Project on Creative Practices Beyond Borders: Arts Interaction, Sonic Diaspora, Performativity Exchange

超越国界的创意实践项目：艺术互动、声波侨民、表演性交流

• 批准号: AH/G000778/1
• 负责人: John Hutnyk
• 金额: $ 6.44万
• 依托单位: Goldsmiths University of London
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2008
• 资助国家: 英国
• 起止时间: 2008 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FG000778%2F1
• 关键词: Project; Creative; Practices; Beyond; Borders

This project engages with creative practices across a number of borders, in geographical, conceptual, disciplinary and genre terms. We are interested in addressing questions of media change, social mobility and creative collaboration (eg. at international art festivals and biennales), paying particular attention to border-crossings and transcultural engagement (joint work, media linkings, transfers, recontextualisations). We pursue this insofar as border crossings in several senses have creative, economic and social implications for new visual, aural and dynamic cultural debates. Conceptually, we are interested in performitivity, transgression, affect, aesthetics, inclusion/exclusion, precarious lifestyles, labour, the economics and materials of creative practice, adventure, dissonance, inspiration. We will develop this through a network of research scholars and through laboratory work that draws on collaborative cross border affiliations among what we will call a multitude of creative vernacular cosmopolitanisms.We want to put researchers with Border experience (Europe, Berlin, India, Bengal) into active movement around our theme, so this project takes up questions of creative and cultural practice that are aural, visual and performative in a primary and structuring way. Starting from a critique of linearity and the hegemony of text, this initiative occurs in the context of challenges and changes impacting the creativity of the Arts, as part of the movement-oriented conception of a creative cosmopolitanism that is insurgent world-wide today. We suggest that creative practices thought of as movement provoke a radical challenge to the traditional boundaries between, and conceptualisation of, previously more stable textual formations in academic frameworks, genres, forms, and media. What is great about this idea is that we see communication as a space that is a dynamic contact zone, a place of transformation, of transgression and innovation. In painting, photography, performance, radio, cinema, video and design, new dynamics and ideas offering seemingly dangerous cross-border innovations promise to forge a new scholarship of movement, creativity and excitement. The border crossing innovations established in this contact zone offer much that is worthy of examination and development. The project assumes that the contemporary conjuncture is framed by / and stands out as a reaction to / domestic initiatives in contemporary cultural resource management conceived as business. The dialectical syncopation here reacts critically to old school commercialization and industry writ large. Opportunities abound, entrepreneurs swoop; but they do so in ways that perhaps also need to be rethought in the radical terminology of flow and mobility that escapes the rule and text books of convention. The context for this includes the discursive formation of multiple globalisations, cultural encounters and interaction of tension and conflict, dialogic engagements between those whose practices stem from different cultural spheres and political orientations. All this needs to be rethought. A second tendency running against the commercial script is the development of new media and patterns of cultural agency that transform expectations today / diasporic media and cross border initiatives (radio, piracy, biennales, international aspects of Documenta etc) are rapidly forging new and exciting kinds of creative collaboration. Contemporary creativity may, in this situation, conspicuously adopt and appropriate the technologies and forms of commercial broadcast for surprising and subversive ends. The third tendency is the new convergence between culture and commodities. The productivity of hybrid, mixed, fusion forms of creativity offers irony, play, critique and inspiration as resources to commerce (this can of course be questioned) and the idea that there is only one 'mass' form of commodification or 'culture industry' is passing, outmoded or obsolete.

该项目涉及跨越多个边界的创造性实践，包括地理，概念，学科和流派。我们感兴趣的是解决媒体变革，社会流动性和创造性合作的问题（如。在国际艺术节和双年展上，特别注意跨界和跨文化接触（联合工作、媒体联系、转让、重新语境化）。我们追求这一点，因为从某种意义上说，过境点对新的视觉、听觉和动态文化辩论具有创造性、经济和社会影响。从概念上讲，我们感兴趣的是表演性，越界，影响，美学，包容/排斥，不稳定的生活方式，劳动，创造性实践的经济和材料，冒险，不和谐，灵感。我们将通过一个研究学者网络和实验室工作来发展这一点，这些工作利用了我们称之为众多创造性本土世界主义的合作跨境联系。（欧洲，柏林，印度，孟加拉）围绕我们的主题积极运动，所以这个项目采取了创造性和文化实践的问题，是听觉，视觉的和表演性的，在一个主要的和结构化的方式。从线性和文本霸权的批判开始，这一举措发生在影响艺术创造力的挑战和变化的背景下，作为当今世界范围内兴起的创造性世界主义运动导向概念的一部分。我们认为，作为运动的创造性实践引发了一个激进的挑战，传统的边界之间，和概念化，以前更稳定的文本形式的学术框架，体裁，形式和媒体。这个想法的伟大之处在于，我们将交流视为一个动态接触区的空间，一个转变、超越和创新的地方。在绘画、摄影、表演、广播、电影、视频和设计领域，新的动态和想法提供了看似危险的跨界创新，有望打造一种新的运动、创造力和兴奋的学术。在这一接触区建立的过境创新提供了许多值得研究和发展的东西。该项目假设，当代的结合点是由/和突出作为/在当代文化资源管理设想为商业国内倡议的反应。这里的辩证切分法批判性地回应了老派的商业化和工业化。机会无处不在，企业家们蜂拥而至;但他们这样做的方式也许也需要重新思考，用流动和流动的激进术语来解释，这些术语逃脱了传统的规则和教科书。其背景包括多重全球化的话语形成、文化遭遇以及紧张和冲突的相互作用、来自不同文化领域和政治取向的实践者之间的对话参与。所有这些都需要重新思考。与商业脚本背道而驰的第二个趋势是新媒体和文化机构模式的发展，它们改变了今天的期望/散居媒体和跨境倡议（广播、盗版、双年展、文献展的国际方面等）正在迅速形成新的和令人兴奋的创造性合作。在这种情况下，当代的创造力可能会为了令人惊讶的和颠覆性的目的而明显地采用和利用商业广播的技术和形式。第三个趋势是文化与商品的新融合。创造力的混合、混合、融合形式的生产力为商业提供了讽刺、游戏、批评和灵感（这当然是可以质疑的），只有一种“大众”形式的商品化或“文化工业”的想法正在过时、过时或过时。