By Candice P. Boyd
Utilising non-representational theories and practice-led study equipment, this booklet serves to reclaim therapeutics as ecological, spatial and fabric. It examines the websites and performances of a variety of healing paintings practices, together with portray and drawing, dance stream remedy, fibre paintings, subterranean graffiti perform, and poetic permaculture. In doing so it presents a major review of the position and standing of remedy in modern life.
A hugely interdisciplinary textual content, Boyd’s study is knowledgeable by way of a radical studying of post-structural concept together with modern feminism, Guattari’s ethico-aesthetic paradigm, Whitehead’s process-oriented ontology, and Deleuze’s writing on feel and the development. This cutting edge learn will turn out crucial for students and practitioners of cultural geography, socially-engaged artwork, healing reviews, and occupational therapy.
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Additional info for Non-Representational Geographies of Therapeutic Art Making: Thinking Through Practice
As pointed out by J-D Dewsbury, however, whatever is gained by failing still counts as knowledge (Dewsbury 2009a). A GEOGRAPHY OF WHAT HAPPENS Non-representational theory in geography was ‘hatched’ by Nigel Thrift as a critical response to human geography’s obsession with representation (Thrift 2008a). To appreciate the need for Thrift’s response, it is ﬁrst necessary to understand what representation is and what it does. To this end, Richard Rorty provides a provocative summary in his book Philosophy and the Mirror of Nature.
In this orientation these investigations would deserve to be called topophilia. 3 NON-REPRESENTATIONAL THEORY 41 They seek to determine the human value of the sorts of space that may be grasped, that may be defended against adverse forces, the space we love. For diverse reasons . . this is eulogized space. (emphasis in the original; p. xxxv) Bachelard’s rendering of space is intimate – centring on the images of home and circling outwards, intensifying the reality of perceived objects that reverberate through space and time – a process that necessitates the substituting of ‘writer’ with ‘creator’ (Destruel 1998).
Underground or overhead, see Garrett 2013), somatic practices (McCormack 2014), and embodied experiences (Bissell 2009), depending on the questions being posed. In the thinking through a ‘body in movement’, we might also consider the body’s immateriality (Blackman 2012). As Barad (2007) points out, even in a molar sense, the body is not bounded. We learn to ‘draw outlines’ that are not there. What looks like an edge is not a sharp boundary between light and dark but a series of light and dark bands – “a diffraction pattern” (p.
Non-Representational Geographies of Therapeutic Art Making: Thinking Through Practice by Candice P. Boyd