NICOLA DEANE
CONCLUSION Irresolution
CAUTION: STEPS
Walter Benjamin, One-Way Street and Other Writings (1979: 61)
Work on good prose has three steps: a musical stage when it is composed, an architectonic one when it is built, and a textile one when it is woven.
[a text is] no longer a finished corpus of writing, some content enclosed in a book or its margins, but a differential network, a fabric of traces referring endlessly to something other than itself, to other differential traces.
Jaques Derrida, “Living On/borderlines” (1979: 84)
Scriptorium within DOMUS: Reflections on the irresolved territory of the virtual archive
In translating my research project (theory and practice) to a digital platform I had to rethink my original designs of presentation to find the appropriate means for digitally engaging the reader. The points at which I recognised problems of translation to the digital realm, were where the context of the work expanded and/or transformed for me. My book of poems, first envisioned as a physical object, limited edition booklet, presented some kind of lack upon its transferral to the webpage, resulting in a disturbance of the image-to-text relation that forced me to reassess my expectations. Out of this problem however, emerged an entirely new work, a sonic book of poems: Elisabeth Unmasked (2020), featuring my reading voice (of selected poems) upon a sonic carpet – a multilayered surface of noise, strings and breath.
In the other case, regarding my body of work in the eggshell inscriptions, the initial design was to install this carpet of fragments to be walked upon, thereby generating a sonic carpet of being crushed. The gentle destruction (by merely walking), of these fragile remains of the everyday-become-sacred would be amplified while the “carpet” was being transformed by further fragmentation and dispersal of the medium and the message in eggshell secrets. This projection of the work had to be abandoned when situating the concept in the digital exhibition format. The focal point of the work had to be reversed, and as a consequence, each and every eggshell came into focus in its photographic capturing as an individual cell of a larger corpus that cannot be seen or experienced in its entirety.
My curation and presentation of this research material on the herri (free access cultural journal) platform, as a virtual instead of physical exhibition, continues, enriches and expands the ideas and processes that I have laid out in the four passages, of destabilising the structures that govern and confine knowledge production, since this virtual space allows for multiple paths of engagement with the content within the broader knowledge network. The herri presentation thus becomes an integral part of my artistic-led academic intervention. As Paul Harris analyses using his fractal conceptual model in “Epistemocritique: A Synthetic Matrix”, the multidimensionality of the hypertextual domain enables “reader, text and cultural context to combine within an encompassing ecology”, so that any boundaries between them “interpenetrate and fold through one another in complex ways unrepresentable in conventional (Euclidean) spatial terms” (1993: 193). My decentering project therefore culminates logically in its embedment on the herri platform, given the site’s stated motto:
discontinuity is the continuity.
disconnection is the connection.
incoherence is the coherence.
Irresolution: Irreality not surreality
The first passage reported on a surface reading (2016-2018) of the DOMUS archive via my conceptual playing field involving Derrida’s parergon and Lyotard’s libidinal skin to problematise the inside/outside divide, just as Bachelard notes in The Poetics of Space: “[o]utside and inside form a dialectic of division, the obvious geometry of which blinds us as soon as we bring it into play in metaphorical domains” (1994: 211). I referred to these theoretical images for my first study of decentering to address the zone of the margin as that which is neither fully included nor fully excluded from the archive. Just as Derrida’s deconstruction of the frame and Lyotard’s “theoretical fiction” reveal the productive border zone that is neither inside nor outside, Bachelard suggests following “the daring of poets […] who invite us to the finesses of experience of intimacy, to ‘escapades’ of imagination”, to prompt a revision of the boundaries, arguing that “inside and outside, as experienced by the imagination, can no longer be taken in their simple reciprocity; […] we shall come to realize that the dialectics of inside and outside multiply with countless diversified nuances” (1994: 215-6). The creative outcome of this passage that traces “white (surface) noise along the DOMöbiUS membrane” is On the Passage of a Few Ants Through a Rather Brief Unity of Time (2018).
I don’t pretend to find a resolution
According to Hélène Cixous, in Three Steps on the Ladder of Writing, “To begin (writing, living) we must have death” (1993: 5). I do agree with Cixous about the significance of developing one’s own writing in order to really discover what one thinks (as a woman bound to her body and yet robbed of her organs, inscribing and transcribing the signs and symbols of the body should provide an excellent way to research the depths of one’s mind). It is a significant journey to find one’s writing voice. But to write one has to listen. Careful listening. To all voices…
When choosing a text I am called: I obey the call of certain texts or I am rejected by others. The texts that call me have different voices. But they all have one voice in common, they all have, with their differences, a certain music I am attuned to, and that’s the secret (Cixous, 1993: 5).
I conduct my research in my womb-room of seclusion in which I fabricate a dream-weave. The art products of my creative research always emerge from myself, as well as my masked self. It may be a shelf life that I am performing. It may be the traces of being as opposed to becoming that I am presenting. Fragments of non-fiction may very well be rearranged as fragments for a fiction.
When texts call to us, what do they say and in whose voice do they speak? What calls to us in secret always takes the form of (a) haunting, especially as it concerns the other “in us” living on – so to speak – as a spectral effect of the text (Castricano, 2001: 4).
This research project is not another phallogocentric outcome of knowledge-production. Instead it follows a decentered and disobedient epistemology, and is partly aligned with Cixous’ écriture feminine from her essay “The Laugh of the Medusa”, whereby she insists that woman “put herself into the text—as into the world and into history—by her own movement” through unrestrained “female-sexed texts” (1976: 875-7), which she later abbreviates to sexts: “Let the priests tremble, we’re going to show them our sexts!” (1976: 885). The concerns that Cixous raises in this text, and in that of Newly Born Woman (Cixous & Clément: 1986), reflect the reorientations of the continental feminist intellectuals under the spell of deconstructivist strategies at the time. Derrida’s deconstruction of logocentric and phallocentric systems of thought produced the hybrid-culprit phallogocentrism, that privileges the masculine principle in the construction of language and meaning and serves the traditional, patriarchal agenda of Western metaphysics, thereby “colonizing” women’s minds and tongues. Cixous appeals to the “feminine writer” to return to the body, “which has been more than confiscated from her […] turned into the uncanny stranger on display—the ailing or dead figure […] the cause and location of inhibitions. Censor the body and you censor breath and speech at the same time”. She goes on to state the urgent need to “kill the false woman who is preventing the live one from breathing. Inscribe the breath of the whole woman.” (1976: 880). However, Cixous notes the impossibility of defining “a feminine practice of writing”,
…for this practice can never be theorized, enclosed, coded—which doesn’t mean that it doesn’t exist. But it will always surpass the discourse that regulates the phallocentric system; it does and will take place in areas other than those subordinated to the philosophico-theoretical domination. It will be conceived of only by subjects who are breakers of automatisms, by peripheral figures that no authority can ever subjugate (Cixous, 1976: 883).
Recognizing and embracing the “vagueness” of analogical thinking within cognitive processes means engaging with the “fluidities of compossibility” (Stafford, 1999: 14) that are central to the analogical mode. The aim is to inhabit a creative space lying “between bodily movement and abstract reason, between the textilic and the architectonic, between the haptic and the optical, between improvisation and abduction, and between becoming and being” (Ingold, 2010: 100).
Simon Morley, “In Praise of Vagueness: Re-visioning the relationship between theory and practice in the teaching of Fine Art from a cross-cultural perspective” (2017: 13)
The second passage reported on a subjective reading of the DOMUS archive via the concept of invagination (stimulated by Derrida again), to reveal “a pocket of what lies behind the eyes”. I made, as a response to this reading, “Through the ear, we shall enter the invisibility of things” (2017). Here I have recounted my journey through DOMUS without the ability to focus – I stopped just short of the void at the edge (of the out-of-focus) and proceeded to dig on the spot to unearth certain remnants of my “previous self” in a box labeled for the future. In this passage I perform what I consider “an archeology of the self” at the site of representation: extract(ion)s and fragments of the self are laid out, accounted for, re-grouped and encased with the tag: self-representations (2003-2017). In her book Autobiographics: A feminist Theory of Women’s Self-Representation (1994), Leigh Gilmore proffers the term autobiographics “to describe those elements of self-representation that are not bound by a philosophical definition of the self from Augustine” (1994: 42). Autobiographics accommodates a distinct path from autobiography as the bounded genre that stabilises the subject by terms of coherence, making room for the more “unusual” aspects of women’s self-representations that exceed and transgress such terms. The alternative may disrupt the traditional genre/gender divisions in order to transform the object status for women writers into the “subjectivity of self-representational agency” (Gilmore, 1994: 12).
I still remember walking down that familiar but abruptly darker passage to my room. The scene reflected the suddenly embodied emotions back at me, just as it is in dreams. I also remember re-membering that dark passage while inscribing it. I even remember speaking that re-membering – but only then, in a state of uncontrollable shaking, did I truly remember my earliest moment of decentering, only when I voiced that dark passage aloud.
One must always begin by remembering. And the way not to forget, says Cixous, is to write. Perchance to dream. Says Cixous, “Dreams remind us that there is a treasure locked away somewhere and writing is the means to try and approach the treasure” ([1993:] 88). Approach can be terrifying, but this is the place where the other begins: where death enters the picture (Castricano, 2001: 3-4).
As a result of dehiscence,
Spillage brings me irresolution
There is always leakage – a sign of health
The system is regenerating itself
Different to what was
Wild growth tissue regardless of seams
Disrespecting stitchery by adaptation
Stitch up – the system frames…
Framed systems cannot be grasped by human knowledge
As soon as it stitches things up new knowledge proliferates
Decentred not centred logic
Laura Kipnis has detected the significant differences between so-called American feminism that “generally relies on a theory of language as transparency” and Continental/poststructural feminism that “follows the Saussurean division of the sign”, and she proceeds to sum up the political angles of each “camp” in her article “Feminism: The Political Conscience of Postmodernism?” (1989: 159). The main contention of postructural feminists is “that naming the political subject of feminism the female sex reproduces the biological essentialism and the binary logic that have relegated women to an inferior role” (1989: 159). Kipnis elaborates:
This contention produces, as a site of political attention and engagement, a “space” rather than a sex: the margin, the repressed, the absence, the unconscious, the irrational, the feminine—in all cases the negative or powerless instance. Whereas “American feminism” is a discourse whose political subject is biological women, “continental feminism” is a political discourse whose subject is a structural position—variously occupied by the feminine, the body, the Other (Kipnis, 1989: 159-60).
From this context Kipnis highlights the practice of écriture feminine that she describes as “posing a counterlanguage against the binary patriarchal logic of phallogocentrism” in “an attempt to construct a language that enacts liberation rather than merely theorizing it” (1989: 160). Kipnis continues,
For Cixous, it is the imaginary construction of the female body as the privileged site of writing; for Irigaray, a language of women’s laughter in the face of phallocratic discourse; for both, private, precious languages that rely on imaginary spaces held to be outside the reign of the phallus: the pre-Oedipal, the female body, the mystical, women’s relation to the voice, fluids (Kipnis, 1989: 160).
However, as Mary Poovey points out in “Feminism and Deconstruction” (1988), Cixous “set the stage” for a certain type of “essentialistic interpretation of French feminism” (through the belated English translations of their theories) “with her emphasis on ‘white ink’ [Cixous associates with ‘mother’s milk,’], … even though she problematizes the literal connection between female biology and the kind of writing this ‘ink’ produces” (1988: 55). In light of this point, given the intellectual rapport between Cixous and Derrida, it was interesting for me to come across his reference to “white ink” in the essay “White Mythology: Metaphor in the Text of Philosophy” (1974):
What is white mythology? It is metaphysics which has effaced in itself that fabulous scene which brought it into being, and which yet remains, active and stirring, inscribed in white ink, an invisible drawing covered over in the palimpsest (Derrida, 1974: 11).
As a woman writing “palimpsestically” with creative and academic forms for this particular project, I find some solace in the ethos of feminine writing, but as Gayatri Chakravorty Spivak states in An Aesthetic Education in the Era of Globalization: “Writing is a position where the absence of the weaver from the web is structurally necessary” (2011: 58). In addition, my work requires that one also takes into account hypertextual writing, as Jaishree K. Odin explains in her net-aesthetic analysis:
The materiality of bodies and the object world is transformed in hypertextual/postcolonial cultural productions into an aesthetic act which is intertextual, where the text and the reader occupy the zone of the in-between of the transformation itself. The “centered” or “monadic” subject of the modernist era is thus transformed as the nomadic subject no longer passively contemplates the artist’s expression but actively reshapes it (Odin, 1997: online).
The third passage provided a hauntological review of the DOMUS archive through the frame of digital dissolution into dreams and noise through the works: White Noise in Eight Amplified Movements (for Clarice Lispector) (2017), and Medea, falling… a poor image reconstruction (2017). May we classify dreams as memories since they are woven from the perceptual data banks of the brain?
As in a dream, a rebus-text always says “something that is never said, that will never be said by anyone else and which you unknow; you possess the unknown secret” ([Cixous, 1993:] 85). You possess the unknown secret and you have forgotten that you have unknown it, all along. As dreams are always about unknowing, remembering, and forgetting, so, too, is a rebus-text (Castricano, 2001: 3-4).
Precisely by leaks, fissures, new knowledge occurs
Acceptance of everything that hasn’t been resolved
Parallel & contradictory results of research
Not science, looks like… nescience
It is the result of irresolution
Result cannot be resolved, as science would have it
What art does is play with contestable futures so what’s interesting about art is not a kind of methodical research and predictable scientific results, but rather alternate multiplicity of possibilities and then every now and again these possibilities collapse into an actuality and that actuality may or may not be what we consider the rational one.
Stelarc in Kaganof, Stelarc’s Tokyo Performance, 2002
Our science has always desired to monitor, measure, abstract, and castrate meaning, forgetting that life is full of noise and that death alone is silent: work noise, noise of man, and noise of beast. Noise bought, sold, or prohibited. Nothing essential happens in the absence of noise.
Today, our sight has dimmed; it no longer sees our future, having constructed a present made of abstraction, nonsense, and silence. Now we must learn to judge a society more by its sounds, by its art, and by its festivals, than by its statistics.
Jaques Attali, Noise: The Political Economy of Music (1985: 3)
Art celebrates emergence of new knowledge
A plethora of types of knowledge that emerge through dehiscence
The mess creates opportunities to generate
Where we hope we will know what is unknown. Where we hope we will not be afraid of understanding the incomprehensible, facing the invisible, hearing the inaudible, thinking the unthinkable.
Hélène Cixous, Three Steps on the Ladder of Writing (1993: 38)
In “The Edge of Difference: Negotiations Between the Hypertextual and the Postcolonial” (1997), Jaishree K. Odin discusses technologized media and its global networks in terms of a “contemporary topology”[1]“This contemporary topology is composed of cracks, in-between spaces, or gaps that do not fracture reality into this or that, but instead provide multiple points of articulation with a potential for incorporating contradictions and ambiguities. Also, the in-between spaces themselves become the object of discourse as well as artistic representation” (Odin, 1997: online). (in a postcolonial world of transnational capitalism) as “the constantly shifting, interpenetrating, and folding relations that bodies and texts experience in information culture”, pointing out that artists “of both visual and verbal media, have felt compelled to reconfigure and rearticulate this new orientation that bodies and texts have assumed” (Odin, 1997: online). Through her analysis of Trinh T. Minh-ha’s films through a “hypertextual” frame, Odin proceeds to outline Minh-ha’s distinction between “territorialized and deterritorialized knowledge” in the following way:
the former deals with colonizing and mastering the unknown by setting the unknown as the other that must be appropriated in an attempt to make it known. And as the “sight/site” is known or made visible, it is subject to the colonizer’s grid of power and knowledge. Territorialized knowledge involves fixing people and places into stable configurations where the interrelations among the individual constituents are already mapped out: the maps define, categorize, and immobilize the spaces in which people move (Odin, 1997: online).
When asked in an interview by Judith Mayne in Framer/Framed (1992) to discuss the apparently crucial “resistance to categorization” of her work, Minh-ha admits: “I am always working at the borderlines of several shifting categories, stretching out the limits of things, learning about my own limits and how to modify them” (Minh-ha, 1992: 137). When asked about her continual reference to the word “borderline” and her relation to “that notion of a space in between conventional opposing pairs” that Gloria Anzaldúa’s Borderlands/La Frontera (1987) sought to expand on, Minh-ha proposes the following:
To unlearn the reactive language that promotes separatism and self-enclosure by essentializing a denied identity requires more than willingness and self-criticism. I don’t mean simply to reject this language (a reactive front is at times necessary for consciousness to emerge) but rather to displace it and play with it, or to play it out like a musical score (Minh-ha, 1992: 140).
Minh-ha insists in the context of “the complex reality of postcoloniality”, on the critical assumption of “one’s radical ‘impurity’ and to recognize the necessity of speaking from a hybrid place, hence of saying at least two, three things at a time” (1992: 140). Odin believes that the hypertextual environment is best suited to deal with hybridity, to open and disperse writing and reading along multiple paths and configurations. Odin thereby highlights Michael Joyce’s Of Two Minds: Hypertext Pedagogy and Poetics (1995) for his perspective on the virtual space asset of hypertext as an art form that:
concerns itself with constant reconfiguration and so is a true electronic medium. Hypertext is before anything else a visual form, a complex network of signs that presents texts and images in an order that the artist has shaped but which the viewer chooses and reshapes (Joyce, 1995: 206).
By presenting my archival engagements through herri as an interactive multiple passage digital curation, the notions of territory, border, access and orientation may be renegotiated and reconfigured in the virtual realm. This allows for an expandable sense of the archive whereby associations (through links and cybernetic leaps) are just as fruitful in the cultivation of knowledge, as the gloved, limited access, up-close-and-personal assessment of the actual in those stored, protected and policed (but flammable) physical records. The archive must bleed, not burn, in the decolonial healing of the colonial wound.
All that is unstable continually puts pressure on the system
Irresolution holds tension
A healthy working tension (tensegrity)
Fecund tension, proliferating tension…
This is the new knowledge
Parallel and contradictory constellations of results are invoked here
If I were to follow Lyotard’s “theoretical fiction” and treat the archive as a body laid out on the dissecting table, “[o]pen the so-called body and spread out all its surfaces: not only the skin with each of its folds, wrinkles, scars, with all its great velvety planes…” (Libidinal Economy, 2004: 1), and in turn fabricate a Möbius strip incorporating all the networks and systems operating within the expanded libidinal skin of that archive body – what kind of intensities would that yield? What wounds? What kind of stabilizing forces would interrupt the intense flow of the “libidinal archive”?
An intensely intimate archive…
The creative outcomes of this research trace the journey through an archival encounter with my self via four modes of reading and writing that I lay out as themes of the respective passages, that are only superficially divided since these metaphoric modes inevitably bleed into and out of one another: surfaces; invagination; noise; and mask(ing).
My sticky documentation exercises: I interrogate the role and power of the archive in manipulating time & collective memories. How should fragmented or destabilising experiences be remembered given the delinking option from both modernity & post-modernity?
One possible decolonial option[2]Referring to Decolonial theory: “The decolonial option operates from the margins and beyond the margins of the modern/colonial order. It posits alternatives in relation to the control of the economy (market value), the control of the state (politics of heritage based on economic wealth), and the control of knowledge.” (Mignolo & Vázquez, 2013). of working with the archive is to re-invest it with an ability to bleed.
To break across the rigid taxonomies and artificial fictional separations between categories.
I re-animate repressed histories (of the middle voice) by decentering.
Image and sound bleed across the categories.
The constellatory nature of results & inputs
Value knowledge systems that govern our life today (algorithms…)
Not individual nodes but the plethora of nodes, urgent newness
To benefit by all the lessons of modern psychology and all that has been learned about man’s being through psychoanalysis, metaphysics should therefore be resolutely discursive. It should beware of the privileges of evidence that are the property of geometrical intuition. Sight says too many things at one time. Being does not see itself. Perhaps it listens to itself. It does not stand out, it is not bordered by nothingness: one is never sure of finding it, or of finding it solid, when one approaches a center of being.
Gaston Bachelard, The Poetics of Space (1994: 214-5)
As a woman writing in 2021 – creatively on the one hand, and academically on the other – I acknowledge the efforts of Cixous to assert a new path that surpasses the sedimentary ways of structuring a discipline and a practice. Bachelard echoes her concerns from his own angle in The Poetics of Space with a sense that “philosophical language is becoming a language of agglutination” (1994: 213). In his chapter on “the dialectics of outside and inside”, he argues the following:
In my opinion, verbal conglomerates should be avoided. There is no advantage to metaphysics for its thinking to be cast in the molds of linguistic fossils. On the contrary, it should benefit by the extreme mobility of modern languages and, at the same time, remain in the homogeneity of a mother tongue; which is what real poets have always done (Bachelard, 1994: 214).
Bachelard’s reference to a mother tongue, I propose, may be stretched to address Cixous’ suggestion of “feminine writing”: the gendered discourse around her arguments against a masculine domination of literature and philosophy reflects the intellectual needs of the time in which she wrote her theses, which is still relevant to an understanding of the various power struggles that we witness today. However, gender has since been deconstructed and reconstructed, albeit artificially, and being will surely follow suit considering the current preoccupation with artificial intelligence technology.
When asked: “what is the mother tongue of the artist who writes a PhD?” I must reply that the mother tongue of the artist is silence, and it is only the donning of the mask that allows the art to “speak”. As Odin remarks in her negotiating the border-zone between hypertextual and postcolonial, “[h]esitance and silence express a politics and aesthetic that refuse totalization; they are the technical analogues and expressions of fragmentation and discontinuity” (1997: online). Therefore it must be stated, no artist can write a PhD, a PhD is antithetical to the language of the artist, which is the language of mystery, of secrets.
Follow art informed by theory/philosophy
but not the working of theories
that speak through ratio
Art is no object of knowledge
Art does not know
Art does knot no
Art unknows
Hear and see philosophy of irresolution
Uncontained
Embrace lack of containment – real power of art
Crisis of system and today
Cannot keep knowledge in boxes
In his discussion about artists’ use of the archive or “archival mode” in their work, Ernst van Alphen’s reflection on categorisation in “Archival Obsessions & Obsessive Archives” points to the duality of the archive as comforting and aggressive:
[C]omforting because it has the reassuring aura of objectivity, and aggressive because it subjects reality and individuality to classifications that are more pertinent to the systematic and purifying mindset than to the classified objects. It imposes the ideal of pure order on a reality that is messier, and more hybrid, than the scholarly device of the archive can absorb (van Alphen, 2008: 73).
In “Ethical Possession: Borrowing from the Archives” (2009) Emma Cocker suggests that in the case of “rescued archival fragments” (from the margins of silence or exclusion), the appeal of such “unwanted remnants and discarded moments from the past” to artists’ appropriating and re-using archive material “presents a potential disruption of the official order of knowledge in favour of counter-hegemonic narratives capable of producing new (indeed dissenting or resistant) forms of cultural memory” (2009: 100).
My own approach to “decentering the archive” has been a tentative fusion of both of the strategies mentioned above. Rather than positing this as a consistent methodology, I must clearly state that at all times, when in doubt, I chose to allow my intuition to decide for me. The insight that the archive and the domestic share a metaphorical overlap and a metaleptic relationship, allowed me to take this perspective directly to my own sense of how I discovered myself in the archive. It revealed not only a very literal domestic presence but also that domesticity could be not comforting but discomforting, and the decentering practices that I proceeded to develop against the “aggressive” tendencies of classifications also became meaningful in addressing the discomfort of the domestic goddess and her masked art-making avatar.
Drains system of potential
Extraction from archive entails entirely new ways
Dealing with meaning, interpretation and semblance
The fourth passage reported on the idea of dehiscence or rupture in the DOMUS via concepts related to masking and grafting/stitching to reveal the irrepressibility of the truth, whichever form it takes, in the final work An Autopsychography of a Mask (2020). This passage reviewed the complex cast of self-representations (self revealed and self-masked) that may be found in the personal papers that outlive us,[3]Another creative output of this passage is my book of poems: Elisabeth Unmasked (2020), sourced from my own personal papers. and the elusive nature of truth that cannot depend on cold facts alone, when the private (or previously masked) emerges in the public domain. An underlying question that drove my research was: how may I perform an intimate reading of the archive DOMUS? I have forged ways, from “an archaeology of the self” to “an archiving (& masking) the self”, that, if left to the organic tracing of time, inevitably leads to (re)emergence or rupture – a “return of the repressed” – producing a collection of poem fragments: Elisabeth Unmasked (2020). Hence dehiscence in DOMUS represents the limits of the archival impulse to centralize and stabilize the historical record.
Haven’t decentred to look for a new centre
Means accepting irresolution
Which is lack of centre
Not re-centering by another centre
Intuitive knowledge may be invisible
I decentre DOMUS by noise & dissolution
Demonstrable knowledge (institution) bears strong devotion to method
Irresolution argues for intuitive leap-based knowledge that’s not methodological but brings you to places…
Legitimate non-methodological results
Knowledge production includes that of the natural and the artificial worlds, that of the material and the immaterial, the sacred and the profane, that of the real, surreal and irreal, that of the surface and that of the deep structure. There are multiple branches and various networks. All forms of knowledge production (and narrative or non-narrative extensions of that knowledge) contribute to the vast network of processes that fulfill the needs of our present existence. If I am to take into account Linda Candy’s description of Practice-based Research as “an original investigation undertaken in order to gain new knowledge partly by means of practice and the outcomes of that practice”, then my understanding within Visual Arts is that the “new knowledge” is produced by means of practice and the creative outcomes of that practice (what Candy terms “creative artefacts/outcomes in the form of designs, music, digital media, performances and exhibitions”), as well as, the reflection/contextualization via the theory, history, and philosophy relating to that practice. That part usually takes the form of writing, however Candy notes that “[w]hilst the significance and context of the claims [of originality and contribution to knowledge] are described in words, a full understanding can only be obtained with direct reference to the outcomes” (Practice Based Research: A Guide, 2006: 1).
Now to the question: What am I contributing to “new knowledge” with my practice-based research? If new knowledge requires justification then art fails to justify its “conclusions” (outcomes) in any straightforward manner, as one would expect in the justification of one’s findings by cohesive argumentation. In her guide to what characterizes practice-related research, Candy points to Stephen Scrivener’s argument in “The art object does not embody a form of knowledge” (2002). He claims up front that “visual art is not, nor has it ever been primarily a form of knowledge communication; nor is it a servant of the knowledge acquisition enterprise” (Scrivener, 2002: 2), and expresses his account of art practice in the following way:
Drawing on the natural and artificial worlds and imagination, the artist generates apprehensions (in the sense of objects that must be grasped by the senses and the intellect) which when grasped offer ways of seeing and being… in relation to what is, was, or might be (Scrivener, 2002: 11-12).
Scrivener defines research in the context of making art as “original creation undertaken in order to generate novel apprehension”, which he asserts distinguishes the researcher from the practitioner by the intention to generate culturally novel apprehensions that are “not just novel to the creator or individual observers of an artifact” (2002: 12). Scrivener is “drawn to the conclusion that it is implausible to claim that the primary function of an art object is to communicate knowledge and of the art-making process to create knowledge artefacts” (2002: 11). He proposes instead that we “focus on defining the goals and norms of the activity that we choose to call arts research” (2002: 13).
Outcomes of making involve certain forms of knowing. What is produced in that process of knowing is not a straightforward object of knowledge, but a creative artefact. To my mind Walter Mignolo’s thinking and doing resonates with practice-based research, since the making is what contributes to the thinking, beyond providing a mere textual account of one’s cognitive dexterity at sieving mainstream, classified information. The making of formal artifice, in order to reflect on and (re)interpret the state of the world and states of being in that world, is a form of knowledge production. Art invites interpretations.
My practice is my research in process of becoming.
The fabric of sound.
The pulse of a particular history through sound. Memory is a composition. The digital conclusion, by mode of submission,[4]The herri.org.za platform offers an ideal opportunity for me to demonstrate the hypertextual, intertextual and interrelational aspects of this artistic-led, practice-based doctoral research in an online fully integrated dissertation format. shall be that which “concludes” the archive. This is “in fact” what is always going on when we think and do “history”: the present concludes the past.
In order to escape the homogenizing and universalizing tendency of linear time, time in both postcolonial and hypertextual experience is represented as discontinuous and spatialized.
Jaishree K. Odin (1997: online)
Archiving time and the fabrication of memory (decoloniality, delinking & vulnerability) has, at its heart, the problem “How to be framed?”
I am calling into question knowledge through the notion of fabricating memories … time through lived experience. Re-member Re-sensitise: Sending waves through my whole body: therefore sound actually battles vision in other versions of a future/past.
The concern for desensitisation towards one’s history – informing a sanitized & cauterized history of representations opens up the possibility of interrogating notions of the bleed.
How to be framed? Snap or float?
When considering the conclusion as a work of translation – speaking in relation to the present – where fiction and non-fiction meet, fabrication actually allows for the return to touch.
“I see that I have never told you how I listen to music…”
Sound in the archive carries traces of pulse – rhythm, breath, voice … of blood beating – and brings to awareness the vibrations of one’s own tympanic membrane.
A woman recycles endlessly.
I need a microscopic level of inaction.
The mask is in a very precarious position.
There is not only one strand, the multiplicity of threads is always being formulated, simulated and sewn into the many nows and mediums of the present.
One becomes a self by composing the elements of what one has experienced into a narrative.
The conclusion invents the archive.
Sound in the archive carries traces of blood beating.
And so I listen to the electricity of the vibrations.
I gently rest my hand on the conclusion player and my hand invaginates.
Suddenly I’m falling…
Just as there was no profound reason to begin this formless message, so there is none for concluding it. I have scarcely begun to make you understand that I don’t intend to play the game.
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| 1. | ↑ | “This contemporary topology is composed of cracks, in-between spaces, or gaps that do not fracture reality into this or that, but instead provide multiple points of articulation with a potential for incorporating contradictions and ambiguities. Also, the in-between spaces themselves become the object of discourse as well as artistic representation” (Odin, 1997: online). |
| 2. | ↑ | Referring to Decolonial theory: “The decolonial option operates from the margins and beyond the margins of the modern/colonial order. It posits alternatives in relation to the control of the economy (market value), the control of the state (politics of heritage based on economic wealth), and the control of knowledge.” (Mignolo & Vázquez, 2013). |
| 3. | ↑ | Another creative output of this passage is my book of poems: Elisabeth Unmasked (2020), sourced from my own personal papers. |
| 4. | ↑ | The herri.org.za platform offers an ideal opportunity for me to demonstrate the hypertextual, intertextual and interrelational aspects of this artistic-led, practice-based doctoral research in an online fully integrated dissertation format. |