Near Enough is the Measure

As part of my current research leave I have committed to completing an application to the Australian Research Council for a Discovery Early Career Researcher Award (DECRA). They are prestigious, valuable, and now rarer than hen’s teeth. As I try to write a project, which revolves around creating what I hope will become computational or […]

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Knowledge Claims and Research

In Creative Arts Research (CAR), which should not be about how artist’s do research (everyone does research, including my eight year old daughter into her Smiggle purchases), but about how creative practice becomes academic research, that is research recognised as research within universities. There are a couple of things to get your head around here. […]

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i-Doc 2014 Conference

This is complete reprint for an email announcement, just helping to get it out there. We’ve received a lot of requests for an extension to the call – so by popular demand it’s now official. The new deadline for submissions to i-Docs 2014 is Monday, November 25th. ** i-Docs 2014 Call For Participation ** Following […]

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Abstracts are, Well, Abstract

I realise that near enough will be good enough for the abstract, but also that as some connections come to be formed that I need to hang on to them, because when I come to write this essay, which might not begin for another month or so, these nascent connections will be lost if I don’t add some flesh to them. This is another of the ways in which it is difficult, as I just tootled out a couple of hundred words of possibly interesting thinking out aloud writing as I recognised the sort of speculative idea that really matters in the essay.

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Peer Review, Nonfiction, Video

In addition, there are numerous, robust and accepted ways in which creative practice is validated and recognised, through exhibition and curatorial economies and the like, so that specific system of evaluation and value does not need to be remade in the university context, though more importantly this economy does not have to be about the production or value of knowledge – I can make art that makes knowledge claims that meet the above criteria, but this is not what makes it art, and so similarly I can make art that makes no such knowledge claims.

… The key points are that this is about research, not creative practice, and so with work that likes to consider itself as research it is the creation of knowledge that qualifies it as research.

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Industrial Video and Professionalisation

Draft extract from a brief essay I’m writing to accompany the publication of a collaborative mixed media iBook I’ve worked on: In the case of industrial video an economy of socialised practices of professionalisation created particular assumptions that became fetishised into a technocratic mantra of ‘quality’ which generally referred to little more than the explicit technical felicity of the artefacts made to these internalised norms of a sophisticated craft practice. … This is not only to state that now anyone can make a film, if they desire, but to point out that as scarcity of access to all three facets of media (production, distribution, consumption) has declined so too has the previously clear distinction between a professional class and its others.

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Caffeine and Writing

photo.JPG I’m in the Design Hub with some colleagues come collaborators for our weekly research catch up for the Circus Oz Living Archive project. … I realise that I cannot concentrate very well for the level required to edit my writing without a coffee near to hand.

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Emerging Documentary Practices

This is the accepted abstract for the ’emerging documentary practices’ session I’m on this coming week in Canberra at Visible Evidence : The availability of ready to hand video technologies for recording, editing, and publishing ‘everyday ephemera’ has seen an explosion of content online, from the low brow populism of YouTube through to the sophisticated observational post produced work of Robert Croma. … More significantly the use of systems such as Korsakow allows for an autoethnographic methodology of personal, informal and everyday observation to produce a ‘soup’ of material that is then structured through the elucidation of emerging or unveiled patterns of relation amongst shots and sequences.

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Sketch Writing and Keynote as Outliner

However, as I lost concentration before presenting (partly being so interested in the prior papers), and also because I had not yet resolved just what specifically I really wanted to say, or even realising that the circularity was a potential interesting position to take up in relation to what I wanted to argue, the presentation was very ordinary . There it probably would’ve been better to write in Tinderbox to get the ideas and connections out, then sketched that with a particular ‘line’ using Keynote, and then think about writing two versions of the work, the Tinderbox hypertextual one and the more constrained linear one.

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