976 resultados para Arts -- Research
Resumo:
This case-study explores alternative and experimental methods of research data acquisition, through an emerging research methodology, ‘Guerrilla Research Tactics’ [GRT]. The premise is that the researcher develops covert tactics for attracting and engaging with research participants. These methods range between simple analogue interventions to physical bespoke artefacts which contain an embedded digital link to a live, interactive data collecting resource, such as an online poll, survey or similar. These artefacts are purposefully placed in environments where the researcher anticipates an encounter and response from the potential research participant. The choice of design and placement of artefacts is specific and intentional. DESCRIPTION: Additional information may include: the outcomes; key factors or principles that contribute to its effectiveness; anticipated impact/evidence of impact. This case-study assesses the application of ‘Guerrilla Research Tactics’ [GRT] Methodology as an alternative, engaging and interactive method of data acquisition for higher degree research. Extending Gauntlett’s definition of ‘new creative methods… an alternative to language driven qualitative research methods' (2007), this case-study contributes to the existing body of literature addressing creative and interactive approaches to HDR data collection. The case-study was undertaken with Masters of Architecture and Urban Design research students at QUT, in 2012. Typically students within these creative disciplines view research as a taxing and boring process, distracting them from their studio design focus. An obstacle that many students face, is acquiring data from their intended participant groups. In response to these challenges the authors worked with students to develop creative, fun, and engaging research methods for both the students and their research participants. GRT are influenced by and developed from a combination of participatory action research (Kindon, 2008) and unobtrusive research methods (Kellehear, 1993), to enhance social research. GRT takes un-obtrusive research in a new direction, beyond the typical social research methods. The Masters research students developed alternative methods for acquiring data, which relied on a combination of analogue design interventions and online platforms commonly distributed through social networks. They identified critical issues that required action by the community, and the processes they developed focused on engaging with communities, to propose solutions. Key characteristics shared between both GRT and Guerrilla Activism, are notions of political issues, the unexpected, the unconventional, and being interactive, unique and thought provoking. The trend of Guerrilla Activism has been adapted to: marketing, communication, gardening, craftivism, theatre, poetry, and art. Focusing on the action element and examining elements of current trends within Guerrilla marketing, we believe that GRT can be applied to a range of research areas within various academic disciplines.
Resumo:
In the expanding literature on creative practice research, art and design are often described as a unified field. They are bracketed together (art-and-design), referred to as interchangeable terms (art/design), and nested together, as if the practices of one domain encompass the other. However it is possible to establish substantial differences in research approaches. In this chapter we argue that core distinctions arise out of the goals of the research, intentions invested in the resulting “artefacts” (creative works, products, events), and the knowledge claims made for the research outcomes. Moreover, these fundamental differences give rise to a number of contingent attributes of the research such as the forming contexts, methodological approaches, and ways of evidencing and reporting new knowledge. We do not strictly ascribe these differences to disciplinary contexts. Rather, we use the terms effective practice research and evocative practice research to describe the spirit of the two distinctive research paradigms we identify. In short, effective practice research (often pursued in design fields) seeks a solution (or resolution) to a problem identified with a particular community, and it produces an artefact that addresses this problem by effecting change (making a situation, product or process more efficient or effective in some way). On the other hand, evocative practice research (often pursued by creative arts fields) is driven by individual pre-occupations, cultural concerns or human experience more broadly. It produces artefacts that evoke affect and resonance, and are poetically irreducible in meaning. We cite recent examples of creative research projects that illustrate the distinctions we identify. We then go on to describe projects that integrate these modes of research. In this way, we map out a creative research spectrum, with distinct poles as well as multiple hybrid possibilities. The hybrid projects we reference are not presented as evidence an undifferentiated field. Instead, we argue that they integrate research modes in deliberate, purposeful and distinctive ways: employing effective practice research methods in the production of evocative artefacts or harnessing evocative (as well as effective) research paradigms to effect change.
Resumo:
Building distributed leadership for effective supervision of creative practice higher research degrees is an Office for Learning and Teaching (OLT) funded project, conducted in partnership between Queensland University of Technology, The University of Melbourne, Auckland University of Technology, University of New South Wales and University of Western Sydney.
The project was initiated to develop a cooperative approach to establishing an understanding of the contextual frameworks of the emergent field of creative practice higher degrees by research (HDRs); capturing early insights of administrators and supervisors; gathering exemplars of good practices; and establishing an in-common understanding of effective approaches to supervision.
To this end, the project has produced:
• A literature review, to provide a research foundation for creative practice higher research degree supervision (Chapter 3).
• A contextual review of disciplinary frameworks for HDR programs, produced through surveys of postgraduate research administrators (Section 4.1), and an analysis of institutional materials and academic development programs for supervisors (Section 4.2).
• A National Symposium, Effective Supervision of Creative Arts Research Degrees (ESCARD), at QUT in Brisbane in February 2013, with 62 delegates from 20 Australasian Universities, at which project findings were disseminated, and delegates presented case studies and position papers, and participated in discussions on key issues for supervisors (Appendix 1).
• Resources, including a booklet for supervisors: 12 Principles for the Effective Supervision of Creative Practice Higher Research Degrees, which encapsulates attitudes, insights and good practices of experienced and new supervisors. It was produced through a content analysis of interviews with twenty-five supervisors in creative disciplines (visual and performing arts, music, new media, creative writing and design) (Printed booklet, PDF, Appendix 3).
• A project website to disseminate project outcomes
Resumo:
In late 2012 and early 2013 we interviewed 25 experienced and early career supervisors of creative practice higher research degrees. This journey spanned five universities and a broad range of disciplines including visual art, music, performing art, new media, creative writing, fashion, graphic design, interaction design and interior design. Some of the supervisors we interviewed were amongst the first to complete and supervise practice-led and practice-based PhDs; some have advocated for and defined this emergent field; and some belong to the next generation of supervisors who have confidently embarked on this exciting and challenging path. Their reflections have brought to light many insights gained over the past decade. Here we have drawn together common themes into a collection of principles and best practice examples. We present them as advice rather than rules, as one thing that the supervisors were unanimous about is the need to avoid proscriptive models and frameworks, and to foster creativity and innovation in what is still an emergent field of postgraduate supervision. It is with thanks to all of the supervisors who contributed to these conversations, and their generosity in sharing their practices, that we present their advice, exemplars and case studies.
Resumo:
In recent years, a number of Australian and international universities have offered the ability to complete postgraduate qualifications using the research frame known as creative practice as research. This has been particularly prevalent in the Drama discipline in the Creative Industries Faculty at Queensland University of Technology (QUT). There has been a noticeable shift away from students undertaking a traditional research Master of Arts (Research) or Doctor of Philosophy to a higher proportion of research higher degree students undertaking research through their creative work. The somewhat ephemeral nature of the theatre and performance practice can generate anxieties for students about how to best represent, analyse and discuss the creative practice within a theoretical frame. The argument in this paper is situated in the experience of two artist-scholars who undertook their studies at QUT while under principal supervision of the author and explores the research scaffolds that supervisors in Drama at QUT have developed to assist research higher degree students to navigate the tricky persona of artist–scholar.
Resumo:
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.
Resumo:
Given the growing complexity of human existence, there is a need for new ways of representing ideas and of illuminating the world and domains of knowledge. A growing recognition of the limits of traditional ways of representing the world has given rise to a search for alternative approaches to transform and represent the contents of consciousness or what can be known of lived experience. Researchers are recognising that scientific inquiry is just one type of research and that ‘research is not merely a species of social science’ (Eisner 1997: 261). Dissatisfaction with positivism and behaviourism as reductive modes of knowing has also come from within the science disciplines themselves. In his work entitled, The Discontinuous Universe, (1972) Werner Heisenberg states that the knowledge of science is applicable only to limited realms of experience and the scientific method is but a single method for understanding the world. Moreover, the notion of scientifically-based knowledge as statements of ultimate truth contains an inner contradiction since ‘the employment of this procedure changes and transforms its object’ (Heisenberg 1972: 189). The work of Heisenberg and others including: Lincoln and Denzin (2003), Schwandt, (2001) and Schon (1983) reveals that knowledge is relational and that different models of inquiry will yield different forms of knowledge.
Resumo:
Creative arts research is often motivated by emotional, personal and subjective concerns; it operates not only on the basis of explicit and exact knowledge, but also on that of tacit and experiential knowledge. Experience operates within in the domain of the aesthetic and knowledge produced through aesthetic experience is always contextual and situated. The continuity of artistic experience with normal processes of living is derived from an impulse to handle materials and to think and feel through their handling. The key term for understanding the relationship between experience, practice and knowledge is 'aesthetic experience', not as it is understood through traditional eighteenth century accounts, but as 'sense activity'.
In this article, I will draw on the work of John Dewey, Michael Polanyi and others to argue that creative arts practice as research is an intensification of everyday experiences from which new knowledge or knowing emerges. The ideas presented here will be illustrated with reference to case studies based on reflections, by the artists themselves, on successful research projects in dance, creative writing and visual art.
Resumo:
Creative arts research is often motivated by emotional, personal and subjective concerns; it operates not only on the basis of explicit and exact knowledge, but also on that of tacit and experiential knowledge. Experience operates within in the domain of the aesthetic and knowledge produced through aesthetic experience is always contextual and situated. The continuity of artistic experience with normal processes of living is derived from an impulse to handle materials and to think and feel through their handling. The key term for understanding the relationship between experience, practice and knowledge is ‘aesthetic experience’, not as it is understood through traditional eighteenth century accounts, but as ‘sense activity’. In this article, I will draw on the work of John Dewey, Michael Polanyi and others to argue that creative arts practice as research is an intensification of everyday experiences from which new knowledge or knowing emerges. The ideas presented here will be illustrated with reference to case studies based on reflections, by the artists themselves, on successful research projects in dance, creative writing and visual art.
Revolt and discovery : towards an understanding of practice as research through Kristevan aesthetics
Resumo:
This paper will examine Kristeva’s conceptions of revolution and revolt to demonstrate the significance of her work for practitioners and researchers working in the emerging field of creative arts practice as research, a field of research that is burgeoning in the UK, Australia, Canada and Scandinavia. I will argue that Kristeva’ thought elaborates the aesthetic underpinnings of discovery and provides a rationale for the methodologies used in artistic research.
In her later work on interpretation, Kristeva places a greater emphasis on the need for analysis or theory, since the art and culture of revolt produce unfamiliar or mutant meanings that are difficult for audiences to grasp in terms of their potency for engendering social change and individual empowerment. However, she places the responsibility for this analysis and interpretation on the art critic. But what if (as is the case with the advent of artistic practice as research), the maker and the “critic” become one and the same? Can this shift in the status of artistic practice within the knowledge economy, be understood in terms of Kristeva account of the sense and nonsense of revolt? I will address these questions by revisiting aspects of Kristeva thinking on experience-in practice and examining her more recent and extended elaboration of revolutionary practice. The paper will explore how her thinking can provide practitioners with a framework for understanding creative arts research as the production of new knowledge. If as Kristeva argues, that art and literature are amongst the few means of revolt and renewal, it seems appropriate to turn to her thinking in order to articulate a rationale and argument for claiming that practice as research can operate as a driver of change and innovation in contemporary culture.
The first part of this task will involve tracing what Kristeva sees as three forms of revolt made possible through aesthetic experience. This will involve a closer examination of the notions of transgression and art as experience. Following on from this discussion, I will discuss how Kristeva’s work constitutes both an implicit and explicit critique of science allowing us to conceive of artistic research as an alternative and performative production of knowledge. Finally in this paper, I will apply and illustrate these ideas through an analysis of a selection of a number of research projects successfully completed by artistic researchers in Australia. I hope to show that artistic practice as a mode of enquiry, reveals the inextricable and necessary relationship between practice and theory, interpretation and making, art and life. I suggest that it is this interrelationship, that underpins what Kristeva describes as creative and revolutionary practice. In the context of creative arts practice as research, Kriteva’s account of experience–in-practice indicates that interpretation and analysis must fall to the practitioner-researcher himself or herself - rather than to another person who has been external to the procedures of making - to trace the significant experiential, subjective and emergent processes involved in the production of the work that allows it to reveal the new. This is necessary if the generative and revolutionary impact of artistic research is to be fully understood in the wider research arena.
Resumo:
This paper addresses the question of how we might provide practitioners with a framework for understanding how affect and aesthetic processes generate images that are implicated in the production of new knowledge in creative arts research. Drawing on the thought of Julia Kristeva, it examines the aesthetic underpinnings of discovery and the significance of this for research training and the development of more effective pedagogies both within and beyond the university.
Resumo:
Within the context of ERA, this paper addresses the question of how we might provide practitioners with a framework for understanding creative arts research as the production of new knowledge. Drawing on the thought of Julia Kristeva, it examines the aesthetic underpinnings of discovery and the implications and significance of this for research training and the development of more effective pedagogies both within and beyond the university.
Kristeva’s work constitutes both an implicit and explicit critique of science allowing us to conceive of artistic research as an experiential and performative production of knowledge. As a mode of enquiry, artistic practice reveals the inextricable and necessary relationship between practice and theory, interpretation and making, art and life. This interrelationship underpins the aesthetic dimension of revolutionary practice and its production of unfamiliar or mutant forms of knowledge that is often difficult to grasp in terms of its capacity to engender social change and innovation. In the context of creative arts practice as research, the notion of experience-in-practice indicates that interpretation and analysis must fall to the practitioner-researcher, himself or herself, rather than to another person who has been external to the procedures of making, to trace the significant experiential, subjective and emergent processes involved in the production of the work that allows it to reveal the new. This is necessary if the generative and revolutionary impact of artistic research is to be fully understood in the wider research arena. In the final part of this paper, I will apply and illustrate these ideas through an analysis of a number of artistic research projects successfully completed in Australia.
Resumo:
Divining the Martyr is a project developed in order to achieve the Master of Arts (Research) degree. This is composed of 70% creative work displayed in an exhibition and 30% written work contained in this exegesis. The project was developed through practice-led research in order to answer the question “In what ways can creative practice synthesize and illuminate issues of martyrdom in contemporary makeover culture?” The question is answered using a postmodern framework about martyrdom as it is manifested in contemporary society. The themes analyzed throughout this exegesis relate to concepts about sainthood and makeover culture combined with actual examples of tragic cases of cosmetic procedures. The outcomes of this project fused three elements: Mexican cultural history, Mexican (Catholic) religious traditions, and cosmetic makeover surgery. The final outcomes were a series of installations integrating contemporary and traditional interdisciplinary media, such as sound, light, x-ray technology, sculpture, video and aspects of performance. These creative works complement each other in their presentation and concept, promoting an original contribution to the theme of contemporary martyrdom in makeover culture.
Resumo:
Competency in language and literacy are central to contemporary debates about education in Anglophone nations around the world. This paper suggests that such debates are informing not just educational policy but children’s literature itself as can be seen in Almond and McKean’s The Savage. This hybrid text combines prose and graphic narrative and narration in order to tell the story of Blue, a young British boy negotiating his identity in the aftermath of his father's death. While foregrounding a narrative of ideal masculinity, The Savage enacts and privileges a formal and thematic ideal of literacy as index of individual agency and development. Almond and McKean produce a politicised understanding of language and literacy that simultaneously positions The Savage in a textual tradition of socio-culturally disenfranchised youth, and intervenes in that tradition to (perhaps ironically) affirm the very conditions previously critiqued by that very tradition. Where earlier authors such as Barry Hines sought to challenge normative accounts of language and literacy in order to indict educational policy and praxes, Almond and McKean work to naturalise the very logics of education and agency by which their protagonist has been disenfranchised. In doing so, The Savage exemplifies current approaches to education which claim to value social and cultural diversity while imposing national standardised testing predicated on assumptions about the legitimacy of uniform standards and definitions of literacy.
Resumo:
In Australia, as elsewhere, universities are being encouraged to grow their postgraduate research candidature base while at the same time there is increasing pressure on resources with which to manage the burgeoning groups. In this environment HDR supervision strategies are seen as increasingly important as research managers seek the best possible ‘fit’ for an applicant: the candidate who will provide a sound return on investment and demonstrate endurance in the pursuit of a timely completion. As research managers know, the admissions process can be a risky business. The process may be tested further in the context of the new models of doctoral cohort supervision that are being discussed in the higher degree research management sector. The focus of this paper is an examination of the results of investigations of two models of postgraduate cohort supervision in the creative arts Master of Arts research program at QUT with a view to identifying attributes that may be useful for the formation of cohort models of supervision in the doctoral area.
