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Artistic Research Methodology. Narrative, Power and the Public
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... This suggests a strong connection to arts-based research. Borgdorff identifies three main types of artistic inquiry whereby art knowledge is constructed through investigation on, for, and in the arts (Borgdorff 2012;Hannula, Suoranta, and Vaden 2014). Of particular relevance is 'Research in the arts' which is defined as the artistic and creative practice which materializes the notion that the subject and object of research cannot be separated, and consequently that theory and practice cannot be disconnected. ...
... Nevertheless, integration remains a relevant issue not only at the cognitive level but also pertaining to social and organizational dynamics, such as disciplinary exchanges and rethinking disciplinary identities (Darbellay et al. 2014). Methodological pluralism appears to be a common ground between ID/TD research and artistic research, meaning that there is no single, restricted method or approach employed in artistic inquiry (Borgdorff 2012;Hannula, Suoranta, and Vaden 2014). Engaging the meta-knowledge domains of art, science, and technology along with diverse participant groups inherently suggests the use of multiple epistemic traditions. ...
... A way to integrate the creation of the artwork in the wide ID or TD practice in the AST context can be informed by the process in arts-based research, which is an intertwinement of research, experimentation, and making (Borgdorff 2012). Hannula, Suoranta, and Vaden (2014) characterize the doing of arts-based research, which they describe as 'inside-in'. There is a strong presence of subject-object interaction (alternating between insider and outsider positions), it is mostly practice-based, contextual, self-critical, and interwoven into the creative process of art making. ...
This conceptual paper focuses on understanding the interactions between art, science, and technology as a forms of wide interdisciplinary or transdisciplinary collaboration. There is scarce knowledge about how the wide interdisciplinary interaction between artists, scientists, and technologists can be conceptualized through a shared framework for collaboration. The ecology of collaboration involves a complex set of social structures varying between autonomous individually organized teams and institutional programmes. By using a social ecological approach, integrating social, organizational, and cultural factors, art, science, and technology (AST) collaborations can be characterized by a sequence of antecedent, process, and outcome conditions. These elements are organized to form a conceptual framework for art-science collaborations, elaborating on AST in its relationship to knowledge, aesthetics, interdependence, and experimentalism as antecedent conditions, while outlining the process elements and possible outcomes of the collaborations. The framework can be a vehicle for evaluation and reflection for practitioners, researchers, educators, and policymakers.
... Arguably sensorial engagements with polluted air, which is mostly invisible, ask for a different, technoecological approach that acknowledges the immanent relationality between body, technology, and ecology (see, for example, Liu, 2017;Murphy, 2017). Similar to praxeological approaches, practice-based artistic research allows for sensuous or sense-driven and material approaches and inquiries in which the senses and the body are valid sources of research (Hannula et al. 2014). In line with this, this chapter makes use of excerpts of field notes and transcribed dialogues gathered during an artist residency in Beijing, positioning them not only as an affective and aesthetic reference but equally as valid sources of knowledge. ...
Are aesthetics and politics really two different things? The book takes a new look at how they intertwine, by turning from theory to practice. Case studies trace how sensory experiences are created and how collective interests are shaped. They investigate how aesthetics and politics are entangled, both in building and disrupting collective orders, in governance and innovation. This ranges from populist rallies and artistic activism over alternative lifestyles and consumer culture to corporate PR and governmental policies. Authors are academics and artists. The result is a new mapping of the intermingling and co-constitution of aesthetics and politics in engagements with collective orders.
... Arguably sensorial engagements with polluted air, which is mostly invisible, ask for a different, technoecological approach that acknowledges the immanent relationality between body, technology, and ecology (see, for example, Liu, 2017;Murphy, 2017). Similar to praxeological approaches, practice-based artistic research allows for sensuous or sense-driven and material approaches and inquiries in which the senses and the body are valid sources of research (Hannula et al. 2014). In line with this, this chapter makes use of excerpts of field notes and transcribed dialogues gathered during an artist residency in Beijing, positioning them not only as an affective and aesthetic reference but equally as valid sources of knowledge. ...
Are aesthetics and politics really two different things? The book takes a new look at how they intertwine, by turning from theory to practice. Case studies trace how sensory experiences are created and how collective interests are shaped. They investigate how aesthetics and politics are entangled, both in building and disrupting collective orders, in governance and innovation. This ranges from populist rallies and artistic activism over alternative lifestyles and consumer culture to corporate PR and governmental policies. Authors are academics and artists. The result is a new mapping of the intermingling and co-constitution of aesthetics and politics in engagements with collective orders.
... Every sphere and project is, in a way, a closed system in which all individuals are playing with possibilities with certain limits. There are methods that fit the social or art-making conditions better and by contrast there are existing methods that do not (Hannula, Suoranta &Vadén 2014). ...
... Gubrium and Holstein (2003) describe an "active interview" as a dynamic meaning making process, wherein meaning is constantly reconstructed through the conversation. Addressing practice-based research within artistic research methods, Hannula, Suoranta and Vadén (2014) similarly describe how narrative interviews don't address a whole, but instead seek out deeper nuances. It is a creative encounter that takes place in a specific time and place. ...
... Typically, arts-based research authors are concerned with social, societal, cultural, educational, philosophical, or psychological issues, which are explored through art practice (Kallio, 2008;2009;2010;2013;Suominen, Kallio-Tavin & Hernández, in press). Artistic research, on the other hand, aims to learn about the artistic processes and the artists' art-making to enhance the researchers' artistic views and to produce high quality art (Hannula et al., 2014;Rinne, 2016). Both types of research are important. ...
This project aims to profile the categorisation in how manifesting of the idea developed through the commission of public sculpture. The artistic research process will begin by compiling the previous and recent projects. The motivation process of creativity will match related literature, related visual artwork from previous practice, formulation ideas, materials, and installation. Therefore, these thoughtful compilation projects will be discovered and highlight the strength of every public sculpture project that forms the base from the collaboration and negotiation within the client's requirements. Indeed, the classification from the selected public sculpture projects will deliberate more according to the manifestation of the idea accordingly.
Straipsnyje nagrinėjama doktorantūros meno projekto meninės-kūrybinės ir tiriamosios dalių išankstinė perskyra bei jos įveikos galimybės. Problema siejama su galimybe permąstyti ir peržengti doktorantūros nuostatuose įtvirtintą perskyrą tarp meninės-kūrybinės ir tiriamosios dalių, kai pastaroji privalo įgauti apibrėžtos apimties rašytinio teksto pavidalą. Keliamas klausimas, kodėl meninių tyrimų rezultatai dailės krypties doktorantūros meno projekte galiausiai privalo būti įžodinti? Teigiama, kad dominuojantį meninį-akademinį tyrimą galėtų papildyti meninio tyrimo ekspozicijos ir meniniai argumentai. Meninius argumentus galima suvokti kaip į rašytinį tekstą neredukuojamus meninių idėjų ir episteminių tezių asambliažus, kuriuose reikšmingą vaidmenį atlieka materialaus pobūdžio triukšmas.
… 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.