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Artistic Research Methodology. Narrative, Power and the Public

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... Over the years, however, this research method has now been accepted and adopted in most academic institutions across the world (Elkins 2006) and has in fact been extended to other fields including the sciences (Brew 2001). Today, many researchers have presented a strong case for its validity as a research method in arts and other related disciplines (see, for instance, Gray & Malins 2016;Hannula, Suoranta & Vadén 2014;Sullivan 2010;Neidderer & Reilly 2010;Mäkelä 2007;Brew 2001). Notwithstanding, degree-awarding institutions sometimes seem to compel scholars to still argue that practitionerresearch is now an acceptable research method in academics. ...
... PBR involves one's practice or that of a focus group to which the researcher may himself belong. In the case of a focus group, each member of the group must be involved in a common practice that is in line with the interest of the researcher (See Hannula, Suoranta & Vadén 2014). Since the researcher is also a practitioner, he is referred to as a practitioner-researcher. ...
... This involves action research through critical engagement with my own art practice (Gray & Malins 2016, 40-41;Sullivan 2010). It is also known as studio research, artistic research, or arts-based research (Hannula, Suoranta & Vadén 2014). This method of research supports a critical inquiry into one's own practice. ...
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In many societies, the practices of pottery-making and initiation rites seem to be in decline. Researchers of both rites of passage and pottery (together with its broader category, ceramics), therefore, continually seek new ways of interpreting the practices to sustain and enliven them. My interest in the processes of pottery making among indigenous potters has led me to go beyond the finished product to reconsider the performative 'art' and 'act' of creating potteries. Among many cultures, the process of creating pottery is likened to childbirth; it can also suggest a people's state of being. Furthermore, pottery wares are known to have humanoid qualities. What relationships exist between pottery and rites of passage? With the growing need to creatively design rites that mark individual and group transitions from one state of being to another, how can potential relationships between pottery and rites of passage inform creativity in passage rituals? Moreover, what creative ideas might those relationships stimulate for self-expressions through installation and performance? This study explores possible parallels between pottery/ceramics and rites of passage, with a focus on their transitional phases. Methods of data collection involved contextual and documentary reviews, fieldwork, and studio explorations. Collected data were analyzed using comparative, descriptive and interpretative methods. Deploying rites of passage theories, this study brings fresh perspectives to the ways in which ceramics practice can be viewed, re-interpreted and creatively explored. The project results in both a written dissertation as well as an exhibition and catalogue of visual artworks resulting from the creative explorations of the study. Keywords: Pottery, Ceramics, Rite of Passage, Initiation, Liminality
... AR, as doing research, involves the production of art-however conceptual, ephemeral or time-based it might be-as well as applying methods from other disciplines. Thus, AR involves methodological pluralism, that is, selecting from a diverse range of methods and tools those suited to one's topic and purpose (Borgdorff et al., 2020;see also SymbioticA, 2011;Borgdorff, 2012;Hannula et al., 2014;Caduff, 2017;Vaage, 2020). Standard AR research methodologies include experimentation, participatory research, analytical and interpretative approaches (Borgdorff et al., 2020;Schwab & Borgdorff, 2014), arts-based methods and additional methods from other research fields. ...
Thesis
Zweck: In den letzten Jahrzehnten hat das Interesse an sozial engagierter Kunst, Art in Action, stetig zugenommen. Bisher fehlt allerdings eine Praktiker-Forschung (practitioner research), welche Fragen aus der Arbeitswelt in den Forschungsmittelpunkt stellt und die glokalen Gegebenheiten praxisrelevant diskutiert. Diese Studie untersucht die Grundannahmen der Kunstgeschichte, welche bisher die Einführung der Praktiker-Forschung erschweren. Die Studie kontextualisiert und diskutiert zudem die Besonderheiten der künstlerischen Forschung sowie der Praktiker-Forschung in anderen disziplin ren Feldern. Daran anschliessend formuliert diese Studie die Prinzipien der Art in Action Methodik. Methodik: Diese transformative Studie arbeitet mit dem Global Studies Paradigma. Der konzeptionelle Apparat umfasst die Kaleidoskopische Dialektik, das Konzept der Glokalisierung und die Theorien der Transdisziplinarit t und der Meta-Narrativen Synthese. Ergebnis: Diese Studie formuliert die Prinzipien der Art in Action Methodik (AiAR). AiAR stellt Fragen aus der Arbeitswelt in den Mittelpunkt der Forschung, berücksichtigt glokale Gegebenheiten und organisiert den Forschungsprozess in Relation zu den projektrelevanten Partikularit ten (grounded methodology).
... Through her case studies, she found that embodied and emotional knowledge, and making implicit knowledge more explicit were key aspects of healthcare musicians' hybrid and ethically responsible professionalism. In Jaakonaho's and Fast's research, knowledge emerged from and was articulated through artistic, embodied, experimental, and performative practices, which is characteristic of artistic research (Borgdorff, 2012;Hannula et al., 2014;Varto, 2018). Although in Fast's research, artistic practice was considered the primary mode of knowledge production, knowledge was generated in a transdisciplinary manner using qualitative methods and psychiatric questionnaires. ...
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Background Arts-based practice and research in care has increased significantly. There is a need to examine the ethical issues arising from this complex phenomenon, conceptualised as boundary work. Method To support interdisciplinary understanding in artistic and arts-based work, we collaboratively explored three arts-based research projects implemented in diverse care and healthcare contexts. The ethical issues related to boundary work were negotiated through reciprocal, in-depth reflection. Results Arts-based and artistic research allows embodied, sensitive, and sensible encounters to emerge, in which the boundaries between artistic agency, professional positions, and even notions of evidence may be challenged. The notion of vulnerability emerges as a central ethical feature of boundary work. Conclusions Articulating ethical concerns in artistic-pedagogic boundary work and research can promote a more nuanced understanding of power relations in cross-sectoral practices. It may help develop services that support the agency and holistic well-being of individuals and communities.
... A/r/tography, practice-based research Through practice-based research, visual encounters with botanical material were designed so that the research unfolded through making and 'in and through the acts of creating and performing ' (Karlsson et al. 2010: 20), and in keeping with descriptions of practice-based research by Hannula et al. (2014). Creative works were first produced as resources and then used to gain further insights towards pedagogies for plant study, using a/r/tographic approaches. ...
Article
This practice-based research project involved creating and using a set of teaching resources to engage undergraduate art and design students with plants. The resources addressed learner preferences for engaging with different modes of representations and involved three types of visual encounters with plants. Students engaged with realistic representations, botanically accurate illustrations and actual plants themselves. The use of these resources drew attention to the distinction between botanical and artistic understandings of plants and highlighted the relevance of considering multiple modes of engagements while designing pedagogical initiatives to study plants through art and design.
... The virtual environment Art Space encompasses the results of examination of these sources and the conclusions concerning the references found in gaming aesthetics to the art of modernism. The team has also fused the methods of artistic research [5], and design science research [6]. These approaches do not always require a structured plan of research process, but rather suggest an experimental style of work where researchers use their imagination to a great extent leading to some unexpected results. ...
Thesis
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This thesis is about sound and space, and is an exploration of sounds and spaces using Pierre Schaeffer’s sound object theory. It addresses aesthetic and experimental approaches to the exploration of spatial audio and site-specific practices through the intrinsic and extrinsic features of sound objects. These experimental approaches make use of software tools for composition, installation, spatial programming, and sound design, as well as for virtual reality simulation. The main contribution of the thesis is an exploration of the relationships between sound and space, going beyond the technical issues of the spatialisation paradigm and into issues of place, site, and landscape, as guiding principles for spatial audio practices. The ambisonic soundfield is in this thesis seen as a link between sound objects and spatialisation of sound masses, sharing the same multidimensional space. The thesis aims to study the various features of sound objects through a multi- dimensional model where we can access main features as well as sub-features, and sub-sub-features, of sound objects. This thesis is divided into four parts, where the first three parts discuss different aspects of the object–structure relationship, and where the last part is a discussion of possible extensions of Schaeffer’s typo-morphological system of identification, classification, and description of sound to encompass spatial features.
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Tämä tutkielma tarkastelee osallistavan yleisösuhteen rakentumista devising-prosessissa. Devising on nykyteatterin muoto, jossa valmista käsikirjoitusta ei ole, vaan se muodostetaan yhdessä työryhmän kanssa harjoitusprosessin aikana. Tutkielma toteutettiin osallistuvan etnografian ja taiteellisen tutkimuksen metodeilla. Tutkielman aineisto ja taiteellisen tutkimuksen taiteellinen osio on devising-työtavalla toteutettu yhteisöteatteriesitys Lauma, joka sai ensi-iltansa Turun ylioppilasteatterilla 2.12.2017. Yhteisötaiteessa ja osallistavassa teatterissa yleisösuhde poikkeaa usein perinteisestä katsoja–katsottava -asetelmasta ja katsomo–näyttämö -asetelmasta. Tämä suhde on muotoiltava uudestaan omanlaisekseen jokaisessa produktiossa. Tarkastelen esityksen yleisösuhteen rakentumista Lauman harjoitusprosessissa (esityskomposition luominen) ja sen toteutumista esityksissä (esitystapahtumat) tilallisuuden ja kehollisuuden näkökulmista. Koko prosessia läpileikkaavana näkökulmateoriana toimii uusmaterialistinen toimijaverkostoteoria. Sovellan lisäksi teatterintutkimuksen, empatiatutkimuksen sekä lahjan filosofian käsitteitä. Yleisösuhdetta tuotetaan performatiivisesti monisyisissä materiaalis–diskursiivisissa prosesseissa. Jos halutaan edistää ihmisten välisiä tasa-arvoisia kohtaamisia, on kiinnitettävä huomiota myös tilaan ja sen luomiin suhteisiin. Tilan järjestelyt ohjaavat meitä toimimaan tietyllä tavalla. Ympäristönomaisen katsomoasetelman avulla voidaan luoda esitystilanteesta yhteisöllisempi. Tutkielma osoittaa empatian olevan eräs mekanismi, jolla yleisö, tila ja esiintyjät ovat vuorovaikutuksessa keskenään. Osallistavaa esittäjä–katsoja -suhdetta luodaan pitkälti empatian avulla – tekijät kuvittelevat itsensä yleisön asemaan. Tutkielmassa ehdotetaan, että esityksen muodostamisen prosessi voidaan hahmottaa myös lahjojen vaihtamisen prosessina. Esittävien taiteiden metodien ymmärtäminen kollektiivisen tiedonmuodostuksen keinoina voi avata uusia näkökulmia esimerkiksi sosiologiseen tutkimukseen. Näitä metodeja, sekä niiden avulla tuotettua tietoa voidaan soveltaa myös muille aloille.
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The increasing interest in Estonian art scenes outside of Tallinn necessitates careful and critical discussion. Rait Rosin’s PhD dissertation investigates regional gallery spaces and local people attitudes toward art activities in their communities. The reader will have a better grasp of Estonia’s diversified creative scene and society-driven cultural shifts. The comparison provides an overview of the precision of the regional differentiations of the six Estonian small towns: Paldiski, Haapsalu, Valga, Võru, Rapla, and Rakvere by comparing the various regional characters and as well six local art galleries. In comparison, the audience of town galleries and artist interviews demonstrate how each party sees local art. The research looks into Estonian small-town initiatives to communicate with small towns, parallels and examples of artists activities, who had exhibitions in local galleries during the years 2010–2017. The author of the thesis interprets the artistic expressions of the participants as acts of cultural communication of the centre and the periphery polarities. Nonetheless, because the expectations of small towns have to implement for their organised events, the contribution of artists is calculated based on their effect on the surrounding areas. On the one hand, the dissertation is a reflection of Rait Rosin’s own artistic practice while he depict themes for the artworks, while also analysing his own position as artist researcher. Dissertation In the ohter hand, is classified as discourse, with engaged art as one of the socially active solutions. According to the philosophers such as John Dewey, Jacques Rancière and others, local interest and activity-binding solutions may assist artists. As a result, the local cultural scene may have established a field of meaning construction that aids to integrate various groups into the community. The PhD thesis focuses on local people waiting for artists and visiting artists’ assessments of Estonian small-towns in creative chores and art creation, often due to a lack of expert criticism and the location of the art.
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Research studies acknowledge the complex nature of creative personalities and show empirical evidence for an association between creativity and mood disorders. Yet, there has been surprisingly little discussion of creative professionals who have lost their work motivation and creative spark. A critical discussion of this phenomenon is often reduced instead to conversations focusing on some variation of the idea that the unifying characteristic of creative people is that they all love what they do. This perspective does not reflect the reality of the working lives of creative professionals and ignores those creative individuals who have lost their passion for their creative work. In the studies presented in this thesis, I focus on addressing this gap and attempt to provide a more in-depth understanding of the creative process. This thesis examines creative well-being and the complexity of the creative process from the perspective of picturebook illustrators. The methodological basis of the thesis is a qualitative approach called grounded theory. The term "grounded" refers to the idea that the theory emerging from the research is grounded in data, instead of having its basis in a particular theoretical framework. I collected the research data by documenting my own picturebook illustration process and by conducting narrative interviews with eight Finnish picturebook illustrators. Initially, my aim with the thesis was to gain a better understanding of the creative process of illustrating a picturebook. I started by trying to answer the question: what is the creative process of illustrating a picturebook? However, the more I examined my data, the clearer it became that it suggested a new kind of theory about the work-related well-being of creative professionals in general. Consequently, I ended up posing and answering two further questions: what are the main elements of creative resources, and what are the main factors contributing to creative well-being? This interdisciplinary investigation draws not only on studies of the picturebook illustration process, but also on research on creativity and creative processes in general. It concludes by providing two visual models that have emerged from the studies presented in this thesis. The first – the Picturebook Illustration Model – presents the four-stage process followed when illustrating picturebooks. The second – the Cycle of Creative Resources – proposes that creative well-being could be observed as a cycle of six states of creative resources that have been identified in this thesis. Where on the Cycle of Creative Resources a creative professional finds herself has a direct impact on how fulfilling or draining she experiences the creative process. This thesis suggests a new way to approach, achieve, and sustain creative well-being. It concludes by proposing that creativity in itself does not increase or diminish in a person – it is always there, ready to be used and explored. What increases or decreases are the creative resources. This, I propose, is at the core of creative well-being.
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This article explores the author’s embodied experiences in and with the turquoise waters of Mexico. This journey started with an exploration of the healing potential of water through water therapy and dance. It led towards a search for ways to protect these precious water ecosystems against climate change, deforestation of waterfront ecosystems and pollution. The autoethnographic research process thus developed into a dialogue about environmental justice. Employing visual ethnography and visual arts, the author utilises photography of her dance in and with the turquoise waters of Mexico. She hopes that this article will inspire new thoughts about these precious water ecosystems and actions to protect them so they can remain pure and vivid for future generations. :
Chapter
… 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.”
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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.