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

该项目在地理、概念、学科和流派方面涉及多个国界的创造性实践。我们有兴趣解决媒体变化、社会流动性和创造性合作(例如，在国际艺术节和双年展上)，特别关注跨界和跨文化接触(联合工作、媒体联系、转让、重新设置背景)。我们追求这一点，因为越境在几个意义上对新的视觉、听觉和动态的文化辩论具有创造性、经济和社会影响。在概念上，我们感兴趣的是表演性、越轨、情感、美学、包容/排斥、不稳定的生活方式、劳动、经济和创造性实践的材料、冒险、不和谐和灵感。我们将通过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所称的众多创造性的本土世界主义之间的合作跨境联系。我们希望让具有边境经验的研究人员(欧洲、柏林、印度、孟加拉)围绕我们的主题积极开展活动，因此这个项目以一种主要和结构化的方式讨论创造性和文化实践的问题。从对文本的直线性和霸权的批判开始，这一倡议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反叛的、以运动为导向的创造性世界主义概念的一部分。我们认为，被认为是运动的创造性实践，对学术框架、流派、形式和媒体中以前更稳定的文本结构的传统界限和概念化提出了根本性的挑战。这个想法的伟大之处在于，我们将交流视为一个动态的接触区，一个转变的地方，一个超越和创新的地方。在绘画、摄影、表演、广播、电影、视频和设计领域，新的活力和想法提供了看似危险的跨界创新，有望打造一门关于运动、创造力和刺激的新学术。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。该项目假定当代文化资源管理是由作为商业概念的当代文化资源管理中的国内倡议所构成的/并作为对这一倡议的反应而突出的。这里的辩证切分是对老派的商业化和工业的批判性反应。机会比比皆是，创业者们突袭而来；但他们这样做的方式或许也需要重新思考，用流动和流动这个激进的术语来描述，这些术语逃避了规则和传统教科书。其背景包括多重全球化的话语形成、文化接触和紧张与冲突的互动、来自不同文化领域和政治取向的人之间的对话接触。所有这些都需要重新考虑。与商业剧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，它们改变了当今的预期/散居海外的媒体和跨境倡议(广播、海盗、双年展、文献的国际方面等)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，当代创意可能会明显地采用和挪用商业广播的技术和形式，以达到令人惊讶和颠覆性的目的。第三种趋势是文化与商品的新融合。混合、混合、融合形式的创造力的生产力为商业提供了讽刺、游戏、批评和灵感资源(这当然是可以质疑的)，只有一种商品化或“文化产业”的“大众”形式的想法正在过时、过时或过时。

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.