Kristevan aesthetics, performativity and the production of situated knowledge

Barrett, Estelle 2009, Kristevan aesthetics, performativity and the production of situated knowledge, in Materiality process performativity : Creative practice creative research, [York St John University], [York, England].

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Title Kristevan aesthetics, performativity and the production of situated knowledge
Author(s) Barrett, EstelleORCID iD for Barrett, Estelle
Conference name Creative Practice Creative Research (2009 : York, England)
Conference location York St John University, York, England
Conference dates 15-17 Apr. 2009
Title of proceedings Materiality process performativity : Creative practice creative research
Publication date 2009
Publisher [York St John University]
Place of publication [York, England]
Summary In this paper, I will draw on the work of Julia Kristeva to argue that performativity can be understood in terms of a materialist ontology that underpins creative production and the knowing subject. To understand this, we need to examine the relationship between individual history, biology and culture and processes through which creative practice attributes value by translating psychic representations of affect and drive into verbal and visual signs. Kristeva's aesthetics does not plunge us into an obscure metaphysics, but provides a model for articulating material-discursive practices that emerge from corporeal responses. Enactments, predicated by desire give rise to agency and judgement allowing practice to test theory through the production of situated knowledge.

Kristeva's psychoanalytical position reveals the necessity of linking material and individual practices of art with the social through language and interpretation. Material-discursive practices can only acquire meaning through their relationship between the speaking subject and addressees. Art itself provides us with the means for discovering the knowledge it produces. In and through material practice, the work of art is capable of transferring back to the artist as viewer, structures of meaning that have hitherto been hidden. In practice, this involves a constant movement between the biological self (the self as 'other') and the social self, the ego. In artistic research, it can be said that the first addressee is the artist her/himself, as social other. Constant movement between the two in creative practice can thus be understood as a performative production of knowledge.
Language eng
Field of Research 199999 Studies in Creative Arts and Writing not elsewhere classified
Socio Economic Objective 970119 Expanding Knowledge through Studies of the Creative Arts and Writing
HERDC Research category EN Other conference paper
HERDC collection year 2009
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Document type: Conference Paper
Collections: Faculty of Arts and Education
School of Communication and Creative Arts
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