TopicWriting and Languaging

  • 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.

  • Eleanor Bauer No Time for Judgement / More Time for Judgement

    Eleanor Bauer No Time for Judgement / More Time for Judgement

    In conversation with colleague Ellen Söderhult, Eleanor Bauer discusses her PhD Artist Research Project, choreo|graphy, addressing the relationship between thought in language and thought in dance through various metaphorical operations regarding vocabulary, syntax, grammar, structure, and culture.

  • 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.

  • 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.

  • 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.

  • 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

  • Chrysa Parkinson Art Practice as Eco-System Questionnaire

    Chrysa Parkinson Art Practice as Eco-System Questionnaire

    A questionnaire designed to research and document the ecology of sense-making in an ongoing artistic practice.

  • Zoë Poluch & Cara Tolmie Sensory Literacy

    Zoë Poluch & Cara Tolmie Sensory Literacy

    Sensory Literacy is a moving-into-writing-into-speaking score practiced and developed by dancer and choreographer Zoë Poluch and Cara Tolmie, artist working with performance, experimental music and moving image. The score offers a way of translating embodiment, of documenting the sensation of experience, of materializing time travel. In practicing and performing the score (it was used in the performance “Aphelion Slip”) we wonder how the sensory choreography given by the composer is a form of writing and if the sensory experience had by the receiver a form of ‘reading’. How might we see the material produced from this practice as a map of associations, of potentiality and translation? What might this tell us about the condition of our bodies both as readers and writers? What do we lose or gain through this mediation via individual interior experience? What does it mean to relate to this mediated testimony?

  • Amaara Raheem Speaking Dancer in-residence

    Amaara Raheem Speaking Dancer in-residence

    Speaking Dancer is a ‘persona’. She emerged from my practice, from years of moving, and speaking, and perhaps she also emerged from my art/life relations. As a female, brown, immigrant, independent, dance artist I am of multiple belongings. I have strong allegiances with more than one place, inhabit more than one ‘home’, more than one social, cultural, disciplinary belonging. My experience of ‘home’ and ‘identity’ – as a person, as a dancer – is not fixed, rather continually made and unmade by relations.

  • John-Paul Zaccarini A writing practice

    John-Paul Zaccarini A writing practice

    This practice has its roots in psychoanalytic procedure. It posits creative writing as a useful way to situate the artist with the field of research, specifically using memoir to trace the genealogy of the research question.

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  • Researching (in/as) Motion978-952-353-012-6 © 2019 Theatre Academy of the University of the Arts Helsinki Accessibility statement
  • ADiE is a partnership between Zodiak Centre for New Dance, Kiasma Theatre Museum and University of the Arts Helsinki (FI), Weld and Stockholm University of the Arts (SE), and Dance4, University of Chichester and Middlesex University (UK), funded by Erasmus+.