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- A pattern made of holes : creative research and local invention ##- Bearing witness to the eyewitness ##- As we see them right here ##- Wrong footings ##- An ephemeral architecture ##- Remembering forwards ##- Speaking pantomimes ##- Offcuts of infinity : artistic collaboration and material thinking.
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Agoraphobia in literature. --- Agoraphobia --- Agoraphobia --- Space (Architecture) --- History. --- Social aspects. --- Psychological aspects.
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This is a personal history written at the intersection of colonial anthropology, creative practice and migrant ethnography. Renowned postcolonial scholar, public artist and radio maker, UK-born Paul Carter documents and discusses a prodigiously varied and original trajectory of writing, sound installation and public space dramaturgy produced in Australia to present the phenomenon of contemporary migration in an entirely new light. Rejecting linear conceptualisations of migrant space-time, Carter describes a distinctively migrant psychic topology: turbulent, vortical and opportunistic. He shows that the experience of self-becoming, when mediated through a creative practice that places the enigma of communication at the heart of its praxis, produces a coherent critique of colonial regimes still dominant in discourses of belonging.
Immigrants in art. --- Immigrants in literature. --- Art, Australian. --- Australian literature --- History and criticism. --- Australia --- Race relations. --- Emigration and immigration --- History. --- Aboriginal sovereignty. --- Enclosure Acts. --- James Dawson. --- autoethnography. --- colonial anthropology. --- creative practice. --- decolonising poetics. --- native informant. --- public dramaturgy.
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We do not see empty figures and outlines; we do not move in straight lines. Everywhere we are surrounded by dapple; the geometry of our embodied lives is curviform, meandering, bi-pedal. Our personal worlds are timed, inter-positional, and contingent. But nowhere in the language of cartography and design do these ordinary experiences appear. This, Dark Writing argues, is a serious omission because they are designs on the world: architects and colonizers use their lines to construct the places where we will live. But the rectilinear streets, squares, and public spaces produced in this way leave out people and the entire environmental history of their coming together. How, this book asks, can we explain the omission of bodies from maps and plans? And how can we redraw the lines maps and plans use so that the qualitative world of shadows, footprints, comings and goings, and occasions-all essential qualities of places that incubate sociality-can be registered? In short, Dark Writing asks why we represent the world as static when our experience of it is mobile. It traces this bias in Enlightenment cartography, in inductive logic, and in contemporary place design. This is the negative critique. Its positive argument is that, when we look closely at these designs on the world, we find traces of a repressed movement form. Even the ideal lines of geometrical figures turn out to contain traces of earlier passages; and there are many forms of graphic design that do engage with the dark environment that surrounds the light of reason. How can this "dark writing"-so important to reconfiguring our world as a place of meeting, of co-existence and sustaining diversity-be represented? And how, therefore, can our representations of the world embody more sensuously the mobile histories that have produced it?Dark Writing answers these questions using case studies: the exemplary case of the beginnings of the now world-famous Papunya Tula Painting Movement (Central Australia) and three high-profile public place-making initiatives in which the author was involved as artist and thinker. These case studies are nested inside historical chapters and philosophical discussions of the line and linear thinking that make Dark Writing both a highly personal book and a narrative with wide general appeal.
Environmental geography. --- Geography --- Cartography --- Philosophy.
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Material Thinking is a ground-breaking book for artists, and for those who study or teach in the arts.Author and artist Paul Carter provides an intimate, first-hand account of how ideas are turned into works, and how the material thinking these artworks embody produces new understandings about ourselves, our histories and the culture we inhabit.Taking as his subject several artistic collaborations which resulted in performances, exhibitions or videos, Carter explores how each unfolded. In the course of this analysis he constructs a philosophy of how the practice and theory of making art are interconnected, a philosophy powerful enough to provide an intellectual underpinning for the new, and still developing, field of creative research.
Art --- Idea (Philosophy) in art --- Appreciation --- Philosophy --- Arts
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Fiction --- English literature --- Science fiction --- American periodicals --- Literature and technology --- Science-fiction --- Périodiques américains --- Littérature et technologie --- History and criticism --- Periodicals --- History --- Social aspects --- Histoire et critique --- Périodiques --- Histoire --- Aspect social --- Literature and technology. --- History. --- History and criticism. --- Social aspects. --- Périodiques américains --- Littérature et technologie --- Périodiques
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United States --- Civilization --- 1945 --- -United States --- Politics and government --- 1953-1961 --- Intellectual life --- 20th century
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