Art Practice Research in Vocal Teaching

2012 ◽  
pp. 439-444
Author(s):  
Zhenli Shi
Keyword(s):  
Practice Research ◽  
Art Practice

Hearing How It Feels to Listen: Perception, embodiment and first-person field recording

2019 ◽  
Vol 24 (1) ◽  
pp. 30-40
Author(s):  
Iain Findlay-Walsh
Keyword(s):  
Virtual Environments ◽  
Auditory Perception ◽  
Sound Art ◽  
Practice Research ◽  
First Person ◽  
Art Practice ◽  
Auditory Space ◽  
Field Recordings ◽  
Field Recording ◽  
The World

This article explores recent theories of listening, perception and embodiment, including those by Mark Grimshaw and Tom Garner, Salomé Voegelin, and Eric Clarke, as well as consequences and possibilities arising from them in relation to field recording and soundscape art practice. These theories of listening propose auditory perception as an embodied process of engaging with and understanding lived environment. Such phenomenological listening is understood as a relational engagement with the world in motion, as movement and change, which grants access to the listener’s emerging presence, agency and place in the world. Such ideas on listening have developed concurrently with new approaches to making and presenting field recordings, with a focus on developing phonographic methods for capturing and presenting the recordist’s embodied auditory perspective. In the present study, ‘first-person’ field recording is defined as both method and culturally significant material whereby a single recordist carries, wears or remains present with a microphone, consciously and reflexively documenting their personal listening encounters. This article examines the practice of first-person field recording and considers its specific applications in a range of sound art and soundscape art examples, including work by Gabi Losoncy, Graham Lambkin, Christopher Delaurenti and Klaysstarr (the author). In the examination of these methods and works, first-person field recording is considered as a means of capturing the proximate auditory space of the recordist as a mediated ‘point of ear’, which may be embodied, inhabited, and listened through by a subsequent listener. The article concludes with a brief summary of the discussion before some closing thoughts on recording, listening and the field, on field recording as practice-research and on potential connections with other fields in which the production of virtual environments is a key focus.

The pedestal and the pendulum: fine art practice, research and doctorates

2008 ◽  
Vol 7 (2) ◽  
pp. 133-151
Author(s):  
Judith Mottram ◽  
Chris Rust
Keyword(s):  
Fine Art ◽  
Practice Research ◽  
Art Practice

Experiencing research early: Undergraduate students’ art practice research1

2020 ◽  
Vol 16 (3) ◽  
pp. 333-350 ◽  
Author(s):  
Gabriela Durán-Barraza
Keyword(s):  
Undergraduate Students ◽  
Research Data ◽  
Practice Research ◽  
Art Practice ◽  
Research Experience ◽  
Artistic Practice ◽  
Art Exhibitions ◽  
Art Exhibition ◽  
Art Students ◽  
Research Questions

The purpose of the present study is to show how undergraduate art students developed a three-semester research project using art practice research as methodology during the years 2011‐12. They answered individual research questions through their artistic practices, presenting their results within an art exhibition and academic document. The research data shared in this article comprise observations of their research development, artistic diaries, art exhibitions, written research documents and post-project interviews. Findings indicate that such research experience allowed students to generate new knowledge through artistic practice, which often cannot be foreseen as it involves incontrollable material and people that cannot be accessed through other disciplines. It also gave them trans-cognitive research skills helping them to better understand themselves as artists and to develop complex works difficult to create otherwise.

The Dynamics of TAT Process

2014 ◽  
Vol 35 (2) ◽  
pp. 103-133 ◽  
Author(s):  
Benoît Verdon ◽  
Catherine Chabert ◽  
Catherine Azoulay ◽  
Michèle Emmanuelli ◽  
Françoise Neau ◽  
...  
Keyword(s):  
Defense Mechanisms ◽  
Analytical Approach ◽  
Therapeutic Process ◽  
Practice Research ◽  
Rorschach Test ◽  
Mental Functioning ◽  
Projective Tests ◽  
The Subject ◽  
Latent Content ◽  
Rigorous Method

After many years of clinical practice, research and the teaching of projective tests, Shentoub and her colleagues (Debray, Brelet, Chabert & al.) put forward an original and rigorous method of analysis and interpretation of the TAT protocols in terms of psychoanalysis and clinical psychopathology. They developed the TAT process theory in order to understand how the subject builds a narrative. Our article will emphasize the source of the analytical approach developed by V. Shentoub in the 1950s to current research; the necessity of marking the boundary between the manifest and latent content in the cards; the procedure for analyzing the narrative, supported by an analysis sheet for understanding the stories' structure and identifying the defense mechanisms; and how developing hypotheses about how the mental functions are organized, as well as their potential psychopathological characteristics; and the formulation of a diagnosis in psychodynamic terms. In conjunction with the analysis and interpretation of the Rorschach test, this approach allows us to develop an overview of the subject's mental functioning, taking into account both the psychopathological elements that may threaten the subject and the potential for a therapeutic process. We will illustrate this by comparing neurotic, borderline, and psychotic personalities.

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