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This looks cracking session.

Did  circulate this notice on my new book?
pasted below,
very best
David

Flirting with Space: Journeys and Creativity
David Crouch, University of Derby, UK   Ashgate
’A phenomenal and sensational work, Flirting with Space speaks of David Crouch’s intense and passionate interest in how it feels to feel. His spatial theories on life as it’s lived are spry and vital, asserting the generative and creative power held by people, trusting in the ordinariness of emotion and common experience, and seeking out practices of humane value.’ – Hayden Lorimer, University of Glasgow, UK
‘Crouch invites his readers on a journey that meanders through the workings of myriad artists, sojourners, and theorists, evoking resonances between seemingly unrelated pathways of intellectual and emotional discovery. Flirting with Space is a work of enchanting potential, written from the unique perspective of a mature artist and distinguished scholar.’ – Sally Ness, University of California Riverside, USA
The idea of ‘flirting’ with space is central to this book. Space is conceptualized as being in constant flux as we make our way through contexts in our daily lives, considered in relation to encounters with complexities and flows of materiality. Through considerations of dynamic processes of contemporary life-spaces, the book engages the inter-relations of space and journeys, and how creativity happens in those inter-relations. Unravelled through wide-ranging investigations, this book builds new critical syntheses of the intertwining of space and life: the mundane and exotic, ‘lay’ and ‘artistic’. The book creates a fascinating and original view of our interaction with space.
Contents: Prologue; Flirting with space; Everyday abstraction: geographical knowledge in the art of Peter Lanyon; Spacing, performing and becoming: tangles in the mundane; The play of spacetime; Expressive encounters; Landscape and the poetics of flirting (with) space; Some conclusions; Bibliography; Index.  Includes 4 colour illustrations
Prologue can be viewed online at: www.ashgate.com



________________________________________
From: The Anthropology-Matters forum mailing list [[log in to unmask]] On Behalf Of Amanda Ravetz [[log in to unmask]]
Sent: 10 November 2011 15:55
To: [log in to unmask]
Subject: Call for Papers ASA 2012 The Art of Improvisation

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*        http://www.anthropologymatters.com            *
* A postgraduate project comprising online journal,    *
* online discussions, teaching and research resources  *
* and international contacts directory.                *
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The call for papers for the ASA Conference 2012 which will be held in Delhi on 3-6th April is now open.

We would like to invite you to submit an abstract for our panel 'The Art of Improvisation'.

We are interested in securing contributions from a broad range of perspectives, e.g. anthropology, the visual arts, music and performance. We are hoping to develop a dedicated journal issue as a result.

Queries should be directed to Amanda Ravetz
email: [log in to unmask]

Full details can be found here:
http://www.nomadit.co.uk/asa/asa2012/panels.php5?PanelID=1351

Convenors: Amanda Ravetz, Manchester Metropolitan University; Kathleen Coessens (Vrije Universiteit Brussel); Anne Douglas (Robert Gordon University)

The panel is driven by an interest in understanding embodied, experiential knowledge through the lens of experimental arts practice. Taking an expanded notion of improvisation as a state of 'being alive' (Ingold 2011), the panel will explore trajectories between improvisation in life and improvisation in art as follows:

In life, asserts Tim Ingold, there exists no script. The primacy of experience is a form of 'trying out'. We might think of this then as a movement from an indefinable and undifferentiated state to one of feeling our way through creating direction.

In art we cast a critical eye on the 'givens', the predetermined structures of social, cultural, material experience while recognising that freedom and constraint are profoundly interrelated. Improvisation in art across cultures is a specific approach to form making that centres the imagination (of the creator/ performer/spectator) precisely on managing the interplay between freedom and constraint.

In artistic research, the artist/researcher places him/herself at the sharp point of the inquiry, re-imagining, re-configuring, intensifying and scrutinising practice to create insights within and beyond the arts.

• How might a revisiting of improvisation as a condition of life open up approaches to improvisation in art, challenging its current formulation as a specific formal approach?

• In what ways might such an inquiry inform new understandings of embodied knowledge within and beyond artistic practice?

• How might such knowledge sit beside anthropological formulations of improvisation and creativity?

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