process – Researching (in/as) Motion

Jane Bacon Processual Attention in Somatic Practice as Research / Artistic Research

Jane Bacon Processual Attention in Somatic Practice as Research / Artistic Research
When you work with your body as your tool, skill set, instrument, or inspiration you – in some way – will be undertaking a subjective endeavour that will struggle to thrive in the objective terrain of the objective-thirsty academic world. Even as you draw in knowledge and practices from your ongoing and past training and education to clarify the context and methods for your research, you will be drawing on something that is unique to you. This chapter is concerned with that particular uniqueness situated within a larger research context. The chapter proposes that the development and articulation of a methodological approach that is both unique to the individual’s practice and can be situated within a larger theoretical and artistic framework is essential to the success of an Artistic Doctorate. The focus here is on a methodological approach that attempts to situate itself within practice research – from the uniqueness of the individual practice research – and allows a flow between broader theoretical and artistic concerns. This approach requires the individual to pay attention to moment-to-moment experiences both internally experienced and externally manifested. In this sense, this is a study into the process of paying attention – attention to the practice of reading, making, performing, thinking, doing, living.
Jane Bacon & Vida L Midgelow Creative Articulations ProcessEmbodied Awareness and Creative Languaging

Jane Bacon & Vida L Midgelow Creative Articulations ProcessEmbodied Awareness and Creative Languaging
A workshop introduction to ‘Creative Articulations Process’, for working with practice research offered to PhD candidates attending the week long teaching intensive, Univeristy of Chichester, June 2019.
Fiona Bannon Mind the GapSteps Towards Ethical Practice (stEP)

Fiona Bannon Mind the GapSteps Towards Ethical Practice (stEP)
To embark on any discussion of ethics; an idea with no fixed identity, offering no universal givens, and existing in complex relations between people can encourage our use of doctrinary constructs. As we embark upon research projects we need to learn ways to accommodate the constancy of change in relation with the context we work in, the ideas we explore and those we work alongside. Ethical relations are lively; they exist beyond any written and approved plan and any institutional protocol for research. This is where ethics become interesting, this is where we have research practice and behaviour to explore.
Carol Brown Field Guide for Choreography as Research¹

Carol Brown Field Guide for Choreography as Research¹
A field guide for wayfaring through the creative and institutional spaces of choreographic practice as research must necessarily be mutable, mobile and capable of weathering change. Through Choreography as Research Practice, the traditional character of knowledge is usurped by a refusal to distance thinking from moving, knowing from being, thought from the material specificity of bodies. This work recognises that knowledge always has a material as well as conceptual reality. In posing problems through dance as aesthetic, ethico-political and intellectual enquiry, research becomes activated through diverse terrains requiring topographical know-how. Becoming a wayfarer proposes a choreo-philosophy that involves mobilizing, mapping and writing simultaneously in relation to spaces and kinesthetic topographies.
Franc Chamberlain Start SomewhereMemories, Sensations, Speculations, and Practice Research

Franc Chamberlain Start SomewhereMemories, Sensations, Speculations, and Practice Research
Starting ‘somewhere’ and modelling some of the things we might do at the beginning of a practice research project in order to put things in motion, this self-reflexive text draws on autobiographical memories to suggest ways in which these might be used in generating further lines of embodied inquiry.
Scott deLahunta The Confusing Evidence(evidence that confuses)

Scott deLahunta The Confusing Evidence(evidence that confuses)
talk on four topics, the publishing of choreographic ideas, communicating what happens in the studio in the absence of the body, annotation and process documentation, and dance becoming data.
Sara Giddens Some Thoughts about Writing…for Those about to Embark on a Practice-Based PhD

Sara Giddens Some Thoughts about Writing…for Those about to Embark on a Practice-Based PhD
A PhD demands languaging. As makers and researchers, we must find ways that speak of, alongside and out of the body, particularly within such a text-based academic economy. As such, this writing is intended as an invitation. An invitation to consider the need to write about and from practice, from a makers’ point of view. To wrestle with and adequately articulate experiential somatically based practices, so that the body doesn’t simply disappear.
Pil Hansen Interdisciplinary Research StrategiesWorking Across Artistic Research and Dance Scholarship, Dance Psychology, or Dance Science

Pil Hansen Interdisciplinary Research StrategiesWorking Across Artistic Research and Dance Scholarship, Dance Psychology, or Dance Science
Hansen offers a doctorate-level introduction to a series of challenges and benefits involved in interdisciplinary dance research that is (co-)led by an artistic researcher. Strategic approaches are shared, the importance of methodological communication and choice-making is discussed, and the relationship between such choices and the impact of the knowledge produced is emphasized with reference to examples from the author’s research praxis. More specifically, the contribution addresses the following subjects: interdisciplinary collaboration and communication; negotiation across knowledge paradigms and criteria of validity; differences between multidisciplinary stratification and interdisciplinary transfer and integration; documentation and data sharing strategies; resource-effective inquiry across multiple projects; and enhancement of reach and impact through multidisciplinary articulation.
Rebecca Hilton You Have Exactly Fifteen Minutes

Rebecca Hilton You Have Exactly Fifteen Minutes
A simple temporal frame endorsing the use of the ‘gap’ or the ‘space between’ as a resource within the conventions of any movement practice, PhD project or day. Use it as reset, rest or ritual. Set a timer and apply as often as required.
Hanna Järvinen & Liisa Pentti On Writing as a PracticeCollaboration and Collaborative Processes

Hanna Järvinen & Liisa Pentti On Writing as a PracticeCollaboration and Collaborative Processes
Written as a dialogue between two collaborators in a choreographic project re-imagining a past dance, this text addresses the role of articulations in collaboration and in the aftermath of collaboration pertinent to doctoral research in the arts.
Thomas Kampe Body-Soma-SelfRe-embodying Dance Research

Thomas Kampe Body-Soma-SelfRe-embodying Dance Research
This chapter discusses possibilities and workings of critical somatic arts research from a practitioner perspective. The author debates questions, processes and problems concerning his research towards the integration of somatic processes within performance- making and training contexts. The chapter gives an insight into issues arising from the application of Feldenkrais Method®, a key twentieth century somatic modality, as preparatory, enactive tuning and emancipatory ethical process within performing arts research.
Susan Kozel, Margrét Sara Guðjónsdóttir, Jeannette Ginslov, Keith Lim Conspiracy Archives a process archive of an archival process

Susan Kozel, Margrét Sara Guðjónsdóttir, Jeannette Ginslov, Keith Lim Conspiracy Archives a process archive of an archival process
This resource reflects artistic research into archiving a choreographic process using digital and analogue materials (including bodies). It is a process archive of an archival process, structured around Critical Questions, Process Notes (taking the form of phenomenological writing and visual imagery) and Design Prototypes. The artistic research at the centre of this resource is the production of a Mixed Reality (MR) archival complement to Margrét Sara Guðjónsdóttir’s performance of Conspiracy Ceremony – HYPERSONIC STATES. The archival work is called Conspiracy Archives and it is currently in its final prototype phase, almost ready to tour either independently or along with the live performance. It is created by the collaborative team of Margrét Sara Guðjónsdóttir (choreography), Jeannette Ginslov (visual capture and editing), Keith Lim (visual processing and programming) and Susan Kozel (project coordination, philosophy and concept). This resource integrates the voices of the collaborators using words, still images, video and design prototypes.
Alys Longley Reflections on Smudge Skittlean inventory of resources entangling artistic practice and writing

Alys Longley Reflections on Smudge Skittlean inventory of resources entangling artistic practice and writing
In artistic research, the value of intuitive, playful and unpredictable studio methods is well accepted (Ellis 2016, Melrose 2007). In some circumstances, traditional academic forms of writing and the values underpinning them – of proof, explanation, analysis and rational linear argument, may constrain, rather than enable, creative research. This resource reflects on writing practices that could be particularly suited to practice-led researchers, emphasizing the vitality of language and interdisciplinary approaches merging writing with drawing, photography or page design which offer playful alternatives to the pre-set rules of thesis structure.

Smudge Skittle (Longley 2018), explores methods of writing that support studio practice through a series of writing tasks, based around 10 provocations for artist-researchers. In 2018, it has been published as 1) A deck of cards 2) A digital website/game 3) the present text in which I discuss this resource in relation to its critical context in the field of artistic research.
Josephine Machon Thinking through Theory

Josephine Machon Thinking through Theory
Drawing on my own experience as a doctoral researcher in contemporary performance as well as my practice as a doctoral supervisor, this article engages with reflections and provocations related to encountering, unpacking, selecting, and applying theoretical materials within the artistic PhD. It pays close attention to; how theory is fundamentally in a symbiotic relationship with practice; how one might inform and modulate the other; how both should be mutually inclusive in process and outcome when researching in the arts. Overall, the article aims to foreground for the artist-researcher the continuum that is thinking in-around through-and-about practice, offering ways to approach articulating those thoughts in writing.
Susan Melrose with Stefanie Sachsenmaier Writing ‘Practice’ /Practising/ ‘Writing’(in the doctoral research context)

Susan Melrose with Stefanie Sachsenmaier Writing ‘Practice’ /Practising/ ‘Writing’(in the doctoral research context)
In this paper we outline some of the issues involved in the ‘practice research’ context and make a few suggestions as to ways to tackle these in a Practice-as-Research (PaR) undertaking. We begin by writing about the ‘problem with writing’ for all researchers whose primary interest lies in creative processes, and about the question of research metapractices. We then focus on those ‘mixed-mode’¹ research metapractices and how they might be addressed in the combined PaR submission. Our interim conclusion is that research writing is best produced dialogically, with the ongoing
Vida L Midgelow Practice EthicsModelling posthuman entanglements and care in artistic doctorates

Vida L Midgelow Practice EthicsModelling posthuman entanglements and care in artistic doctorates
Drawing together insights from somatic approaches to movement, improvisation, care, and posthumanism this writing proposes ‘Practice Ethics’ that are activated in and by artistic research. Four thematic territories give shape to intersecting and overlapping areas of attention in Practice Ethics, namely: ‘Self-care and Attentiveness’, ‘Other-relatedness and Agency’, ‘Meshwork and Nesting’, ‘Repairs and Eco-ethics’. Through a series of exercises/scores the writing seeks to enable the ‘modelling’ of ethical practices, foregrounding concerns and dilemmas that may arise in embodied research. These ‘modellings’ offer space for undertaking ‘thinking doings’ and might be thought of as training grounds, or as reflective practicums (after Schon), through which it is hoped ethical attentions may be honed as a posthuman matter of care and as a practical, entangled, ongoing activity.
Peter Mills No Answers Questions Only

Peter Mills No Answers Questions Only
What if this collective choreographic practice asks that everyone speak only in question form? What if this collective choreographic practice allows no singular authority to be upheld? What if this collective choreographic practice encourages an individual to go with the collective choreography? What if this collective choreographic practice encourages an individual to oppose, undermine, suggest an alternative or propose reluctance as part of a collective choreography? What if this collective choreographic practice produces the possibility for practicing collective choreography? What if this collective choreographic practice creates a commitment to practicing choreography collectively?
Amy Voris Forming and ReturningDance-Making with Authentic Movement

Amy Voris Forming and ReturningDance-Making with Authentic Movement
This article reviews the methodological concerns of my doctoral research which was concerned with articulating the experience of forming movement material within a solo, contemporary dance-making practice. In order to do this in a way that best expressed and communicated the uniqueness of the practice itself, I adopted certain aspects of Authentic Movement (Adler 2002) as the basis for my methodology. As I am also a practitioner of Authentic Movement, the deep synergies it already has with my dance-making practice allowed me to develop out of it a reflective framework that still speaks directly from the voice of the dance-maker. The making of a solo dance work called perch and the development of the methodology by which I communicated the experience of making it became two sides of the same process.
Joanne ‘Bob’ Whalley & Lee Miller Thing’ness and Object Oriented Ontology’

Joanne ‘Bob’ Whalley & Lee Miller Thing’ness and Object Oriented Ontology’
This workshop was facilitated as part of the ‘Researching (in/as) Motion’ research intensive at University of Chichester, June 2018. The session invited listening, talking, thinking and doing of/for practice as research processes.
Marisa Zanotti Scores, Stills and ScreensDocumentation in Artist Doctorates

Marisa Zanotti Scores, Stills and ScreensDocumentation in Artist Doctorates
This reflective essay considers how documenting might be made to work strategically in the doctoral process. The writing explores three functions of screen documentation: Documentation as a research practice; documentation as evidence of a performance or process; and documentation as an integral strategy in the final presentation/ defence of a thesis. The essay draws on thinking about documentation and subjectivity by artists and documentarians such as Babette Mangolte (1978) and Becky Edmunds (2007) and cites examples of documentations of different kinds of live events. The essay includes original scores that link recording technologies to creative process, these scores are designed to open up thinking about documenting in both studio research and recording final performances.
Marisa Zanotti & Simon Ellis Habbits of Attention

Marisa Zanotti & Simon Ellis Habbits of Attention
Habits of attention: was a conversation between Marisa Zanotti and Simon Ellis exploring documentation in artistic doctorates in relation to different audiences. The dialogue was delivered as a paper by Marisa Zanotti.
Norah Zuniga Shaw Movement Storming

Norah Zuniga Shaw Movement Storming
Movement Storming is a creative facilitation practice invented as an alternative to brainstorming. It works well as a kick-off process for researchers seeking to build collaboration or shared references and a nice opener for conferences or events. It is even better as an interruption or refresh along the way in virtually any research endeavor when things have become too narrowly defined, the process feels stuck or there is a need for connection. It is also great as the basis for a writing jam to get a few pages crafted or pen initial ideas. This short offering outlines the score for creating a Movement Storm and a few reflections from participants.
Norah Zuniga Shaw & Vida L Midgelow Posthuman Entanglementspracticing an ethics of care in body based research

Norah Zuniga Shaw & Vida L Midgelow Posthuman Entanglementspracticing an ethics of care in body based research
This workshop was facilitated as part of the ADiE ‘Researching (in/as) Motion’ research intensive at University of Chichester, June 2018. Following a ‘community building’ warm-up, the session invited participations to engage in a ‘movement storming’ process (see Norah Zungia-Shaw in this collection) as a way to explore ethical concerns. For further explication of the materials shared with participants of the workshop, see the essay and scores by Midgelow in this same collection.

Jane Bacon Processual Attention in Somatic Practice as Research / Artistic Research

Jane Bacon & Vida L Midgelow Creative Articulations ProcessEmbodied Awareness and Creative Languaging

Fiona Bannon Mind the GapSteps Towards Ethical Practice (stEP)

Carol Brown Field Guide for Choreography as Research1

Franc Chamberlain Start SomewhereMemories, Sensations, Speculations, and Practice Research

Scott deLahunta The Confusing Evidence(evidence that confuses)

Sara Giddens Some Thoughts about Writing…for Those about to Embark on a Practice-Based PhD

Pil Hansen Interdisciplinary Research StrategiesWorking Across Artistic Research and Dance Scholarship, Dance Psychology, or Dance Science

Rebecca Hilton You Have Exactly Fifteen Minutes

Hanna Järvinen & Liisa Pentti On Writing as a PracticeCollaboration and Collaborative Processes

Thomas Kampe Body-Soma-SelfRe-embodying Dance Research

Susan Kozel, Margrét Sara Guðjónsdóttir, Jeannette Ginslov, Keith Lim Conspiracy Archives a process archive of an archival process

Alys Longley Reflections on Smudge Skittlean inventory of resources entangling artistic practice and writing

Josephine Machon Thinking through Theory

Susan Melrose with Stefanie Sachsenmaier Writing ‘Practice’ /Practising/ ‘Writing’(in the doctoral research context)

Vida L Midgelow Practice EthicsModelling posthuman entanglements and care in artistic doctorates

Peter Mills No Answers Questions Only

Amy Voris Forming and ReturningDance-Making with Authentic Movement

Joanne ‘Bob’ Whalley & Lee Miller Thing’ness and Object Oriented Ontology’

Marisa Zanotti Scores, Stills and ScreensDocumentation in Artist Doctorates

Marisa Zanotti & Simon Ellis Habbits of Attention

Norah Zuniga Shaw Movement Storming

Norah Zuniga Shaw & Vida L Midgelow Posthuman Entanglementspracticing an ethics of care in body based research

Carol Brown Field Guide for Choreography as Research¹