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.
What characterises poetry that is understood as carrying out research? How does it generate knowledge on a poetological basis? It shapes the moment of the present, the ‘Now,’ immediately mediated—a paradox that provokes the path to a different, poetically researched knowledge. The approaches, methods, and constructions necessary to create these spaces of individual symbolisation are presented. At the same time, an attempt is made to approach the reflections of Alfred North Whitehead on cultural symbolisation and its modes of experience.
In his latest statements, Roland Barthes imagines a becoming-art of his thinking. But rather than switching from a theoretical to a literary form he reflects his desire of a new writing as the beginning of a new thinking, which leads him to another knowledge. His intended new form is ambivalent. It results from indecision between essay and novel, critique and narration and thereby detects a hidden dynamic of thinking: Its phantasmatic sources and emotional conditions reveal an affective knowledge, in which the pathos leads to the truth and gains the significance of a philosophem.
What role does research play for the language arts? What is the significance of the language arts for research? This text attempts to sketch the outlines of this relation on the personal-general level and basis of selected poetics, based on statements by language artists. In essence, the thesis is that the potentials of the language arts can and should increasingly be integrated into the discourse of both research and artistic research for a better understanding.
Literary artistic practice should analyse and describe its modes and modalities. Based on the study of Caroline Bergvall’s and Jena Osman’s practice-based research, this article focuses on inquiry as one of the modes of literary research, while also showing the use of introducing poetry within the discourse of literary research. The two works investigated activate their research by the creation of a poeisis of inquiry. This investigation allows for a renewed consideration of artistic research.