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[Commlist] CFP: A Research-creation episteme? Practices, interventions, dissensus

Wed Jul 05 12:23:10 GMT 2023




*A Research-creation episteme? Practices, interventions, dissensus*

/Dissensus is not a confrontation between interests or opinions. It is the demonstration (manifestation) of a gap in the sensible itself./
          Jacques Rancière

Symposium (hybrid) | Trent University | Peterborough ON, Canada | October 30, 2023

In cooperation with:

Materialities Research Group, Canadian Comparative Literature Association (complit.ca <http://complit.ca>)

Cultural Studies Graduate Programs, Trent University (trentu.ca <https://www.trentu.ca/culturalstudies/programs/graduate>)

Public Texts Graduate Program, Trent University (trentu.ca <https://www.trentu.ca/english/programs/english-ma-public-texts>)

/Imaginations: Journal of Cross-Cultural Image Studies/(imaginationsjournal.ca <https://imaginationsjournal.ca/index.php/imaginations>)

Guest: Prof. Laura Marks (Simon Fraser University)

Humanities scholars have been asking increasingly specific questions about whether creative practices correlate to knowledge production, and about the boundaries of a creative research orientation. While systems of categorization have shifted to meet new demands for knowledge transfer and dissemination at universities, the watersheds protecting visual artistic practice have given way to multi-modal forms of expression.

These include archival projects, creative writing, communications, documentary film, film essay, mapping and locative projects, sound art, theatre and performance, transmedial storytelling, and others.

The epistemic shift implied by reconfiguring these outputs as novel practices that either complement or displace the traditional pathways of knowledge production is still largely untested despite strong initial recognition by research granting agencies, faculty hiring committees, and other pockets of institutional power.

Our daylong (hybrid) symposium at Trent University (Peterborough, Ontario, Canada) will examine these issues by asking the following:

• What is the boundary dividing creative from non-creative practices?

• What are approaches that artists have adopted to transfer their practice into a knowledge-producing milieu?

• What are the fora of presenting research-creative projects, and who are the audiences?

• How does academic research-creation respond to the demand for community involvement and accountability? What are the institutional guarantees?

• How has artistic value been redirected to meet the university’s market demands (distinct from those of the culture industries)?

• How do creative works develop pathways through the established benchmarks of securing research funding? How have funding agencies responded to these shifts, and are they viable?

• What are the implications of developing work under different linguistic, national, regional, or global conceptual umbrellas (e.g. “practice-based” vs. “practice-led”)?

• What does research-creation entail for undergraduate teaching, graduate supervision and mentorship?

• How does a research-creative knowledge form comply with the evaluation rubrics for hire, reappointment, tenure, and promotion?

• How do creative outputs advance causes of equity and access?

• To what extent does research-creation, modelled as an intervention, participate in the ongoing labour to decolonize universities?

• What does research-creation reveal for reputedly “traditional” researchers about their own practices?

• What are such researchers afraid of when they encounter research-creative projects?

• What does the diversification of knowledges and methods add to historical debates on the subject and whom do these serve?

While many of the necessary questions have been asked before, consensus has not been achieved and perhaps never should. The developing social contract on research-creation may result in outcomes less desirable than the existing state of affairs. We therefore aim to build a community of scholars linked by solidarity as opposed to unanimity and welcome dissension into our ranks. Instead of demanding answers we seek better questions.

We invite scholars, including faculty and graduate students, artists, practitioners, creatives, and collaborators to deliver short (~ 5 minute) “manifestos” that explore at least one aspect of the emerging episteme. These will be convened in a daylong event at Trent University (Peterborough, Ontario, Canada), as well as remotely via Zoom.

Those interested in submitting their presentations after the event will be considered for publication in a special issue of/Imaginations: Journal of Cross-Cultural Image Studies./

This event is free for participants and open to the public.

Submission guidelines (deadline August 15 2023):

Presenters must submit a 150-word abstract with details about their presentation focused on the matter at hand, whether from a perspective that is theoretical, institutional, art-historical, or practical. The presentations should adopt the style of a missive or manifesto. Presenters must also submit a 50-word bio.

Send to:(ccla.aclc /at/ trentu.ca) <mailto:(ccla.aclc /at/ trentu.ca)>

Organizers:

Agata Mergler, York University ((agatamer /at/ yorku.ca) <mailto:(agatamer /at/ yorku.ca)>) Joshua Synenko, Trent University ((joshuasynenko /at/ trentu.ca) <mailto:(joshuasynenko /at/ trentu.ca)>)


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