Art Practice as Research: Inquiry in the Visual Arts presents a compelling argument that the creative and cultural inquiry undertaken by artists is a form of research. The text explores themes, practices, and contexts of artistic inquiry and positions them within the discourse of research. Author Graeme Sullivan argues that legitimate research goals can be achieved by choosing different methods than those offered by the social sciences. The common denominator in both approaches is the attention given to rigor and systematic inquiry. Artists emphasize the role of the imaginative intellect in creating, criticizing, and constructing knowledge that is not only new but also has the capacity to transform human understanding.
At the performance turn, this book takes a fresh 'how to' approach to Practice as Research, arguing that old prejudices should be abandoned and a PaR methodology fully accepted in the academy. Nelson and his contributors address the questions students, professional practitioner-researchers, regulators and examiners have posed in this domain.
Practice-led research is a burgeoning area across the creative arts, with studio-based doctorates frequently favoured over traditional research. Yet until now there has been little published guidance for students embarking on such research. Designed specifically as a research training tool, the book is structured on the model used by most research programmes. A comprehensive introduction lays out the book’s framework and individual chapters provide concrete examples of studio-based research in art, film and video, creative writing and dance, each contextualised by a theoretical essay and complete with references.
Artistic Practice as Research in Music: Theory, Criticism, Practice brings together internationally renowned scholars and practitioners to explore the cultural, institutional, theoretical, methodological, epistemological, ethical and practical aspects and implications of the rapidly evolving area of artistic research in music. Through various theoretical positions and case studies, and by establishing robust connections between theoretical debates and concrete examples of artistic research projects, the authors discuss the conditions under which artistic practice becomes a research activity; how practice-led research is understood in conservatoire settings; issues of assessment in relation to musical performance as research; methodological possibilities open to music practitioners entering academic environments as researchers; the role of technology in processes of musical composition as research; the role and value of performerly knowledge in music-analytical enquiry; issues in relation to live performance as a research method; artistic collaboration and improvisation as research tools; interdisciplinary concerns of the artist-researcher; and the relationship between the affordances of a musical instrument and artistic research in musical performance. Readers will come away from the book with fresh insights about the theoretical, critical and practical work being done by experts in this exciting new field of enquiry.
"In this book, 'artistic research' is assumed as being independent of 'discipline', with the potential to occur in all contexts once epistemological expectations have shifted. [...] Many of the authors see themselves as artists, but one of the chief claims of this book is that a position is possible beyond the 'theory' and 'practice' labels."--P.  of cover.
A Study of Professional Identity in Art and Education
Author: Alan Thornton
Publisher: Intellect Books
This book is aimed at all art practitioners, professionals and students who see their practices and identities embracing many aspects of the cultures of art, research and education. It may also be of interest to those in other fields who are concerned with identity formation and professional roles and practices. Challenging conventional wisdom about specialization and professional identity, Alan Thornton shows that many individuals have complex, varied, and evolving relationships with visual art - relationships that do not fit into any single category. Against the backdrop of an expanding rese.
Focusing on a unique arena, Thinking Through Art takes an innovative look at artists’ experiences of undertaking doctorates and asks: If the making of art is not simply the formulation of an object but is also the formation of complex ideas then what effect does academic enquiry have on art practice? Using twenty-eight pictures, never before seen outside the artists’ universities, Thinking Through Art focuses on art produced in higher educational environments and considers how the material product comes about through a process of conceiving and giving form to abstract thought. It further examines how this form, which is research art sits uneasily within academic circles, and yet is uniquely situated outside the gallery system. The journal articles, from eminent scholars, artists, philosophers, art historians and cultural theorists, demonstrate the complexity of interpreting art as research, and provide students and scholars with an invaluable resource for their art and cultural studies courses.
This book addresses one of the most exciting and innovative developments within higher education: the rise in prominence of the creative arts and the accelerating recognition that creative practice is a form of research. The book considers how creative practice can lead to research insights through what is often known as practice-led research. But unlike other books on practice-led research, it balances this with discussion of how research can impact positively on creative practice through research-led practice. The editors posit an iterative and web-like relationship between practice and research. Essays within the book cover a wide range of disciplines including creative writing, dance, music, theatre, film and new media, and the contributors are from the UK, US, Canada and Australia. The subject is approached from numerous angles: the authors discuss methodologies of practice-led research and research-led practice, their own creative work as a form of research, research training for creative practitioners, and the politics and histories of practice-led research and research-led practice within the university. The book will be invaluable for creative practitioners, researchers, students in the creative arts and university leaders. Key Features*The first book to document, conceptualise and analyse practice-led research in the creative arts and to balance it with research-led practice*Written by highly qualified academics and practitioners across the creative arts and sciences *Brings together empirical, cultural and creative approaches*Presents illuminating case histories of creative work and practice-led research
This book explores – at the macro, meso and micro levels and in terms of qualitative as well as quantitative studies – theories, policies and practices about the contributions of artistic research and innovations towards defining new forms of knowledge, knowledge production, as well as knowledge diffusion, absorption and use. Artistic research, artistic innovations and arts-based innovations have been major transformers, as well as disruptors, of the ways in which societies, economies, and political systems perform. Ramifications here refer to the epistemic socio-economic, socio-political and socio-technical base and aesthetic considerations on the one hand, as well as to strategies, policies, and practices on the other, including sustainable enterprise excellence, considerations in the context of knowledge economies, societies and democracies. Creativity in general, and the arts in particular, are increasingly recognized as drivers of cultural, economic, political, social, and scientific innovation and development. This book examines how one could derive and develop insights in these areas from the four vantage points of Arts, Research, Innovation and Society. Among the principal questions that are examined include: - Could and should artists be researchers? - How are the systems of the Arts and Sciences connected and/or disconnected? - What is the impact of the arts in societal development? - How are the Arts interrelated with the mechanisms of generating social, scientific and economic innovation? As the inaugural book in the Arts, Research, Innovation and Society series, this book uses a thematically wide spectrum that serves as a general frame of reference for the entire series of books to come.
A provocative book, an important book! jagodzinski's and Wallin's 'betrayal' is in fact a wake-up call for art-based research, a loving critique of its directions. jagodzinski's and Wallin's reference is the question 'what art can do' – not what it means. Theirs is an ultimate affirmation that uncovers the singularities that compose and give consistency to art not as an object, but as an event. Their betrayal consists in an affirmation of life and becoming, positing a performative 'machinics of the arts' which is in absolute contraposition with the hegemonic discourse of art and|as an object of knowledge and representation. This does not only concern academia, but also politics and ethics – an untimely book that comes just at the right time! Bernd Herzogenrath, Goethe Universität Frankfurt am Main (Germany), author of An American Body|Politic. A Deleuzian Approach, and editor of Deleuze & Ecology and Travels in Intermedia[lity]. ReBlurring the Boundaries. Approaching the creative impulse in the arts from the philosophical perspectives of Deleuze + Guattari, jagodzinski and Wallin make a compelling argument for blurring the boundaries of arts-based research in the field of art education. The authors contend that the radical ideas of leading scholars in the field are not radical enough due to their reliance on existing research ontologies and those that end in epistemological representations. In contrast, they propose arts-based research as the event of ontological immanence, an incipient, machinic process of becoming-research through arts practice that enables seeing and thinking in irreducible ways while resisting normalization and subsumption under existing modes of address. As such, arts practice, as research-in-the making, constitutes a betrayal of prevailing cultural assumptions, according to the authors, an interminable renouncement of normalized research representations in favor of the contingent problematic that emerges during arts practice. Charles R. Garoian, Professor of Art Education, Penn State University, author of The Prosthetic Pedagogy of Art. Jagodzinski and Wallin have written a challenging book on the theme of betrayal which aims to question the metaphysical ground of the practice of many arts educators and researchers. Dismantling the notion of praxis which assumes a prior will as well as the pervasive notion of the creative and reflexive individual, they revisit the notion of poiesis and the truth of appearing in order to advocate the centrality of becoming in pedagogical relations. Is it possible to develop pedagogies beyond those images of thought that attenuate learners, teachers and researchers? We need a new image of thought, or better, a thought without image, and this book asks us to take up the challenge. Dennis Atkinson, Director of the Centre for the Arts and Learning, Department of Educational Studies, Goldsmiths University of London, author of Art Equality and Learning; Pedagogies Against the State.