The following pieces emerge directly from research conducted through the mechanism of this blog.

• From the Stream to the Ocean

This paper deconstructs the assumed opposition between the discourses of theory and practice. It is argued that they share a deep cognition of the relationship between creativity and consciousness sourced from a common, yet multivalent metaphor of ‘liquidity’. Examining prominent correspondences between influential psychological theory, philosophy, literature and sociolinguistics, this paper puts the case that such tropes are not arbitrary or random, but testify to systematic and transferable conceptual models which permeate our culture. They organise our thinking about, and experience of, creative play through both theory and practice, without prescriptive limitations and in ways which render their boundaries mutually permeable and enriching.

McVittie F. (2006), “From the Stream to the Ocean”. In: van Koten, H. (ed),
Proceeds of Reflections on Creativity, 21 and 22 April 2006. Dundee: Duncan of Jordanstone College, 2007. ISBN: 1 899837 56 6.

• Top Down Approaches to Actor Training

This article discusses the training of actors, which entails assisting the performer in the development of such abstract competencies as are appropriate to that activity; maintaining a character, establishing circles of attention, delivery of text, stage ‘presence’, and conveying the illusion of naturalism. Some of these activities are incredibly subtle and detailed, and involve the shaping of multiple simultaneous actions. The successful delivery of such actions is dependent upon the smooth functioning of both the actor’s body and also their body of knowledge. This particular learning activity is interesting because it involves a complex mix of practical and intellectual knowledge which the competent actor needs to integrate into a unified competency. Drawing initially on the language of artificial intelligence research, specifically approaches to the development of artificial intelligence ( AI), which have been referred to as ‘top-down’ and ‘bottom-up’, it is suggested that certain aspects of actor training aimed at the construction of such a unified competency correspond to the top-down approach. It is argued that the equivalent of this approach is found in techniques which allow the transfer of appropriate metaphors which give cognitive structure to the imparted knowledge. These structuring metaphors influence and organize action, and are therefore necessary for the optimization of performance and the development of excellence. It is also suggested that in cases where new knowledge is less well supported by metaphor than older knowledge then the older knowledge will tend to persist in language and practice.

McVittie, F. (2007). “Top-down and bottom-up approaches to actor training.” Journal of Visual Art Practice 6(2): 155-163.