The application of creative practice as a means of disrupting or re-defining the dynamics of power in, with or for different communities

Sabrin Hasbun, Rachel Carney, Harry Matthews, Catherine Cartwright, Gareth Osborne, Julika Gittner, Agnes Villette

In this exposition, seven research practitioners investigate how creative practice can be applied as a form of knowledge production in order to disrupt or re-define the dynamics of power in a range of different contexts. These applications of creative practice take varied and complex forms, often transferring creativity from the practitioner-researcher to their participants, increasing participant agency or re-defining existing hierarchies, as they form, empower, and enlighten real and conceptual communities.

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Composing Technique, Performing Technique

Scott McLaughlin, Zubin Kanga, Mira Benjamin

Technique as the entanglement of composition and performance as an epistemic object (Knorr Cetina) emergent from contingent materiality. Two pieces by Scott McLaughlin—respectively for Zubin Kanga (piano) and Mira Benjamin (violin)—are discussed as case studies of strategies for entwining the specific embodied techniques of instrumental performance with the material agency (Pickering) of the instrument as a 'material indeterminacy' in which knowledge inheres through practice (Spatz).

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