Tracing Invisible Lines , livre ebook

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179 pages

English

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TRACING INVISIBLE LINES is a critical autoethnographic text built around Gregory Ulmer’s concept of the “Mystory.” Dedicated to the enhancement of imagination and innovation in a digital-media saturated society, Ulmer’s Mystory is a creative research method that draws narratives from three domains of discourse (personal, professional, popular). Analysing these domains means generating fresh insight into the deep-seated emblems that drive the creative disposition, or “invariant principle,” of the practice-led researcher. Here, the mystoriographical approach has mobilized an exploration of the interrelations between self and society, between memory and imagination, as well as between industry-driven design-arts education and experimental sound-art practice (prioritizing the sonic, the perambulatory, careering). As a result, the Mystory fosters critical awareness of the socio-cultural instruments of creative inspiration and perspiration.
Reflexive in intent and experimental in approach, David Prescott-Steed’s hybrid writing style moves freely between art historical, biographical and autobiographical, academic and speculative moods. This book’s emphasis on an electronic, investigative sound-based practice finds it treading new ground between the sonic arts and the field of electracy; through its addition of sound and music to the genre, this book extends the scope of studies into Ulmer’s work beyond English literature and the ocularcentric arts, offering a new handbook for sonic conceptual art practice.

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Publié par	Parlor Press, LLC
Date de parution	28 février 2019
Nombre de lectures	0
EAN13	9781643170770
Langue	English
Poids de l'ouvrage	1 Mo

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T r acin Invisible Lines
P r escott-Steed

TRACING INVISIBLE LINES is a critical autoethnographic text built around
Gregory Ulmer’s concept of the “Mystory.” Dedicated to the enhancement of
imagination and innovation in a digital-media saturated society, Ulmer’s
Mystory is a creative research method that draws narratives fom three domains of
discourse (personal, professional, popular). Analysing these domains means
generating fesh insight into the deep-seated emblems that drive the creative
disposition, or “invariant principle,” of the practice-led researcher. Here, the
mystoriographical approach has mobilized an exploration of the interrelations
between self and society, between memory and imagination, as well as between
industry-driven design-arts education and experimental sound-art practice Tr acing Invisible Lines
(prioritizing the sonic, the perambulatory, careering). As a result, the Mystory
fosters critical awareness of the socio-cultural instruments of creative inspir - a an experiment in mystoriogr aphy
tion and perspiration.
Refexive in intent and experimental in approach, David Prescott-Steed’s
hybrid writing style moves feely between art historical, biographical and
autobiographical, academic and speculative moods. This book’s emphasis on an
electronic, investigative sound-based practice fnds it treading new ground between
the sonic arts and the feld of electracy; through its addition of sound and music
to the genre, this book extends the scope of studies into Ulmer’s work beyond
English literature and the ocularcentric arts, ofering a new handbook for sonic
conceptual art practice.
David Prescott-Steed is an artist and writer whose creative practice is focused on
found sound processing and improvisation. Recordings of his work have been
presented at numerous international events and released through labels such as
Gruenrekorder (DE), Green Field Recordings (PT), and Impulsive Habitat (PT).
David’s scholarly writing has appeared in Textshop Experiments, The Journal for Artistic
Research, Kinema, Helvete, Qualitative Research Journal, and elsewhere. His frst book, The
Psychogeography of Urban Architecture, was published in 2013 by Brown Walker Press (US).
ELECTRACY AND TRANSMEDIA STUDIES
Edited by Jan Rune Holmevik and Cynthia Haynes
D avid P r escott-Steed
3015 Brackenberry Drive
Anderson, South Carolina 29621
Parlor
http://www.parlorpress.com Press
S A N: 2 5 4 – 8 8 7 9
ISBN 978-1-64317-077-0Tracing Invisible LinesElectracy and Transmedia Studies
Series Editors: Jan Rune Holmevik and Cynthia Haynes
The Electracy and Transmedia Studies Series publishes research tha-t ex
amines the mixed realities that emerge through electracy, play, rheto-ri
cal knowledge, game design, community, code, and transmedia artifacts.
This book series aims to augment traditional artistic and literate forms
with examinations of electrate and literate play in the age of transmedia.
Writing about play should, in other words, be grounded in playing with
writing. The distinction between play and reflection, as Stuart Moulthrop
argues, is a false dichotomy. Cultural transmedia artifacts that are inter-ac
tive, that move, that are situated in real time, call for inventive/electrate
means of creating new scholarly traction in transdisciplinary fields. The
series publishes research that produces such traction through innovative
processes that move research forward across its own limiting surfaces (-sur
faces that create static friction). The series exemplifies extreme points of
contact where increased electrate traction might occur. The series also
aims to broaden how scholarly treatments of electracy and transmedia can
include both academic and general audiences in an effort to create points
of contact between a wide range of readers. The Electracy and Transmedia
Series follows what Gregory Ulmer calls an image logic based upon a wide
scope—“an aesthetic embodiment of one’s attunement with the world.”
Books in the Series
KONSULT: Theopraxesis by Gregory L. Ulmer (2019)
Exquisite Corpse: Art-Based Writing Practices in the Academy, edited by
Kate Hanzalik and Nathalie Virgintino (2019)
Tracing Invisible Lines: An Experiment in Mystoriography by David
Prescott-Steed (2019)
The Internet as a Game by Jill Anne Morris (2018)
Identity and Collaboration in World of Warcraft by Phillip Michael
Alexander (2018)
Future Texts: Subversive Performance and Feminist Bodies, edited by Vicki
Callahan and Virginia Kuhn (2016)
Play/Write: Digital Rhetoric, Writing, Games, edited by Douglas Eyman
and Andréa D. Davis (2016)
Sites
Gregory Ulmer’s Konsult Experiment: http://konsultexperiment.com/TRACING INVISIBLE LINES
AN EXPERIMENT IN MYSTORIOGRAPHY
David Prescott-Steed
Parlor Press
Anderson, South Carolina
www.parlorpress.comParlor Press LLC, Anderson, South Carolina, USA
© 2019 by Parlor Press
All rights reserved.
Printed in the United States of America on acid-free paper.
S A N: 2 5 4 - 8 8 7 9
Library of Congress Cataloging-in-Publication Data on File
978-1-64317-075-6 (paperback)
978-1-64317-076-3 (hardcover)
978-1-64317-077-0 (PDF)
978-1-64317-078-7 (ePub)
1 2 3 4 5
Electracy and Transmedia Studies
Series Editors: Jan Rune Holmevik and Cynthia Haynes
Cover image: © 2019 by David Prescott-Steed. Used by permission.
Copyeditor: Jared Jameson.
Book design: David Blakesley
Parlor Press, LLC is an independent publisher of scholarly and trade titles
in print and multimedia formats. This book is available in paper, cloth and
eBook formats from Parlor Press on the World Wide Web at http://www.
parlorpress.com or through online and brick-and-mortar bookstores. For
submission information or to find out about Parlor Press publications, write
to Parlor Press, 3015 Brackenberry Drive, Anderson, South Carolina, 29621,
or email editor@parlorpress.com.Contents
Acknowledgments vii
1 Mystoriography: Theories and Considerations 3
2 Mystory: Creative Cultural Practice 35
1. Other People’s Stories 37
2. Personal (Autobiography) 47
3. Popular (Community Stories, Oral
History, Popular Culture) 50
4. Expert (Disciplines of Knowledge—) Part One 60
5. Expert (Disciplines of Knowledge—) Part Two 86
6. Formulating an Invariant Principle 99
3 A Brief Account of the Dominant Themes in my
Creative Practice: 1992 — Present 106
4 Assemblages: Towards a Sonic Psychogeography 121
5 Afterthought 151
Works Cited 155
Index 165
About the Author 169Acknowledgments
irst and foremost, I would like to thank Julie and Olive, the two
most important people in my life. I am very grateful for your love, Funderstanding, and endless support of my artistic preoccupations.
Whatever disposition this project describes, and whatever creative ou- t
comes might serve best to express it, nothing is as important to me as the
life we are making together. I love you more than the moon and the stars
in the pristine Heathcote sky.
In the creative fields, I would like to acknowledge the wonderfully
multifarious organism that is the experimental music community here in
Melbourne. It is an honor to be a collaborator with, and not infrequently
a student of, the many artists whom I call my friends and peers.
I would also like to express my sincere gratitude to Kevin Wisniewski
and Felix Burgos, editors of the imaginative and eclectic journaTel
xtshop Experiments. Their support for my forays into creative and critical
thinking has helped fuel the momentum needed for me to undertake
this much larger project.
viiTracing Invisible Lines
“We speak of the abyss when, having been separated from a
basis of support and having lost a point of support, we go
looking for one on which to rest our feet.”
— Martin Heidegger
11 Mystoriography: Teories and
Considerations
s a writer, sound artist, and design-arts theory teacher living in
Melbourne, Australia, I appreciate how important it is to seek Aout new material and theoretical tools for developing a creative
practice, whether with the aim of enhancing its perceived social function
or simply as a means of advancing its esthetic qualities. The image of the
artist as a person chipping away at a project by themselves, an
isolationist’s approach to conceptualizing what it might mean to make art in a
studio space of some form, is a fairly limited depiction of what it means
to make art. It may be deemed rather romantic in its implicit appeal to
individuality and, thus, in its claim to authenticity. To the extent that it
is imagined, it is an artificial image, and one anchored in a specific
sociohistorical context. As David Inglis explains:
The “magical” power of certain people, such as art critics, g- al
lery owners and patrons of the arts to define what counts as
“art” and what does not, is a phenomenon peculiar to modern
societies in the last 200 years or so. Before that, no-one had s -e
riously entertained the view that “art” and “everyday life” were
totally separate from each other. The terms “art,” “artwork” and
“artist” are historical inventions primarily of the nineteenth ce-n
tury. Before then, these terms did not exist. .&#