Anne Gambling Thesis

Creative Artefact: The Taste of Translation & Exegesis: The Inner Outed Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Anne Gambling Swinburne University of Technology Faculty of Higher Education, Lilydale February 2012 Abstract How is new knowledge produced? For Deleuze & Guattari, “the new is an outside that exists within this world, and as such it must be constructed” (O’Sullivan & Zepke 2008, p.2). My work demonstrates that practice-led research offers a liberating framework toward such “production of the new” (O’Sullivan & Zepke 2008, p.2), an opportunity for the intuitive and creative wellspring of heart-knowing to cross-fertilise with the intellectual and reflective reservoir of the mind. Beginning with direct experience of the collective unconscious (Jung 1995), the research question I addressed in this project was: How do I bring inner knowing out onto an external plane? The particularities of my process toward the following research outcomes – an Exegesis titled The Inner Outed and a Creative Artefact, The Taste of Translation – documents how creative practice unlocks intellectual understanding as much as reflective inquiry underpins and enables ongoing creativity. In this way, research and practice coalesce to form a seamless whole. A rhizomatic methodology was used to explore an expanding fabric of interconnections, “all manner of ‘becomings’” (Deleuze & Guattari 2004, p.24), my writing the tool to chart territories explored as they were traversed. The rhizomes of both exegesis and artefact thus form a single “plane of consistency” (Deleuze & Guattari 2004, p.9), of becoming knowledge, where thematic concepts such as engaging the other, memory, landscape and translation are interrogated together with what it means to love: “Love is as love does […] We do not have to love. We choose to love” (Peck 1978, p.71). This submission is a small offering to the conversation on peace consciousness in a post-9/11 world which seems to have forgotten how to love according to the perennial philosophy (Huxley 2009) – that different religious traditions may appear to divide but compassion conjoins us all; that we are one humanity with many faces; and that we live in a world where, as Buddhist teachings suggest, love is “at the centre of all things and all things are the same thing” (Kerouac 2008, p.137). i Acknowledgements To my sizeable rock in the shifting sands of the intertidal zone, without your complete and unconditional presence throughout, none of this would have been possible. A heartfelt Chapeau! goes to Associate Professor Dominique Hecq and Dr Christine Sinclair, super supervisors who shared the journey in principally virtual space and time. Editing, proof reading and document formatting were conducted by Joan Howard in accordance with the Australian Standards for Editing Practice (ASEP) for research students' dissertations. And with gratitude to the Academy for the Australian Postgraduate Award scholarship which provided financial assistance for the duration of my candidature. ii Declaration by Candidate This work contains no material which has been accepted for the award of any other degree or diploma in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where reference has been made in the text. Signed: Anne Gambling Dated: 9 February 2012 iii Contents Abstract.................................................................................................................i! Acknowledgements..............................................................................................ii! Declaration by Candidate.................................................................................... iii! List of figures and illustrations..............................................................................v! Exegesis: The Inner Outed....................................................................... 1! Introduction ......................................................................................................... 1! Chapter 1: Becoming Desire............................................................................ 12! Chapter 2: Becoming Landscape .................................................................... 21! Chapter 3: Becoming Conscious ..................................................................... 41! Chapter 4: Becoming Product.......................................................................... 56! Chapter 5: Becoming Myth .............................................................................. 74! Creative Artefact: The Taste of Translation ..................................... 85! Panel One: Laleima’s Story (Excerpt)............................................................... 88! Panel Two: Cantigas de Santa Maria (Excerpt).............................................. 109! Panel Three: Kisha’s Story (Complete)........................................................... 130! References...................................................................................................... 309! Appendix 1: The Taste of Translation: glossary, citations and references ..... 317! Appendix 2: Second-Person Text included in Panel One, Laleima’s Story .... 332! Appendix 3: Report of Dreamwork in relation to Panel Three, Kisha’s Story . 334! Appendix 4: Lorca’s Duende as an expression of Embodied Knowing .......... 336! iv List of figures and illustrations Figure 1: Alhambra, Granada ............................................................................. 2! Figure 2: The Process of Becoming.................................................................. 10! Figure 3: Mapping the Stories........................................................................... 12! Figure 4: Daylily Rhizomes ............................................................................... 13! Figure 5: Producing the New ............................................................................ 16! Figure 6: Becoming Landscape ........................................................................ 27! Figure 7: The Three Faces of Anne.................................................................. 44! Figure 8: Cycles of Embodied Action and Reflection........................................ 45! Figure 9: Becoming Product ............................................................................. 57! v ! Exegesis: The Inner Outed Introduction When Deleuze & Guattari (2004) elaborated A Thousand Plateaus, the text had neither beginning nor end, but started somewhere in the middle. They advocated a rhizomatic, as opposed to an arboreal, approach to the production of knowledge; and within the text this became the means by which to link their diverse series of thought. The concept of the rhizome, therefore, operated as both a touchstone and guiding principle to their process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escribing the work as an ‘intermezzo’ performance, their approach to writing created a perpetually expanding fabric of interconnections resulting in “all manner of ‘becomings’” (Deleuze & Guattari 2004, p.24). The concept of plateaus – defined as “any multiplicity connected to other multiplicities […] to form or extend a rhizome” (Deleuze & Guattari 2004, p.24) – took on the role of an organising strategy for their writing. In this way, their “production of the new” (O’Sullivan & Zepke 2008, p.2) acquired form and consistency. “To attain the multiple, one must have a method that effectively constructs it” (Deleuze & Guattari 2004, p.24). Suffice it to say that this project led me on a similar dance toward the production of new knowledge. But rather than confuse you, the reader, upfront with my multitude of middles, I will offer a semblance of a beginning to this paper, nevertheless acknowledging that this exegesis will be infused with an ongoing dynamic of “travelling and moving: proceeding from the middle, through the middle, coming and going, rather than starting and finishing” (Deleuze & Guattari 2004, p.27-8). 1 ! To begin then, I invite you on a journey to the Alhambra in Spain, the Moorish palace of Granada, seat of the Nasrid dynasty until the close of the 15th century. Figure 1: Alhambra, Granada It is July 2000, late afternoon, and I am just another tourist in the crowd, until I bear witness to a scene that elicits no response from those around me. A girl, perhaps in her early twenties, crosses my line of vision. She has long black hair, is wearing a plain linen shift, and is walking, crying, blood staining her hands, her dress, all: :!+((!2!<&*%!),*$! I*&<-)!;%,,5!1,#*+(+!+-20(6#%!)-&<-+! J2&$!12$$,)!;(!-&5!@C20;%&$<!DEKK;.!L,#*$2%!($)*3!DMNEONEEH"! Perhaps I should backtrack to another point in the rhizome to provide context for the experience. It is rare, but not without precedent, that I see, for want of a better word1, images of what has been, what is,

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