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Artistic Research Methodology. Narrative, Power and the Public
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... Theatre Academy of the University of the Arts Helsinki, the institution where I am based, conducts predominantly artistic research (e.g., Borgdorff, 2012;Hannula et al., 2014;Varto, 2018), which means that research involves artistic methods, often resulting in artistic outcomes. The artistic outcomes are formally examined as key products of the research. ...
... In my methodological choices, I found the intersections between artistic, qualitative, and ethnographic research practices particularly inspiring. Artistic research is a methodological paradigm in which knowledge emerges from and is articulated through artistic, embodied, experimental, and performative practices, usually conducted by artists and arts educators (Borgdorff, 2012;Hannula et al., 2014;Varto, 2018). I see artistic research not as a clearly defined, static framework but as something that is being constantly developed and redefined through different approaches and artistic practices, often in relation to other research traditions (e.g. ...
In this article, I describe an artistic research process stemming from my work as a dance pedagogue in disability services. Describing and reflecting on the process that led to the artistic part of my research, a performance installation at the New Performance Turku festival in Finland in 2018, I aim to develop a nuanced and ethically sensitive understanding of diverse and vulnerable agencies in the boundary areas between arts, research and social care. The ethical dilemma I address in this article concerns the paradoxical nature of situated and shared vulnerability. I reflect on how the different vulnerable agencies have been negotiated in my research project, and what ethical insights this negotiation brings forth. Methodologically, my research is situated at the intersections of artistic and performative research, post-qualitative inquiry, and feminist ethnography. Based on methodological experiments and theoretical discussion, including the ethics of care, vulnerability, dis/ability and ableism, I consider the complexity of participation, power relations and decoloniality in artistic research. Through the example of my research project, I describe how frictions between different contexts in the arts, academia, and social care become tangible in light of the social-material-discursive phenomenon of dis/ability. In the conclusion I suggest that we should continue to reflect on the complexity of the possibilities of participation , problematising artistic and academic practices, in which disabled people's agency is determined and mediated by abled people.
... This research is situated in the context of artistic research and is centred on each artist's ways of working, with no existing pre-designed methods and methodologies (Gröndahl 2023;Hannula et al. 2014;Rouhiainen et al. 2014). Hence, thinking and knowing unfold in and through my dance pedagogical practices in emergent and often surprising ways (Borgdorff 2012). ...
This article explores Deleuze and Guattari’s (1987) notion of ‘lines of flight’ as a philosophical concept and a phenomenon in dance pedagogical learning events by focusing on approaches combining dancing and drawing in an early childhood educational context. I share how the enquiry has been guided not only through the concept of thinking with theory (Jackson and Mazzei 2023) but also through dancing with theory through a series of creative approaches.
This study is situated in the field of artistic research, with its theoretical framework in post-human theories (Barad 2007), intra-active pedagogy (Lenz Taguchi 2010) and assemblage (Deleuze and Guattari 1987) thinking. Diffractive reading (Barad 2007) is used in narrating the key moments, theorised as translations, that have been significant in researching the lines of flight and the intra-active relationship between drawing and dancing.
The central claim is that working with dancing– drawing assemblages may expand children’s potential entry points and modes of participation. This can support more diverse, inclusive and participatory forms of dance pedagogies. Through dancing–drawing approaches, dance improvisation may become a mode of multimodal meaning-making, fostering rich and varied artistic experiences for children where embodied and artistic thinking intersect in novel ways.
... Artistic research as a methodological paradigm is rooted in artistic, embodied, experimental, and performative practices of artists and arts educators (e.g. Borgdorf, 2012;Hannula et al., 2014;Varto, 2018). Artistic research can be seen to parallel a broader transformation and call for change in academia, which fosters "non-discursive knowledge forms, unconventional research methods and enhanced means of documentation and presentation, as witnessed by developments in areas such as visual anthropology and cultural studies" (Schwab & Borgdorf, 2014, p. 13). ...
Purpose of this article is to describe the development of a pedagogical research approach entitled reflective documentation. Context for this inquiry is an Erasmus+ project entitled Pedagogy of Imaginative Dialogues (PIMDI). The practical examples are drawn from the PIMDI project. For fuller appreciation of the multimodal nature of reflective work and reflective documentation, we have created an exposition on Research Catalogue portal. As the outcome of this artistic pedagogical research project, we propose that reflective documentation can be seen in connection with artistic research and visual ethnography as an open-ended process, without the traditional requirement to show what really happened.
... A Ponttól pontig. című előadásban olyan kísérleti bábelőadás megtervezésére és megvalósítására törekedtünk, amely alkalmas lehet arra is, hogy a művészeti kutatás (artistic research) módszerével (Wilson -van Ruiten 2013;Hannula-Suoranta-Vadén 2014) vizsgáljuk a bábművészet és a techno lógia viszonyát. Arra voltunk kíváncsiak, hogy a bábjáték műfajához elválaszthatatlanul kapcso lódó absztrakciós lehetőségeket hogyan lehet kiaknázni a 21. ...
A tanulmány arra a kérdésre keresi a választ, hogy milyen kutatási irányok bontakozhatnak ki, ha feltételezzük, hogy az emberrel közvetlen interakcióba kerülő szociális robotok fejlesztése során mind a megjelenés, mind a mozgástervezés tekintetében hasznosíthatóak lehetnek a bábművészetben alkalmazott bábtervezés módszertani elemei. Akár bábokról, akár robotokról beszélünk, az elsődleges kérdés az, hogy mozgásukkal, megjelenésükkel, „viselkedésükkel” milyen hatást váltanak ki a nézőből. A (báb)színház jól alkalmazható a HRI (humán-robot interakciók) modellezéseinek terepeként, az emberek robotokra adott reakcióinak tesztelésére. A tanulmány bemutat egy folyamatban lévő művészeti kutatást (artistic research), amely 8–12 éves gyerekek körében vizsgálja a robotokkal kapcsolatos attitűdöket, valamint azt, hogy a gyerekek milyen érzelmekre tanítanának meg egy robotot, illetve, hogy milyen érzelmeket várnak el egy ilyen tárgytól. Ezen vizsgálatok segítségével közelebb juthatunk azon kérdés megválaszolásához, hogy vajon mitől válhatnak a gyerekek mint nézők, felhasználók számára „élővé” és elfogadhatóvá a jövőben a környezetünkben valószínűleg egyre több helyen megjelenő szociális robotok.
... The art practice research in the fine art process guides the methodology (Balkema & Slager, 2004;Hannula et al., 2014). As a result of the recent review of the artistic approach, the proper direction was followed and reflected in practice. ...
This research uses a lot of tree trunks to build an abstract art studio sculpture of a four-legged animal. Sketched, drawn, and scaled animal trait models represented human vegetation management at a highway and byway road site. Use the right tool and joiner wooden technique with screws and nails in the studio. The 'running forest' series was created after finishing and cleaning, using wood stain to preserve the wood and enamel paint for artistic purposes before the artist's impression technique stimulated or relocated the sculpture to its real location. This symbolic project politely communicated with the community through wooden sculpture-based environmental art.
This article dives into three stories of doing doctoral defences differently. We have experienced a need to lean on performative ways of doing our doctoral defences. Performative research acknowledges that the researcher is 'inside' the research and that there are multiple ways of knowing and presenting research. We-Ida, Solveig and Runa-are three women situated in a Norwegian university and come from the research fields of dance, drama and music education. Through our stories we lead the reader through our grappling with questions concerning doctoral defence, ethics, accessibility, and epistemology, asking: How might embodied, arts-based, and collaborative approaches allow for new ways of doing doctoral defences? We lean on embodied, arts-based, and collaborative methodologies. The theoretical and analytical approach is anchored and read through an entangled bodily educational design, where we follow four threads as a visualization of four entanglements: to body-to space, to listen-to respond, to rest-to move, to play-to create. We offer our article as inspiration for others grappling with doctoral defences, and those interested in different ways of doing and presenting research. Our intention is to create academic spaces where bodies, voices, and the arts are invited, and by this we also seek to disrupt, and challenge established doctoral defence norms and practices.
The following article explores the relationship between research/creation, the socio- constructivist perspective of learning and psychoanalytic ethics, with the goal of proposing key points for a debate on the education of contemporary performing artists. Considering that it is essential to build a space for critical and creative dialogue that facilitates learning from research, the article addresses and problematizes the so-called dogmatic image of art and the teacher/disciple model to approach research/creation as an educational strategy, which is generator of knowledge and, at the same time, a fertile space for ethical debate around the very limits of scenic practice.
This article presents an overview of the origin of the concept of “artistic research” and the discussions around it that unfolded in the artistic and academic environment. Artistic research emerged within the framework of the academy, but at the same time, as many critics emphasize with whom the author of the article agrees, it should not be colonized by it. The article examines the models of conducting artistic research with reference to the Mika Hannula’s, Juha Suoranta’s and Tere Vadén’s Artistic Research Methodology and identifies general patterns that characterize this practice in all its diversity. The basic formula presents artistic research as an artistic process to which contextual, interpretative and conceptual work is added, aimed at argumentation of a point of view. In any case the practices of artistic research are supposed to be performative. The author of the article offers a look at the course of artistic research as a process extended over time, including alternating phases and various “points of visibility”. Artistic research can be presented in the institutional space if it coincides with the program and objectives of a particular institution, but at the same time it can be carried out independently. The finished project demonstrated within the framework of the institution may be preceded by a long research period remaining “behind the scenes”, or some intermediate research results may be presented in a variety of formats.
The article addresses the problems of the methodology of artistic research, which is seen as the production of a specific form of knowledge related to aesthetic experience. The field of artistic research emerges in the last decades of the 20th century as a result of the convergence of the art world and the academy under the influence of conceptual art and the interdisciplinary turn. Research appears as a methodological bricolage in which the aesthetic is no longer displaced in opposition to the cognitive, but rather complements it. The importance of aesthetic knowledge production increases in the situation of revision of the linguistic paradigm. The factors of multiplicity, complexity and uncertainty are beginning to play a key role in how the subject of research reveals itself: it is becoming less and less predictable and understandable from a linguistic perspective. Its limitations are overcome by shifting the focus of attention from the research method to the subject. Actor-network theory and its philosophical implications are a natural ally here. By rediscovering the subject as an activated non-self-identity, a network-centered quasi-subjectivity, the research methodology acquires similarities with the strategy that Karen Barad calls ethico-onto-epistemology. Artistic research turns out to be a territory where scenarios of response to the crisis of imagination provoked by digital capitalism are produced. This makes the field of artistic research part of a broad process of experimental cultural production and thought that can be called a permanent cognitive revolution.
En este artículo de investigación se indaga sobre la forma en que los artistas aprenden, enseñan e investigan, para comprender cómo las prácticas universitarias, el Sistema Nacional de Ciencia, Tecnología e Innovación y el sistema educativo universitario colombiano reconocen o no sus productos artísticos. A partir de la exploración sistemática de la producción en revistas indexadas y de entrevistas con estudiantes, egresados, profesores y expertos, se elabora una explicación que utiliza herramientas de la teoría fundamentada para concluir que las artes se conectan con la ciencia desde el paradigma de la complejidad. Mediante la metáfora del rizoma de Deleuze y Guattari, podemos explicar cómo los artistas aprenden, enseñan e investigan en artes.
… Scientific work is chained to the course of progress; whereas in the realm of art there is no progress in the same sense. It is not true that the work of art of a period that has worked out new technical means, or, for instance, the laws of perspective, stands therefore artistically higher than a work of art devoid of all knowledge of those means and laws — if its form does justice to the material, that is, if its object has been chosen and formed so that it could be artistically mastered without applying those conditions and means. A work of art which is genuine “fulfilment” is never surpassed; it will never be antiquated. Individuals may differ in appreciating the personal significance of works of art, but no one will ever be able to say of such a work that it is ‘outstripped’ by another work which is also “fulfilment.”
Few words in both everyday parlance and theoretical discourse have been as rhapsodically defended or as fervently resisted as "experience." Yet, to date, there have been no comprehensive studies of how the concept of experience has evolved over time and why so many thinkers in so many different traditions have been compelled to understand it. Songs of Experience is a remarkable history of Western ideas about the nature of human experience written by one of our best-known intellectual historians. With its sweeping historical reach and lucid comparative analysis-qualities that have made Martin Jay's previous books so distinctive and so successful-Songs of Experience explores Western discourse from the sixteenth century to the present, asking why the concept of experience has been such a magnet for controversy. Resisting any single overarching narrative, Jay discovers themes and patterns that transcend individuals and particular schools of thought and illuminate the entire spectrum of intellectual history. As he explores the manifold contexts for understanding experience-epistemological, religious, aesthetic, political, and historical-Jay engages an exceptionally broad range of European and American traditions and thinkers from the American pragmatists and British Marxist humanists to the Frankfurt School and the French poststructuralists, and he delves into the thought of individual philosophers as well, including Montaigne, Bacon, Locke, Hume and Kant, Oakeshott, Collingwood, and Ankersmit. Provocative, engaging, erudite, this key work will be an essential source for anyone who joins the ongoing debate about the material, linguistic, cultural, and theoretical meaning of "experience" in modern cultures.
How should we respond when some of our basic beliefs are put into question? What makes a human body distinctively human? Why is truth an important good? These are among the questions explored in this collection of essays by Alasdair MacIntyre, one of the most creative and influential philosophers working today. Ten of MacIntyre's most influential essays written over almost thirty years are collected together here for the first time. They range over such topics as the issues raised by different types of relativism, what it is about human beings that cannot be understood by the natural sciences, the relationship between the ends of life and the ends of philosophical writing, and the relationship of moral philosophy to contemporary social practice. They will appeal to a wide range of readers across philosophy and especially in moral philosophy, political philosophy, and theology.
Alasdair MacIntyre is one of the most creative and important philosophers working today. This volume presents a selection of his classic essays on ethics and politics collected together for the first time, focussing particularly on the themes of moral disagreement, moral dilemmas, and truthfulness and its importance. The essays range widely in scope, from Aristotle and Aquinas and what we need to learn from them, to our contemporary economic and social structures and the threat which they pose to the realization of the forms of ethical life. They will appeal to a wide range of readers across philosophy and especially in moral philosophy, political philosophy, and theology. © Alasdair MacIntyre 2006 and Cambridge University Press, 2009.
Responding to the growing gap between the sociological ethos and the world we study, the challenge of public sociology is to engage multiple publics in multiple ways. These public sociologies should not be left out in the cold, but brought into the framework of our discipline. In this way we make public sociology a visible and legitimate enterprise, and, thereby, invigorate the discipline as a whole. Accordingly, if we map out the division of sociological labor, we discover antagonistic interdependence among four types of knowledge: professional, critical, policy, and public. In the best of all worlds the flourishing of each type of sociology is a condition for the flourishing of all, but they can just as easily assume pathological forms or become victims of exclusion and subordination. This field of power beckons us to explore the relations among the four types of sociology as they vary historically and nationally, and as they provide the template for divergent individual careers. Finally, comparing disciplines points to the umbilical chord that connects sociology to the world of publics, underlining sociology's particular investment in the defense of civil society, itself beleaguered by the encroachment of markets and states.