Writing As a Method

Abstract
This paper offers a discussion concerning the future of collaborative writing as a method of inquiry. Taking the form of a dialogic exchange, we take up Isabelle Stengers’ notion of ‘wonder’ as a creative and political lens through which to consider the disruptive, radical and productive methodological capacity that collaborative writing as a research method potentially offers. Working particularly with Deleuze and Guattari, we argue that language in collaborative writing practices is deeply entangled with complex materialist practice; and through engagements with these ‘matterings’ we make sense of collaborative writing as immanent event. We discuss – and experience – the challenges that collaborative writing has for research and this paper pushes at established categories, works against the fixities of conventional theory construction, contests the humanist and phenomenological proclivities that arguably limit the process and effectiveness of collaborative writing as method of inquiry, and wonders at the immensities that are possible.

In this paper, we share reflections from our research into spontaneous coordinations through the creation of pop-up dialogical installations. We offer a collage of anecdotes from our professional practice, from our personal lives and from dialogical installations. These episodes highlight themes from our everyday practice and show us what we do and what we value, but through new doorways. From our work on the streets, we see how i) making something with, and for, people requires daring; ii) we are always involved in reconfiguring dialogical space as we go; iii) we exchange planning for preparation; iv) dialogue is always influenced by, and influencing of, context; v) collage in writing and mixed media allows us to experiment with new configurations of words and share some mo(ve)ments from the installations.

Abstrakt (Swedish)
I denna artikel, reflekterar vi över tankar från vår forskning inifrån spontana dialogiska förlopp, studerade genom dialogiska pop-up installationer där vi själva deltar. Vi erbjuder ett kollage av anekdoter från våra yrkesverksamheter, från våra personliga liv och från de dialogiska installationerna. Dessa episoder ger nya infallsvinklar och kastar nytt ljus på teman och värderingar i vår dagliga praktik. Genom vårt arbete på gatorna ser vi: i) att det kräver mod att göra något för och med människor; ii) att vi alltid är involverade i att skapa dialogiska rum; iii) hur vi byter ut planering mot förberedelse; iv) att dialoger alltid påverkas av och i sin tur påverkar kontexten; v) att skrivande i collageform och mixed media, gör det möjligt att experimentera med nya former och dela lite av mo(ve)ments från installationerna.

A continuación se presenta un método de redacción a la vez sencillo y poderoso. Es un método inductivo, es decir que parte del examen de información dispersa, inicialmente no ordenada, que resulta en una categorización y contribuye finalmente a  la elaboración de argumentos.

Note.- this book was priced at $5.99 to be affordable for scholars in developing countries. You may download kindle apps for free on various devices if you do not have a kindle.

This book is designed to help English as Second Language scholars get published in English language peer-reviewed journals. Even though there are many books on academic writing and publishing, the needs of ESL Scholars are unique. The authors provide specific guidance to write strong, scholarly articles and tips to overcome the challenges of creating those articles in a language that is not their first. Scholars from the sciences, arts and humanities, professional disciplines, and the behavioral and social sciences learn a step-wise approach from generating ideas, through creating the architecture of an article, to managing the peer review process.

For fifteen days in 2011, I furtively performed a materialization of speech. The highly varied and mostly memorable content of conversations was for me an ideal and eminently available source for an art project
about dialogical aesthetics. But conversational content captured with a recording device was not what I was after. I am a visual artist, after
all. I wanted to accumulate and eventually see the conversations that I had experienced and recalled. So, the project involved putting
recalled conversational content through layers of cognitive and visual manipulation—filters, you might say. I am referring here to the techniques
of retrieval, handwriting, and display. The conversations, which quickly became unwieldy and endlessly mutating inside of my
head (at least that’s how I imagined them), had to be metaphorically yanked out of my head and transferred, through a hand-and-pencil
process, onto paper. The mental sorting and ordering that was involved resulted in what might be called fictionalization—a filtration
that was dispersed during both retrieval and documentation. I had to work quickly with all of this, to prevent my unstable memory from
another process: overwriting. Let me emphasize this: my aim of research
was aesthetic. I wanted to see what my side of the story
looked like.

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While it can be enjoyable and meaningful for students to perform on stage, they often view a performance’s end as just that—a definitive conclusion, a finished process. However, post-performance reflection, and revision, are critical components of art making. Offering writing strategies and examples of student work, this chapter advocates the body-centered, creative practice of performative writing as a useful method for training in the performing arts—an extended “stage” for students to revisit and reassess their work on the page as fully as on stage.