Welche Auswirkungen hat die Ausweitung des Erzählens auf die Galaxis eigentlich für das Erzählen selbst? Und inwiefern zeichnet die galaktische Einbildungskraft nicht nur verantwortlich für Umbrüche auf dem Feld des astronomischen Wissens, sondern auch auf dem Feld der literarischen Ästhetik? Der vorliegende Band nimmt sich dieser Fragen an und lässt dabei die Imagination des Außerirdischen in ihren historischen Verlaufsformen, ihrer epistemologischen Fundierung wie vor allem auch in ihrer poetischen Funktionalität sichtbar werden.
What is practice-based literary research? While literature as a discipline is currently not represented in the artistic research discourse, individual writers and scholars have ties to a variety of institutional constellations in which overlaps between literature, art, and research become manifest. 16 of them expand on their methodological approaches as well as their practice, and they analyse exemplary case studies.
Literature produces images by putting the words in the best possible order; non-literary writing, reflection, argumentation, analysis, and critique are done by writing, too. Both modes of writing use language as their material. By using the different status and value of autonomous and discursive modes of writing we can find a departure point for supporting a productive methodology in artistic research in literature.
A selection of instruments borrowed from philosophy and visual arts connect to show an experiential and practice-based approach, such as ‘aspect seeing,’ the concept of poetic charge and images in language. Aspect seeing is a crucial perceptive and cognitive mechanism and apt to disclose interrelations between production and interpretation of literature.
Investigating in what way some aspects of Foucault’s work can be fruitful to ‘think’ writing-as-research, a letter to Foucault as academic fiction unravels and valuates the paradoxes that emerge from connecting a dead philosopher’s work with the actuality of writing to him. It becomes clear that the Self cannot not be addressed when relating to a foreign (beautiful and intimidating) corpus of knowledge. Simply appropriating the philosopher’s words was working the wrong way around. In turning to the ‘master’ for clearance, the position of the ‘apprentice,’ the one presently speaking, must also be defined. How to investigate oneself from the position of the Self, while opening up for the work one admires? How to relate to what moves the heart?
This contribution asks how we can situate literature’s participation in the artistic research field: is there an advantage to its ‘belatedness’? My thoughts go into three directions: institutional affordances; Marcel Duchamp’s effects; and the notion of minor literatures. I refer to Aby Warburg, James Joyce, Marcel Duchamp, Gilles Deleuze and Félix Guattari, Dora García, Brian O’Doherty, and others. For literature, I see the artistic research debate as an opportunity to work in and with the ‘minor’: a call for solidarity among those in the margins. Through its ‘belatedness,’ literature can avoid normative elements of the artistic research debate and graduate to describing and valuing the diversity that is being created, recouping the ‘artness’ of this work—and acting on a systemic level.
This text explores the uses of interdisciplinarity as a form of ethical cohabitation utilising my directorship of the seminal programme “MFA Art Writing” at Goldsmiths, University of London, as case-study.