Feminist Writing

Part one of this panel, in which feminist journalists are invited to discuss the pressures and difficulties, as well as opportunities, of working in mainstream media. Rather than thinking of feminist writing, either at the level of content or form, the focus will be on the experiences of feminist writers and the compromises that might have to be made when working for industry.

Part 2 of this panel, in which feminist journalists are invited to discuss the pressures and difficulties, as well as opportunities, of working in mainstream media. Rather than thinking of feminist writing, either at the level of content or form, the focus will be on the experiences of feminist writers and the compromises that might have to be made when working for industry.

The second speaker in this panel in which experimental feminist artists and writers are invited to reflect on their own practices. What is the relation between experimenting with form and experimenting with feminism? How does experimentation al-low us to rethink the materiality of writing, as well as the relationship between bodies, words, images and things?

The second speaker in this panel in which experimental feminist artists and writers are invited to reflect on their own practices. What is the relation between experimenting with form and experimenting with feminism? How does experimentation al-low us to rethink the materiality of writing, as well as the relationship between bodies, words, images and things?

In this panel we invite experimental feminist artists and writers to reflect on their own practices. What is the relation between experimenting with form and experimenting with feminism? How does experimentation al-low us to rethink the materiality of writing, as well as the relationship between bodies, words, images and things?

Academic writing could be understood as a genre, to the extent that academic writing involves a narrowing or restricting of what counts as writing. This panel reflects on how feminists have experimented with different modes of writing by inviting three feminist academics based at Goldsmiths to reflect on their decisions to stray from the usual genre of academic writing. What can we learn about feminism and genre from the point of view of feminist academics who have strayed? The discussion will widen to consider why “straying” might itself be a feminist method.

Academic writing could be understood as a genre, to the extent that academic writing involves a narrowing or restricting of what counts as writing. This panel will reflect on how feminists have experimented with different modes of writing by invited three feminist academics based at Goldsmiths to reflect on their decisions to stray from the usual genre of academic writing. What can we learn about feminism and genre from the point of view of feminist academics who have strayed? The discussion will widen to consider why “straying” might itself be a feminist method.

This strand on writing, publishing and the politics of communication operates within the remit of the CREATe project Whose Book Is It Any-way to open out debates on copyright, open access and emergent busi-ness models in order to address the wider ethics and politics of commu-nication inside and outside of the academy. This politics is oriented not just toward a contest over, say, the future of the book as an ana-logue/digital object, but also toward questions of publishing ethics, care, relations and process. How might we respond, intellectually and practi-cally, to the observation that academic publishing at least, has become a relatively closed circuit? Readers of academic books are also predomi-nantly (or potentially) authors of academic books and, with a wide-spread interest in digital first academic publishing, may well, in due course, become the publishers of academic books. What are the oppor-tunities here for redirecting our free labour (increasingly demanded from mainstream publishers, and increasingly differentiated according to gender, career stage development and so on) away from economies of innovation and toward those of experimentalism, invention and inter-vention?

This strand on writing, publishing and the politics of communication operates within the remit of the CREATe project Whose Book Is It Any-way to open out debates on copyright, open access and emergent busi-ness models in order to address the wider ethics and politics of commu-nication inside and outside of the academy. This politics is oriented not just toward a contest over, say, the future of the book as an ana-logue/digital object, but also toward questions of publishing ethics, care, relations and process. How might we respond, intellectually and practi-cally, to the observation that academic publishing at least, has become a relatively closed circuit? Readers of academic books are also predomi-nantly (or potentially) authors of academic books and, with a wide-spread interest in digital first academic publishing, may well, in due course, become the publishers of academic books. What are the oppor-tunities here for redirecting our free labour (increasingly demanded from mainstream publishers, and increasingly differentiated according to gender, career stage development and so on) away from economies of innovation and toward those of experimentalism, invention and inter-vention?

This strand on writing, publishing and the politics of communication operates within the remit of the CREATe project Whose Book Is It Any-way to open out debates on copyright, open access and emergent busi-ness models in order to address the wider ethics and politics of commu-nication inside and outside of the academy. This politics is oriented not just toward a contest over, say, the future of the book as an ana-logue/digital object, but also toward questions of publishing ethics, care, relations and process. How might we respond, intellectually and practi-cally, to the observation that academic publishing at least, has become a relatively closed circuit? Readers of academic books are also predomi-nantly (or potentially) authors of academic books and, with a wide-spread interest in digital first academic publishing, may well, in due course, become the publishers of academic books. What are the oppor-tunities here for redirecting our free labour (increasingly demanded from mainstream publishers, and increasingly differentiated according to gender, career stage development and so on) away from economies of innovation and toward those of experimentalism, invention and inter-vention?

This strand on writing, publishing and the politics of communication operates within the remit of the CREATe project Whose Book Is It Any-way to open out debates on copyright, open access and emergent busi-ness models in order to address the wider ethics and politics of commu-nication inside and outside of the academy. This politics is oriented not just toward a contest over, say, the future of the book as an ana-logue/digital object, but also toward questions of publishing ethics, care, relations and process. How might we respond, intellectually and practi-cally, to the observation that academic publishing at least, has become a relatively closed circuit? Readers of academic books are also predomi-nantly (or potentially) authors of academic books and, with a wide-spread interest in digital first academic publishing, may well, in due course, become the publishers of academic books. What are the oppor-tunities here for redirecting our free labour (increasingly demanded from mainstream publishers, and increasingly differentiated according to gender, career stage development and so on) away from economies of innovation and toward those of experimentalism, invention and inter-vention?