THE RELATIONSHIP OF MAKING TO WRITING
Katy Macleod

WORDS APART: THE QUESTION OF AUTHORITY
Pavel Büchler

WRITING AND THE IN-BETWEEN
J. R. Nicholas Davey

IMAGE AS TEXT - TEXT AS IMAGE
Rebecca Fortnum

In this paper I explore some moments in contemporary visual art practice when a dynamic exists between text and image. The paper is written from my perspective as a practising artist and discusses issues that I have been debating within my own work. In the first section I begin by examining some work by two contemporary practitioners; Richard Prince and Sean Landers. Looking specifically at two exhibitions (Prince, Barbara Gladstone, 1996 and Landers, Andrea Rosen, 1992). I investigate the notion of the verbal in relation to these works and to what effect the body, in this case the hand, is employed.

The second part of the paper discusses two series of my own works; one from 1993 from the exhibition Contra Diction (Winchester Gallery) and a second series from 1966 that wre exhibited under the title Third Person (Kapil Jariwala, London). These works superimpose the act of reading on the act of looking. I discuss my aims for the pieces and how an audience might engage with them. I quote extensively from catalogue essays by Greg Hilty and John Gillett.

THEORIZING THEORY AND PRACTICE
Clive Cazeaux

In this paper, I argue that it is only on the basis of a particular model of knowledge that theory and practice are interpreted as separate or polarized activities. I draw on the ancient Greek concept of aletheia and related passages from Kant, Hegel, and Kuhn to show that theory can also be understood as the bringing-to-light of new aspects of our experience; the process of theorization, I aver, reaffirms our cognitive purchase on the world. Following a study of the metaphors and images which govern how we see one thing in relation to another, I devise a 'topography of thought' which allows us to visualize theory and practice as interrelated aspects of perception.

A(D)DRESS REHEARSAL: THE EMBODIMENT & SPECTACLE OF PRAXIS
RyyA. Bread

I propose to structure my argument around a series of 'plaster coatings' that I have made of my own body. It is through the process of making these 'plaster coatings' that I identified the body as a primary site from which to address the role of fantasy in relation to praxis. I aim to posit fantasy as an embodied strategy for recognising a dialogue between theoretical investigation and the production and presentation of visual practice. My goal is to frame the notion of fantasy as a primary component of performativity. At the same time I intend to use this conference as a site to demonstrate the performative constructions of academic discourse in which my texts are framed.

I will focus expressly on how the performative and academic implications of this work correspond with notions of 'embodiment' and 'spectacle'; the masquerade of making and being. In the plaster coatings, my body acts as the overt sire in which these concepts are negotiated. This emphasis demands consideration of how the body is represented and experienced in social, historical and psychical-corporeal terms. Specifically, I will look at how notions of 'dress' and 'nudity' are implicated into my 'plaster coatings' and my larger inquiry of text production.

WRITING AND MAKING: PROBLEMS ENCOUNTERED BY PRACTICE-BASED RESEARCH DEGREE STUDENTS
John Hockey

Little is known about the experience of practice-based research degree students. This paper focusses upon some of the common problems student encounter when writing academic text combined with creative work. The paper is based upon in-depth interviews with 50 research students at 25 UK institutions of higher education.

ART, THEORY AND UTOPIA
Malcolm Miles