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Please note: the conference is in BUILDING 2 on the UC Bruce campus. 
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DAILY FORECAST (care of Describing Things in Canberra):  

Wednesday Canberra weather: regardless of any thing Neil Finn may have said, you don’t really have your own personal weather bubble. You can easily test this by travelling from the Woden Valley to the northside on foggy morning. Or getting on a plane in December and flying to Helsinki.

So those of you who are in Canberra today will probably experience much the same weather as each other. Warm to hot and slighty sticky. The weather equivalent of spilling cocoa on your new trousers.

Chemical interventions such as deodorant, sunscreen, mosquito repellent and anti-histamines are strongly indicated. Consider long before you commit to opaque tights, however hairy your legs are. Once the sun is over the yard arm, applications of gin and tonic may be beneficial.



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Tuesday, November 29 • 9:00am - 10:00am
Creative Collaboration :: 2A13

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Daniel Baker: Bits of Worth: Creative Remediation as Collaborative World Building 

What exists at the intersection of image and word? Where does the photographer end, the writer begin? Who owns the story? “Bits of Worth”, an artefact and rationale from and for Worth, attempts to address such questions. Combing iPhone photos and 1000 word stories, Worth is an evolving collaborative narrative by Daniel Baker and LJ Maher, skirting the borders between author and reader, lived experience and fictional reality, which, at its core, outlines a creative practice predicated on sampling, remixing, remediation, and authorised theft. Underpinned by the work of Lawrence Lessig and Henry Jenkins, Worth is positioned at a nexus of practice and theory, concerned with the historical image of the ‘original’ artist and their relationship with economic, social, cultural factors. As such, questions of reader agency, collaborative vulnerabilities, artistic originality, and creative ownership naturally arise. Fundamentally, then, “Bits of Worth”, and the larger project of which it is a part, constitute something of a refrain, the unifying theme coded into a creative dialogue between its participants where each picture and each story is both conversation and consideration.    

Eugen Bacon: That danged gizmo

‘That danged gizmo’ emerges from collaborative practice between two culturally diverse authors: a retired American living in Georgia, and an African Australian living in Melbourne. The writerly alliance sees one author focus on characterisation (‘deep south’ dialogue), and the other on literary elements (playfulness with language, style and structure), both in quests to contribute to the quality of form in the work of science fiction. Each author approaches the writing with their own knowledge, their own biases, their own craft. Together, while navigating inherent challenges in multiplicity of voice, the artists reinvent discrete ideas and creative practice into a collective storytelling. Collaborative practice is a type of theft where literature is made up, where a multiplicity is endowed with significance. The success of multi-authored work relies on the participants’ ability to negotiate their diversity, adopt each other’s creative elements and engender uniqueness to an artistic formation that is singular and seamless to the reader. In a contemporary context of digital and cyber realms, ‘That danged gizmo’ borrows from science fiction as a kind of hyperreality, where a machine destabilizes the relationship between a man and his wife. 

Penni Russon: Collaboration in the Academic Discipline of Creative Writing: A Thematic Analysis

Creative writers, with their flexible, empathetic working methods and willingness to explore new methods and new ideas, may be particularly well suited to collaborating. There is a growing trend in academia to the rewarding of funding to projects in which several disciplines combine their resources to tackle complex problems, and creative writing scholars may find themselves increasingly under pressure to explore interdisciplinary research opportunities. This thematic analysis provides a broad overview of themes in current discourse about collaborative practice in the academic discipline of creative writing. The main findings suggest that while the romantic image of the ‘solitary genius’ persists, creativity has social dimensions and creative writers can benefit from renewed engagement with their own discipline through the exposure to other disciplinary methods and working practices. New methods arise in the space between disciplines that allow for the tacit knowledge, unexpected discoveries and flexible thinking styles characteristic to creative practice. Communication is vital, and maintaining strong links with your own disciplinary community is also essential. In her presentation, Penni illustrates the main findings of her thematic analysis with examples from her own interdisciplinary collaborative project designing and developing therapeutic content for Orygen Youth Mental Health.

Rowena Lennox: Coolooloi

The etymology of the word ‘interview’ comes from Middle French s’entrevoir – to see each other. Using interviews to research relationships between dingoes and people on Fraser Island (K’gari) enables me to see the people who talk with me and to see a complex situation from different perspectives. Some of the controversies around dingoes and people on K’gari are exemplified in the case of Jennifer Parkhurst, a dingo researcher who in 2010 was prosecuted by the Queensland government for feeding dingoes and for interfering with a natural resource on K’gari.
      An interview is a staged dialogue between an interviewer and an interview participant for an audience or reader that also requires ‘a continuous negotiation of terms’ (Masschelein et al. 2014, p 25). As a form of collaborative practice an interview combines ‘preparation and anticipation’ with ‘improvisation and spontaneity’ to create something that is ‘never entirely predictable’ (Masschelein et al. 2014, p 21).
      The qualities that make an interview a collaborative work of art in its own right involve trust. They relate to an interviewer’s preparation, what an interview participant says and/or does, the ways both participants shape the live interview, and the context that an interviewer provides in the transcription and narration of the interview when it becomes text.
      This extract, ‘Coolooloi’, applies techniques of ‘repair, assemblage and re-assemblage, stitching together, a kind of bricolage or experimental tinkering’ (Gibbs 2015) to an interview with Jennifer Parkhurst. It aims to balance the documentary aspect of the situation (Gornick 2001, p 13), or the ‘problems and provocations’, with the ‘sensations, affects, intensities’ that the writing is seeking to create as its ‘mode of addressing problems’ (Grosz 2008, p 1). From this interplay emerges the story itself, which belongs to neither Parkhurst nor me. Ideally interviewer and interview participant become complementary narrators who allow the voice of the reader ‘its role in the creation of the narrative’ (Adelaide 2007).


Paul Hetherington

Professor of Writing, University of Canberra
Paul Hetherington is Professor of Writing at the University of Canberra and Head of the International Poetry Studies Institute (IPSI) there. He has published ten full-length collections of poetry, including Burnt Umber (UWAP, 2016) and five poetry chapbooks, most recently Earth. His collection, Six Different Windows won the 2014 Western Australian Premier’s Book Awards (poetry) and he was a finalist in the 2014 international Aesthetica... Read More →

avatar for Eugen Bacon

Eugen Bacon

PhD Writing, Swinburne University of Technology
Eugen M. Bacon, MA, MSc, PhD, studied at Maritime Campus, University of Greenwich, less than two minutes’ walk from The Royal Observatory of the Greenwich Meridian. A computer graduate mentally re-engineered into creative writing, Eugen has published over 100 short stories and creative articles, and has recently completed a creative non-fiction book and a literary speculative novel. Her story ‘A Puzzle Piece’ was shortlisted in the... Read More →

Daniel Baker

Deakin University
Daniel Baker is a casual academic, holding a PhD in Literature from Deakin University. Focussing on the intersection of fantasy fiction, dystopian aesthetics, and formula fiction, he has published ‘History as fantasy: estranging the past in Jonathan Strange and Mr. Norrell’ in Otherness and ‘Why we need dragons: the progressive potential of fantasy’ in JFA, and presented at conferences from Geelong to Varanasi.  He is... Read More →

Rowena Lennox

University of Technology Sydney
Rowena Lennox is a doctoral student at the University of Technology Sydney writing about dingoes and people. Her essays, fiction, memoir, poems, short articles and an interview with Bill Gammage have appeared in Hecate, Kill Your Darlings, Meanjin, New Statesman & Society, Seizure, Social Alternatives, Southerly, Sydney Morning Herald, Transnational Literature and Writers in Conversation. Her book Fighting Spirit of East Timor: the Life of... Read More →
avatar for Penni Russon

Penni Russon

University of Melbourne
Penni Russon is the author of several novels for young adults, including the multi-award winning Only Ever Always. She teaches Writing for Children and Young Adult Fiction at the University of Melbourne. She is the first creative writing PhD candidate in the Centre for Youth Mental Health at the University of Melbourne, documenting her work collaborating with visual artists, other writers, psychologists, computer developers and designers to... Read More →

Tuesday November 29, 2016 9:00am - 10:00am
2A13 Building 2, UC

Attendees (6)