Typeessay

  • 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.

  • 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.

  • Laura Gröndahl & Leena Rouhiainen Getting Started with Networking and Presenting Doctoral Artistic Research

    Laura Gröndahl & Leena Rouhiainen Getting Started with Networking and Presenting Doctoral Artistic Research

    The chapter aims to support artistic doctoral candidates in the initial stages of their research in presenting and publishing their work. It does this by mapping some of the main research communities, events and journals within artistic research related to the performing arts. In addition to introducing some of the central international platforms, the focus is on offerings in the Nordic countries, owing to the fact that the authors are based in Finland. The chapter intends to provide useful advice on how a newcomer to artistic research can approach and utilise the existing opportunities in order to advance her or his research and become an active member of the larger community of artistic research. The chapter ends with a summary of the relevant organisations, publications and events in the field.

  • 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.

  • Kirsi Heimonen & Leena Rouhiainen Notes on and Examples of Embodiment in Artistic Research of Dance and Performance

    Kirsi Heimonen & Leena Rouhiainen Notes on and Examples of Embodiment in Artistic Research of Dance and Performance

    The essay discusses the problem of embodiment in artistic research dealing with dance and performance and offers some conceptual and methodological insights that can be of help in crafting new doctoral research in the area. It introduces previous notions related to embodiment within dance studies, especially phenomenological dance research, and offers some topical views from body studies. All of them bear significance to the cases of artistic doctoral research that are likewise discussed. Through the mentioned research examples, the essay aims to highlight how artistic research, performance practice, and conceptions of embodiment can inform each other. The specific interest is in how their intertwinement fosters understanding, as well as ways of working with and exposing dance and performance. The overall aim of the essay is to offer readers insights that serve designing and conducting artistic research whose focal concern is related to the performing body, mainly from the perspective of dance and choreography.

  • 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.

  • Paula Kramer & Stephanie Misa Artistic Research as a Tool of Critique

    Paula Kramer & Stephanie Misa Artistic Research as a Tool of Critique

    In this text we inquire about and develop the potentials of critical thought and practice within artistic research in the performing arts. Doctoral projects have a unique position in what we might call ‘future academia’ – a say into what academia could become. A lot of thought and development activities flow into doctoral education, across disciplines, to ensure that the work emerging through doctorates is relevant, of high quality and meaningful to the researcher. Simultaneously projects have the potential to challenge, push and influence academic discourses, traditions and habits. So how can we develop and position our works so they do not stabilise the status quo, but push thinking and practice within artistic research in a critical and change-oriented way? This is the question we attend to here, offering contextualisation and some practical questions and considerations to ask oneself in the process of developing and following through with a doctoral project in the performing arts.

  • 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.

  • Paula Kramer & Emma Meehan About AdequacyMaking Body-based Artistic Research Public

    Paula Kramer & Emma Meehan About AdequacyMaking Body-based Artistic Research Public

    Artistic research requires the ability to continuously tune and (re-)calibrate how to share work with people outside of the process, while still maintaining an adequate relationship to the project and the context in which it is developed. The doctorate is a good example of this process, as it is a significant multi-year project that requires artistic researchers to interface with a public at various stages. The academic framework places very particular demands on the researcher, to which this text attends whilst also being relevant to and aware of articulations of artistic research practiced elsewhere. A key question is how to respond to any kind of external requirements without losing the thread or the connection to one’s artistic practice. We push against common notions of compromise here and instead encourage artistic researchers to develop and argue for formats that have high resonance and a dense relationship to their research processes. As authors working with(in) movement/dance practices and performance, we attend in particular to processes of publicly sharing body-based 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

  • 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.

  • Joanne ‘Bob’ Whalley & Lee Miller Somatics / Intersubjectivity‘Moving Thoughts on Intersubjectivity’

    Joanne ‘Bob’ Whalley & Lee Miller Somatics / Intersubjectivity‘Moving Thoughts on Intersubjectivity’

    This writing seeks to reflect upon the space in-between the work and its reception in order to consider how knowledge is created and exchanged. The principle of the ‘in-between’ is central to this writing, recognising as it does the spatial dynamic that is often overlooked in the co-creation of knowledge. Thus, ‘knowledge’ is positioned not as a solo offering, but as a communicative and vibrant act of exchange. In this context, the knowledge generative possibilities of arts practice become clearer, as the intersubjective is a more evident terrain of enquiry than might be the case in more ‘traditional’ forms of knowledge dissemination that might more typically be understood as having a singular direction of travel.

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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+.