What does it meme? The exegesis as valorisation and validation of creative arts research

This paper will draw on Richard Dawkin's idea of the 'meme' to discuss how the creative arts exegesis can operate as valorisation and validation of creative arts research. According to Dawkins, the rate and fecundity of replication permits an artefact to achieve recognition and stability as a meme within a culture. The value and application of traditional forms of research is underpinned by a secondary order of production, publication, that establishes visibility of the work and articulates its empirical processes and findings as sources of social benefit and cultural enhancement.

In the arts, conventional modes of valorisation such as the gallery system, reviews and criticism focus on the artistic product and hence, lack sustained engagement with the creative processes as models of research. Such engagement is necessary to articulate and validate studio practices as modes of enquiry.

A crucial question to initiate this engagement is: 'What did the studio process reveal that could not have been revealed by any other mode of enquiry?'

Re-versioning of the studio process and its significant moments through the exegesis locates the work within the broader field of practice and theory. It is also part of the replication process that establishes the creative arts as a stable research discipline, able to withstand peer and wider assessment. The exegesis is a primary means of realising creative arts research as 'meme'.

What does it meme? The Exegesis as valorization of creative arts research

This paper will draw on Richard Dawkin's idea of the 'meme' to discuss how the creative arts exegesis can operate as valorisation and validation of creative arts research. According to Dawkins, the rate and fecundity of replication permits an artefact to achieve recognition and stability as a meme within a culture. The value and application of traditional forms of research is underpinned by a secondary order of production, publication, that establishes visibility of the work and articulates its empirical processes and findings as sources of social benefit and cultural enhancement.

In the arts, conventional modes of valorisation such as the gallery system, reviews and criticism focus on the artistic product and hence, lack sustained engagement with the creative processes as models of research. Such engagement is necessary to articulate and validate studio practices as modes of enquiry.

A crucial question to initiate this engagement is: 'What did the studio process reveal that could not have been revealed by any other mode of enquiry?'

Re-versioning of the studio process and its significant moments through the exegesis locates the work within the broader field of practice and theory. It is also part of the replication process that establishes the creative arts as a stable research discipline, able to withstand peer and wider assessment. The exegesis is a primary means of realising creative arts research as 'meme'.

Capturing dance and choroetopography : analyzing and visualizing complexity

 Motion capture provides 'snapshots' of the complexity of movement patterning.  This presentation explores how this complexity can be mapped to specific variables for analysis, and what such analyses both reveal and mask in relation to the choreographic practices involved, drawing on my three-year collaboration with mathematician Vicky Mak-Hau and biomechanist Richard Smith at the Deakin Motion.Lab in Melbourne, Australia.  The paper explores how these analyses can potentially drive creative processes in dance, and, through a discussion of performance project Choreotopography, how real-time motion capture can visualize and enhance spatial pathways using 3D stereoscopic projection.

'Scott's aired a couple of things' : back to back theatre rehearse Ganesh versus the third Reich

 This chapter tracks the creation of Back to Back Theatre’s 2011 performance, Ganesh Versus the Third Reich, based on first-hand observation of the final stages in devising and refining the work. Ganesh traces two parallel narrative strands – that of an imagined journey of the Hindu God into the dark heart of Nazi Germany to reclaim the sacred Hindu symbol of the swastika, and the narrative which constantly threatens to engulf the Ganesh story – the fraught relations between a group of disabled artists and their non-disabled director as they negotiate the process of making the work.

The focus of this chapter is the development of a single scene from the performance work, Ganesh Versus the Third Reich, tracing it’s evolution through periods of creative development and rehearsal. The stark contrast between the working practices observed on the studio floor and the brutally knowing and parodic representation of power relations in rehearsal seen in the performance work testifies to the peculiar and productive self-reflexivity that generates the work of Back To Back Theatre. An account and analysis of both real and fictional rehearsals reveal how Back to Back’s creative processes position members of the ensemble “perceived to have intellectual disabilities” as entirely legitimate professional artists, while claiming the authority of ‘outsider artists’ to challenge perceptions and representations of disability.

A framework for understanding collaborative creativity in requirements engineering: Empirical validation

Requirements engineering (RE) often needs creativity in a form where interactions among stakeholders are particularly important: collaborative creativity. However, few studies have explicitly concentrated on understanding collaborative creativity in RE, resulting in a lack of well-founded advice for practitioners on how to support this aspect of RE. Through an online survey, this paper seeks empirical validation for a framework of factors characterising collaborative creative processes in RE. Within the limits of the validity of the study, the results show support for the utility of the framework: collaborative creativity seems to be a linear function of the mean score to all factors in the framework. Factors can be grouped, and the specific impact of each group on collaboration, value and novelty can be assessed.

Collaborative creativity in requirements engineering: analysis and practical advice

Requirements engineering (RE) often entails interdisciplinary groups of people working together to find novel and valuable solutions to a complex design problem. In such situations RE requires creativity in a form where interactions among stakeholders are particularly important: collaborative creativity. However, few studies have explicitly concentrated on understanding collaborative creativity in RE, resulting in limited advice for practitioners on how to support this aspect of RE. This paper provides a framework of factors characterising collaborative creative processes in RE. These factors enable a systematic investigation of the collaboratively creative nature of RE. They can potentially guide practitioners when facilitating RE efforts, and also provide researchers with ideas on where to focus when developing methods and tools for RE. © 2013 IEEE.

Navigating control and illusion: functional interactivity versus ‘faux-interactivity’ in transmedia dance performance

Interactivity – a networked loop in which a performer’s live data feeds a digital system – can bridge the divide between live performance and digital entities in transmedia dance performances. In the ‘entanglement scene’ of Australian Dance Theatre’s Multiverse (2014), choreographer Garry Stewart and the creative coders and animators at the Deakin Motion.Lab utilise ‘faux-interactivity’, or a perceived relationship between the dancers and digital entities that exists only from the perspective of the audience. The spectre of ‘faux-interactivity’ challenges the spontaneity in live, embodied performance art because it both integrates live performance with prerendered digital content and offers a potential structure for a shared, dispersed creative and choreographic process across numerous and shared artistic and technological platforms. This paper investigates the concept of ‘faux-interactivity’, suggesting that its use can be a catalyst for moving beyond the limitations and values of ‘real’, or functional interactive systems within a theatrical context, and positing that definitions of ‘interactivity’ might be further expanded to accommodate the shifting timelines inherent in the disparate creative processes of human performance and coding.

Pragmatic dramaturgy: the creative management of limits in performance-making processes.

This thesis proposes the lens of pragmatic dramaturgy as a way of understanding the complex interactions between process and performance that define theatre practice, and investigates the ways in which performance making practice is shaped by encounters with a range of limits that impact the creative process.

Enhancing the creative process for learning in primary technology education

When undertaking design and technology activities, children are provided with opportunities to create solutions to problems in new and innovative ways. The mental processes involved in the generation of new ideas may be enhanced when children’s attention is not focussed and is allowed to wander in a relaxed and uncompetitive environment. Research indicates that the two mental states, generative and non-generative, cannot exist simultaneously. This paper reports on a research project which investigated the impact on children’s thinking when a period of non-focussed thinking became part of the technology process. The results support the previous proposition that a child’s non-generative/analytical mental state needs to give way to a generative state so that a child can be more fully creative. Moreover, from this study that documented children’s ideas during their involvement in a design and technology activity, teachers are urged to provide an incubation period as part of the technological process in the classroom, so that children’s creativity can be fostered.

Creative arts practice, creative industries : method and process as cultural capital

The value of artistic research is related not only to the products of creative arts practices, but also to methodological, material and social processes through which they operate.

This paper argues that although creative arts research methods – the use of personally situated, interdisciplinary and emergent approaches – contradict what is usually expected of research, such approaches underpin the innovative capacity of studio enquiry and its implication for extending practice-led research pedagogy across all research disciplines.

Using protocol analysis to explore the creative requirements engineering process

Protocol analysis is an empirical method applied by researchers in cognitive psychology and behavioural analysis. Protocol analysis can be used to collect, document and analyse thought processes by an individual problem solver. In general, research subjects are asked to think aloud when performing a given task. Their verbal reports are transcribed and represent a sequence of their thoughts and cognitive activities. These verbal reports are analysed to identify relevant segments of cognitive behaviours by the research subjects. The analysis results may be cross-examined (or validated through retrospective interviews with the research subjects). This paper offers a critical analysis of this research method, its approaches to data collection and analysis, strengths and limitations, and discusses its use in information systems research. The aim is to explore the use of protocol analysis in studying the creative requirements engineering process.

Investigation into the interactive multimedia production processes of novice multimedia designer /producers in a constructivist environment

The main purpose of this study was to investigate the instructional interactive multimedia (IMI) production processes of adult novice multimedia production course. The study aimed at discovering whether a constructivistic teacher-learning environment facilitated these multimedia novice designer / producers to further develop metacognitivestates of higher-order thinking like schema formation, problem-solving and cognitive construction when producing their interactive multimedia project. To achieve this study examined the facilitative and limiting activities in planning, design and development that have assisted or hindered the NMDPs during their multimedia production work This research utilises a qualitative paradigm and makes extensive use of multiple data sources such as the participants’ proposals, planning aids, logs and final projects for single as well as cross-case analyses and discussion. Three cases were selected for in-depth analysis in the study because they provided interviews and more complete documentation and "thick descriptions" of their multimedia production activities. Findings about the NMDPs multimedia production endeavours showed that they learnt best about multimedia technology for teacing and learning by producing an interactive multimedia project themselves. Factors that enabled some of the NMDPs to flourish in a constructivistic environment included their ability to utilise their new and extended schemata to problem solve, their self regulation and a creative and positive attitude to demanding multimedia work NMDPs who utilised facilitative planning aids and design strategies produced impressive work. The study further indicates that the NMDPs’ holistic multimedia production experience made them aware of the levels of complexity involved and boosted their confidence about multimedia production for educational purposes. Suggestions for further research include examining the production styles of adult multimedia novices and young novices and investigating the implications of designing multimedia for large audience presentation rather than for single or small group learner usage.

The science of our own fiction : affective experiments enacted through creative research

This paper will explore the ways in which art may be understood as an ongoing experiment that interacts with the plasticity of the body to prompt change and affect the body-environment relationship. The arts offer an approach to research that recognizes the importance of the affect in studies of perception and action, self-organization and selection. An affective approach to experimentation would connect cognitive activity to the material processes of the environment in a science of our own fiction. This connection becomes the basis of affective experiments, which aim to yield new insights by merging the creative researcher with self-affecting-experimenter. To this end, I will discuss the scientific objectives of the “rubber hand”, and the ‘mirror-box” experiments are contrasted with work by artists-turned-architects Arakawa and Gins and three of my creative projects to suggest how creative research might enact embodied change. Throughout the paper I will argue that cognitive processes such as attention, selection, decision and judgment are ripe for re-entry and experimentation through an embodied approach to acquiring knowledge that is particular to the arts.

Eureka moments in research : exploring abductive processes using four case examples

Abduction plays an important but often unacknowledged role in research – this regrettably leaving a large part of the research process hidden and unexamined (Levin-Rozalis 2000), particularly important innovative or creative components. This paper, firstly, introduces abduction and discusses some important concepts related to abduction and innovation. Secondly, it presents author’s own re-descriptions of previous research work. This new description seeks to describe perceived key “Eureka” moments in the research and thus make the creative components and abductive elements more visible. The paper demonstrates that much can be gained from opening a reflective space for the role of abduction in the research process.

Why do you write? Creative writing and the reflective teacher

Whether we write creatively or academically (or both) it takes time to understand the reasons why we ‘want’ to write, and the more we write the more we fully begin to appreciate why we write and why we have to write in the first place. From the age of nine, I kept a diary and now, 31 years later, I’m still writing down thoughts, opinions, feelings and aspirations. Nearly every day, I actively participate in recording my reflections. These reflections are part of an academic writing ritual that fuels research ideas and potential narratives associated with reflective teaching practices. I have discovered that the daily practice of imagining and writing compared to academic research and writing has more similarities than differences. Other creative writers who operate in higher education as learning and teaching academics have also taken note of ‘the similarity between the processes of writing fiction, and writing learning texts, not the contrasts’ (McVey, 2008, p. 290, emphasis). More specifically, I have come to realise that strengthening one’s use of the imagination via self-confessional writing exercises is a central ingredient in order to fulfill a well-rounded learning and teaching career.