? In doing so, it fills a significant gap in the already sizeable body of 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 considers how contemporary art making is being shaped by spatial enquiry and how geographical research has been influenced by artistic practice.? It provides a clear and concise overview of the principles of non-representational theory for researchers and practitioners in the creative arts and, across its four sections, demonstrates the potential for non-representational theory to bring cultural geography and contemporary art closer than ever before..
出版日期Book 2019
關(guān)鍵詞non-representational theory; creative arts; new materialisms; situated art practice; creative geographie
版次1
doihttps://doi.org/10.1007/978-981-13-5749-7
isbn_ebook978-981-13-5749-7
copyrightThe Editor(s) (if applicable) and The Author(s) 2019
The information of publication is updating

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Geologic Landscape: A Performance and a Wrecked Mobile Phonetics and feminist materialisms, Vickery reflects on a performance in a stream—the site of flash-flood in Cornwall (UK). This reflection neither precludes thinking landscape in terms of the political consequences of visual representation, nor as performed, subjective process. Using the disruption of
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Affecting Objects: The Minor Gesture Within a Performative, Artistic Research Enquiry specific museum objects, fagotti—packages containing the abandoned possessions of former patients of a closed psychiatric hospital. The author recounts the instant of her first encounter with the fagotti when affect, which is non-representational, took place followed by subsequent reflection when c
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