Foucault's 'What is an author' : towards a critical discourse of practice as research

A vexed issue for many artistic researchers is related to the need for the artist/researcher to write about his or her own work in the research report or exegesis. In the creative arts, the outcomes that emerge from an alternative logic of practice are not easily quantifiable and it can be difficult to articulate conclusions objectively given the emotional and ideological investments and the intrinsically subjective dimension of the artistic process. How then, might the artist as researcher avoid on the one hand, what has been referred to as 'auto-connoisseurship', the undertaking of a thinly veiled labour of valorising what has been achieved in the creative work, or alternatively producing a research report that is mere description or history?

In this paper I suggest that a way of overcoming such a dilemma is for creative arts researchers to shift the critical focus away from the notion of the work as product, to an understanding of both studio enquiry and its outcomes as process. I’d like to draw on Michel Foucault’s essay ‘What is An Author ‘ to explore how we might move away from art criticism to the notion of a critical discourse of practice-led enquiry that involves viewing the artist as a researcher, and the artist/critic as a scholar who comments on the value of the artistic process as the production of knowledge.

Foucault’s essay provides artistic researchers with a template for more objective and distanced discourse on the practice-led research process and its writing. It allows researchers to locate themselves within contexts of theory and practice and provides an analytical framework though which researchers might locate themselves and their work within the broader social arena and field of research, As I will show with reference to the work of Donna Haraway and a number of commentaries on Pablo Picasso’s Demioselles d’Avignon, an application of Foucault’s ideas need not negate those subjective and situated aspects of practice as research.

Chaos rules : an exploration of the work of instructional designers in distance education

This thesis provides an examination of the work of instructional designers in distance education, through the conceptual lens of chaos theory. Chaos theory was chosen as an analytical tool because of its ability to reveal the patterns and processes of complex systems as they move between order and turbulence. Recent work in the social sciences, specifically literary theory, has provided impetus for applications of chaos theory to educational settings. Specifically, chaos theory is used to analyse eight case studies of projects volunteered by instructional designers working in five institutions in Hong Kong and Australia. Data were gathered over a period of months with each participant, chiefly through interviews, but also involving diary accounts, electronic mail and letters. The methodology was thus qualitative, specifically informed by Eisner's vision of the ‘critical connoisseur’. Eisner equates an ‘enlightened eye’ with attainment of the skills of a critical connoisseur. First, an effective qualitative researcher must develop connoisseurship, the art of appreciation. On its own, though, connoisseurship is not enough; it is a private act, and thus needs a public face or presence. Criticism is this link, criticism being the art of disclosure. The critical connoisseur aims to help others to increase perception and deepen understanding of an educational situation or event. In addition to the empirical work, a parallel strand of this thesis investigates the theory and reported practice of instructional design. A brief history of instructional design is presented, along with discussion of acknowledged deficiencies of current theory and approaches. Recent reported investigations of both theory and practice are analysed from the viewpoint of chaos theory. Examination of key contributions in the literature of instructional design and distance education reveals considerable resonance between these contributions and the fundamental properties of chaotic systems. Links are made, in both the theoretical and empirical strands, between instructional design and the behaviour of dissipative structures, attractors and the process of bifurcation. Use is also made of the time-dependent nature of chaos theory as a theory of becoming, rather than one of being. The thesis comprises eight chapters, two appendices and a references section. The introductory chapter explains the research problem, and outlines the structure of the thesis. Methodological considerations are left until after an assessment of instructional design literature and (reported) practice. This deliberately theoretical investigation (Chapters 2 and 3) comprises the first of the parallel strands that are presented. The basic conclusions are that instructional design theory has not been particularly helpful to or used by instructional designers, and that chaos theory might provide an alternative way of viewing instructional design practice. The other parallel strand is the empirical work, which for four chapters outlines the methodology and my findings concerning the role of instructional designers in distance education. The methodology is detailed in Chapter 4. Chapter 5 establishes the contexts of the participants, by examining their backgrounds and introductions to their roles. It also investigates their views on their role and status within their institutions and with working colleagues. Chapter 6 is an exploration of the major issues that influenced the work of the instructional designers. These are the issues that arose naturally in the interviews as the participants outlined the development and interactions that took place on a day to day basis. Time emerges as a key influence in their work, and its effects on the projects are outlined and analysed. The ways that instructional designers give advice to those with whom they work is also investigated. The next chapter continues consideration of their work, but this time as they reflect on their role and its demands. This includes their reactions to the various metaphors that have appeared in the literature, along with those that they introduced into our discussions. The links that are established between the two parallel strands are drawn more explicitly in the final chapter, Chapter 8, which is a notion of what a model of instructional design based on my conclusions might resemble. It summarises the evidence that it is not necessarily by striving for order—in fact quite the opposite — during key periods of course development, that leads to creative outcomes. The introduction of uncertainty and turbulence does, in some cases and under some conditions, move the system to a higher level. The image that is offered from chaos theory is that of time-bound dissipative structures, interacting with their open environment at far-from-equilibrium conditions, and transforming themselves from disorder to order through bifurcation. The role of strange or chaotic attractors is highlighted in the process. The first appendix gives background information in terms of the methodology. The second is the heart of the data upon which the thesis draws. That is, the second appendix outlines the case studies of the participants. Most are short summaries, but the final one is a detailed study, tracing the progress of the design and development of a subject in distance education.