Teaching Beyond the Curriculum

Abstract

Expansive creativity starts with how we navigate language, in its plethora of manifestations and contexts. Increasing hegemonic and unwieldy systems of imposed synchronicities and rationality abound symptomatic of our submergence as oppose emergence as creatives. Expansive creativity is an event, not simply an object of matter, but a phenomenological field no less of absence and withdrawal, from place, of actions – in effect, resulting in a site that is estranged from all forms, an autonomy of self-meaning. A paradox between the potential of the virtual and distant, and the possibility of its actuality as visual and physical, intimate, and sensed. The (jointly delivered)paper will highlight creative, innovative teaching & art making as indicative of elements and not productions of ‘things’ (Levinas). Experimentation absorbed in the realisation of the work as it discloses an ontology of site beyond exteriority and aesthetic appearance (Heidegger); An intersubjectivity where upon ‘the visible is pregnant with the invisible’ (Merleau-Ponty) and in contrast to the functionality of material (Heidegger) memory makes the past available to me for my future (Levinas) through that meeting of expression and feeling (Dufrenne). What does creative excellence look like and where is it situated? And how can we make the invisible visible? When we produce art, we co-create, between a pre-reflective situation of art’s raw facticity, and the application of artistic languages and methodologies which may conceal it. Being innovative is rhizomic but also paradoxical, beyond knowledge at that interspace between past and future that is present through its dispersal, indeed as Levinas suggests this ‘non representability is the surplus of the lived body over the representation of it.’ (2015:43) The creative potential of other is one set of assemblage unforms and another emerges in that reterritorialization and future forming that result from that creative production.