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

Irritate

Cholagogue

疾馳

Affecting Objects: The Minor Gesture Within a Performative, Artistic Research Enquiry psychiatric system. The final artwork—a four-channel video installation produced through embodied enactments—is described as oscillating between, and contributing to, both non-representational and representational modes of ‘knowing’, which itself provides an affective encounter for the viewer.

異端邪說(shuō)下

刀鋒

condemn

Queerly Feeling Art in Public: The Gay Liberation Mo(nu)mentaradox that is part and parcel of translating observation of public artwork in both research practice and research output. The analysis also draws attention to the transformative potential of rendering situated experimental research as a public work of art in and of itself.

abduction

Making Theatre That Matters: Troubling Subtext, Motive and Intuition materialities and imaginaries falling together and worked together through playwriting practice. Fragments of discarded script, characters’ thoughts, notes from collaborators, and Raynor’s own memories and reflections are re-formed in a trace of the ‘creative’ process, which seeks to open dialogue with its reader.

逃避系列單詞

PAC

“Call That Art? I Call It Bad Eyesight”: , or , in the Context of Responsive Art Practicetexts. A focus on context is a focus on . rather than on . Loitering with intent in a series of vignettes she invites you to “vade mecum … .” as she revisits past projects in an attempt to re-present experiential complexities . practice through narrative c/.ographies.

conceal

Forward Back Together, and the Materialities of Taking Partng part, and in what ways this transforms our understanding of what constitutes a ‘public’ for public art. These themes are discussed in relation to Pope’s research that explores the ways that participatory modes of contemporary art can produce hybrid more-than-human social worlds.