ISSN 1556-6757


SJI 


 

 

 

 

 

 

 

 

 

 

 

 

 

 


 
 
 
Journal of Creative Work

Volume 1, Issue 2, 2007

 
 

Michel Foucault and the Possibility of Value: Ethics of Creativity vs. Ethics of Truth
Artur Golczewski


Statement of Purpose
The article further explores, via Foucault, the ethics of creativity as an epistemological alternative of the rationales of value to the ethics of universal or absolute Truth. The objectives of this study are to re-present Foucault’s genealogical analysis of the operational mechanisms of what he calls pastoral power as self-constitutive circuits of power/knowledge or power/truth relations. This analysis instigates a transactional critique of modernity, advanced in terms of the possibilities of evaluating the normative or dis-empowering effects of universal truth (Truth). The primary objective of this essay is to clarify Foucault’s critical project by recasting it into more tangible effects of its deployment onto the larger culture as a critique and re-orientation of the coordinates of possible cultural values.  


 

Homo Sutra: Disrobing Desire in the Adult Cinema

Sam Joshi

Statement of Purpose
Current issues in the literature: Feminist theorists of male sexuality in the US have noted with

concern the pervasive tendency to view male sexuality in terms of universal, mechanical norms of performance (Tiefer 1987; 2004:195-208). This tendency, evident in the successful promotion of Viagra, neglects issues like intimate relations, emotionality and culture. Feminist scholars have discussed how the methods of an increasingly bio-medicalized Sexology collude with the goals of an increasingly profitable sexuo-pharmaceutical industry (Tiefer 1998:219-242). They have called for new methodologies that examine sex from outside the narrowly bio-mechanical, clinical model (Aanstoos 2001:85-88). Description of the study: Answering the call for methodological innovation, my study apprehends sex from a cultural, emotional and embodied perspective. For five months, I was a participant observer of male sexuality in an actual culture of sex – the public sex environment of an adult film theatre and video arcade in a US metropolis. As a sex researcher, I took the unprecedented step of freely participating in sex acts with other men in order to gather data. To accomplish this study, I adopted an autoethnographic approach

(Ellis 2004), which allows for visceral engagement and evocative description. Contribution of the study: Analyzing my data in light of Max Weber's argument in “The Protestant Ethic and the Spirit of Capitalism” (1998), I show how the norms of Capitalism saturate the regnant ideal of male sexuality. More importantly, I go on to show how the root concept of “Sexuality” itself is a recent concoction of Capitalist ideology, the purpose of which is to make us conform to the Capitalist economic order at the level of our most intimate desires. To liberate ourselves from “Sexuality,” we must imagine alternatives to dominant social science methodologies which themselves serve Capitalist ideology.


George: Music and Apple Pie
Karen V. Lee
 

Statement of Purpose
The following story is written in response to professional musicians becoming classroom music

educators. It chronicles the journey of a professional trumpet player during his university teacher

education degree. He is guided by his personal and artistic experiences when shifting from

performer to teacher identity. I touch on the themes of family, finances, teaching, learning,

fatherhood, performing, and musicianship as musicians are confronted when changing careers for financial stability. This intimate account provides a deeper understanding about the transformative nature of internal conflict as George discovers how to reconcile identities. Ultimately, it is hoped this story allows others to reflect on the challenges artists have when reshaping their identities in order obtain financial stability.


Tangos for piano
Alejandro Cremaschi, U. of Colorado at Boulder, alejandro.cremaschi@colorado.edu

 

Statement of Purpose
This file (total time: 11 minutes, movements: Evocación, Llorón, Compadrón, Milonguero, Nostálgico) contains a live recording of the work for piano Tangos (1941) by the Argentine composer Juan José Castro (1895-1968), recorded by the pianist Alejandro Cremaschi in March 2005 at the Grusin Auditorium, University of Colorado at Boulder. Castro was an influential composer who experimented with a synthesis of nationalistic elements and modern musical languages, as a reaction to the romantic nationalism of earlier Argentine creators. Tangos is an example of this search for a new type of nationalism. It combines elements of the popular tango genre with dissonant and direct neoclassical sonorities reminiscent of Stravinsky and other French neoclassical composers. My performance of Tangos is the result of my research on Argentine composers, and of Castro's style and musical works.  Click to Play

 

I’m Sorry, Darling

Calisto Mudzingwa

 

Statement of Purpose
My short story highlights the challenges that immigrants from Africa face in North America. It involves a family of three that has moved to Canada in search of greener pastures. The family faces huge challenges; the husband has problems getting a job that is commensurate with his qualifications; lack of friends, relatives and companionship; and raising a kid in a different cultural milieu. The husband works long hours and is depressed—so is the wife. Due to stress, the wife is hospitalized. Hospitalization of the wife helps the husband to see how much his wife is going through.

 

Due Process
T. Berto

Statement of Purpose
After 9/11, five Muslim-Canadians were captured, held without cause, and handed over to

American authorities for 'extraordinary rendition' or, torture in Syria. All have since been proven to

have committed no crime, nor terrorism: the Prime Minister and parliament have apologised and

paid millions to compensate victims of this paranoia. This work explores such paranoia, and the

reasoning that supports it. To investigate how such injustices happen, the play imagines the

dignities and fears of both those involved: the ‘threatened’ and the ‘threat’. It questions what it

means to 'do good' in a world where all positions are compromised.