Is Artistic Practice Research?

2017 ◽  
pp. 59-81
Author(s):  
Jenny Wilson
Keyword(s):  
Practice Research ◽  
Artistic Practice

Making and Remaking: The Practice Research of Place

Placemaking ◽  
2020 ◽  
pp. 123-149
Author(s):  
Tara Page
Keyword(s):  
Social Relations ◽  
The Body ◽  
Innovative Approach ◽  
New Materialism ◽  
Practice Research ◽  
Research Approach ◽  
Empirical Methods ◽  
Artistic Practice ◽  
Practice Methods ◽  
Relations Of Power

To understand and question these everyday and artistic practices of life that are sometimes invisible or hidden - and most of the time taken for granted - because they are sensed, felt, of the body, and not easily verbalised, an embodied, affective, relational research approach is needed. The innovative approach of practice research, underpinned by new materialism, that can enable these understandings are discussed in Chapter Five. Additionally, inventive artistic practice methods and a remaking of traditional empirical methods are examined that enable the exploration of the agency of matter and advance vitalist frameworks. By moving beyond the problem-focused approach this chapter works the intra-actions of theory with practice, practice with theory, to develop new approaches to new materialist-place practice research. The practice research approach also politically positions research practices, emphasising the complex materiality of bodies immersed in social relations of power.

Gestural Performance of Electronic Music—A “NIME” Practice as Research

Leonardo ◽  
2016 ◽  
Vol 49 (1) ◽  
pp. 84-85
Author(s):  
Jan C. Schacher
Keyword(s):  
Electronic Music ◽  
Music Performance ◽  
Musical Instruments ◽  
The Body ◽  
Practice Research ◽  
Artistic Practice ◽  
Expressive Performance ◽  
Or Practice

The practice of gestural electronic music performance provides a valid context for artistic or practice-based investigations in the field of ’NIME.’ To this end, the material and conceptual conditions for the development of performance pieces using gestural actions need to be explored. The use of digital musical instruments and concepts for the expressive performance with digital sounds leads to questions of perception—by the musician and by the audience—of movements and actions, the body, the instruments, and of their affordances. When considering this performance mode as a topic for investigation, it becomes evident that in order to be based on practice, research in this field needs a definition and differentiation that helps to identify the specific perspectives that are only made possible through application in an actual artistic practice.

Improvisation and the Earth

2019 ◽  
pp. 594-610
Author(s):  
Tamara Ashley
Keyword(s):  
Practice Research ◽  
Artistic Practice ◽  
Critical Perspective ◽  
The Earth ◽  
The Future ◽  
Dance Improvisation ◽  
Ethical Work

This chapter draws upon artistic practice research to discuss the construction of improvisation scores as a deeply site-sensitive, time-sensitive, and person-sensitive process that leads to the construction of specific microrelations that connect specific practitioners to specific places on the earth. These microrelations manifest as mindful actions in the detailed cultivation of the earth as a score, where the artists can become concerned with the relational dimensions of their actions in terms of sustainability. The chapter proposes that the cultivation of mindfulness and explicit intention of each and every gesture as a contribution to the cultivation of the earth as score is where the ethical work of the artists resides. The chapter offers a broad, questioning, and critical perspective on how the practices of improvisation might contribute to the development of a future dance ecology that is both sustainable and interconnected. Dance improvisation is thus proposed as an activist and applied practice that enables the experiential examination of ecologically sensitive relations, and the chapter asserts that the future of the dance ecology is entwined with how we relate to and embody the places in which dance is made

scholarly journals The Artistic practice-Research-Teaching (ART) Nexus: Translating the Information Flow

2010 ◽  
Vol 7 (2) ◽  
pp. 20-39
Author(s):  
Dawn Bennett ◽  
◽  
David Wright ◽  
Diana M. Blom ◽  
◽  
...  
Keyword(s):  
Information Flow ◽  
Practice Research ◽  
Artistic Practice ◽  
University System ◽  
Postgraduate Students ◽  
Creative Thought ◽  
Complex Relationships ◽  
Flow Of Information ◽  
Insight Into

This paper reports findings from interviews with fourteen Australian artist academics, who discuss the complex relationships between their Arts practice, their Research and their Teaching. We refer to this as the ART nexus because of the strong flow of information reported between these three activities. However, this information flow is not achieved without conflict. Conflict arises over the balance of time available and different mindsets required for differing activities, and there can be hesitation about analysing intuitive creative thought. The findings reveal ways in which information is ‘translated’ for different audiences including undergraduate and postgraduate students, who are both recipients of and contributors to the nexus. The article problematises the ART nexus in an attempt to offer greater insight into the ways in which individual artist academics teach through their arts practice and their research, within a university system that struggles to accommodate this breadth of endeavour.

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.

scholarly journals Unearthing the Artist: An Autoethnographic Investigation

2021 ◽  
Author(s):  
Diane Daly
Keyword(s):  
Mixed Mode ◽  
Professional Training ◽  
Classical Music ◽  
The Self ◽  
Practice Research ◽  
Artistic Practice ◽  
Music Culture ◽  
Western Classical Music

In this paper I address how autoethnography was utilized to research the role and value of arts practice research in Western classical music professional training and practice, by a classically trained professional violinist. As a researcher, I use the philosophy and method of Dalcroze Eurhythmics as a framework to excavate the multiple layers of my own practice and investigate whether there is wider potential resonance for other professional performers. I utilize a mixed-mode approach, combining artistic practice with a number of documenting strategies, in particular using autoethnography as a tool for documentation and reflection. I propose key findings concerning the value of arts practice, and how an autoethnographic journey facilitated the emergence of the self as artist, within the Western classical music culture. The processes of excavation, enabled by autoethnography, attempt to unearth the holistic artist within the performing musician.

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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