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Creative Producing as a Nomadic Creative Practices in a Global Pandemic Event

Paper presented at the 2022 Nomadic Image conference published as a book chapter

Abstract:

In the early days of the COVID-19 pandemic, when many of the conventions of common cultural practice were in upheaval, the need for nomadic frameworks of creative production came to the fore. As global lockdown forced reflection, creative practitioners attending to the space between the terrains of a project were galvanised by similar questions: What does it really mean to call ourselves creative producers? Adopting the framework of Gilles Deleuze and Félix Guattari’s Nomadology: The War Machine as a lens on these questions, this paper explores and expands on the creative producing stream of creative practices.


We take as a case study the Manifesto for Creative Producing, a six-week program for the 2021 Ars Electronica festival, produced by a coalition of designers, creators, producers, scientists, and artists. Four participants from this program undertook a qualitative case-study methodology​​ to interrogate how creative producing aligned with nomadology. Following thematic analysis of the interview text, three key findings emerged: Creative producers are mobile and not sedentary; they use itinerant rather than iterative methodologies; they make things that are not circles, but round. These findings establish a baseline of understanding around the ways in which a creative producer and creative producing practice share key features of nomadic practice and philosophy. It begins a conversation about communities, attitudes, and methods within creative production that can be built upon as the field continues to grow.


Reference:

Crouch, Lizzie, Gonsalves, Kavita, Medvescek, Nicholas, & Gingold, Matt (2024) Creative Producing as a Nomadic Creative Practices in a Global Pandemic Event. In Ashrafi, Soheil & Garbutt, Michael (Eds.) THE NOMADIC IMAGE: Explorations at the intersections of art, science, and culture. Victorian College of the Arts, University of Melbourne, Southbank, Vic, pp. 47-73.

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