scholarly journals Challenges of creative collaboration in geographical research

2019 ◽  
Vol 27 (2) ◽  
pp. 307-310
Author(s):  
Candice P Boyd ◽  
Kaya Barry
Keyword(s):  
Research Team ◽  
Research Process ◽  
Research Assistant ◽  
Creative Collaboration ◽  
Arts Based Research ◽  
Research Dissemination ◽  
Research Collaborations ◽  
Art Practices ◽  
Creative Research ◽  
History Of

There is a long history of collaboration between artists and geographers, with creative forms of research and dissemination of findings taking shape as artworks. In addition, there has been significant push from academia for researchers to maximise their research in ways that cater to, and engage with, broader public audiences. Art and creative practices tap into this through formats such as exhibitions, performances and participatory workshops which draw upon arts-based research methodologies with which geographers are becoming increasingly engaged. However, with this enthusiasm to adopt art practices for research dissemination purposes, tensions can arise in determining the levels of collaboration and authorship between artists and geographers, especially when the artist is employed as a research assistant on the project. In this ‘In Practice’ article, we explore the tensions and challenges that creative collaborations produce with respect to copyright and authorship, specialist skills and the delicate balance of doing creative research as part of a research team. We argue that geographers and artists need to address these issues from the outset and revisit them throughout the research process, and we offer some suggestions for how art–geography research collaborations might best be negotiated.

scholarly journals Is There a Definition? Ruminating on Poetic Inquiry, Strawberries and the Continued Growth of the Field

2018 ◽  
Vol 3 (2) ◽  
pp. 48-76 ◽  
Author(s):  
Adam Vincent
Keyword(s):  
Qualitative Research ◽  
Research Methodology ◽  
Research Process ◽  
Major Focus ◽  
Arts Based Research ◽  
Poetic Inquiry ◽  
History Of

Over the last ten years, Poetic Inquiry (PI) has proven itself as an emergent arts-based research methodology. It has gained greater acceptance in the larger community of qualitative research due in large part to the hundreds of published studies that employ the writing or analysis of poetry as a major focus of the research process (Finley, 2003; Prendergast, Leggo & Sameshima, 2009; Prendergast & Galvin, 2012). However, despite this greater acceptance and increase in studies found in the literature, there has not been a critical contemporary exploration of the history, theory and method of PI that could lend itself to defining what the method is, for those unfamiliar with it. This article provides a summary of PI as it exists in the literature today. This includes surveying the rhizomatic history of the method, exploring debates around who should or should not use the method and conversation around the current uses of PI in qualitative research.

scholarly journals Research led by people who use drugs: centering the expertise of lived experience

2021 ◽  
Vol 16 (1) ◽  
Author(s):  
Zach R. Salazar ◽  
Louise Vincent ◽  
Mary C. Figgatt ◽  
Michael K. Gilbert ◽  
Nabarun Dasgupta
Keyword(s):  
Drug Use ◽  
Harm Reduction ◽  
Critical Role ◽  
Drug Market ◽  
Research Process ◽  
Medical Community ◽  
People Who Use Drugs ◽  
Main Body ◽  
Research Collaborations ◽  
History Of

Abstract Background Research collaborations between people who use drugs (PWUD) and researchers are largely underutilized, despite the long history of successful, community-led harm reduction interventions and growing health disparities experienced by PWUD. PWUD play a critical role in identifying emerging issues in the drug market, as well as associated health behaviors and outcomes. As such, PWUD are well positioned to meaningfully participate in all aspects of the research process, including population of research questions, conceptualization of study design, and contextualization of findings. Main body We argue PWUD embody unparalleled and current insight to drug use behaviors, including understanding of novel synthetic drug bodies and the dynamics at play in the drug market; they also hold intimate and trusting relationships with other PWUD. This perfectly situates PWUD to collaborate with researchers in investigation of drug use behaviors and development of harm reduction interventions. While PWUD have a history of mistrust with the medical community, community-led harm reduction organizations have earned their trust and are uniquely poised to facilitate research projects. We offer the North Carolina Survivors Union as one such example, having successfully conducted a number of projects with reputable research institutions. We also detail the fallacy of meaningful engagement posed by traditional mechanisms of capturing community voice. As a counter, we detail the framework developed and implemented by the union in hopes it may serve as guidance for other community-led organizations. We also situate research as a mechanism to diversify the job opportunities available to PWUD and offer a real-time example of the integration of these principles into public policy and direct service provision. Conclusion In order to effectively mitigate the risks posed by the fluid and volatile drug market, research collaborations must empower PWUD to play meaningful roles in the entirety of the research process. Historically, the most effective harm reduction interventions have been born of the innovation and heart possessed by PWUD; during the current overdose crisis, there is no reason to believe they will not continue to be.

Re-imagining Reproduction: Unsettling Metaphors in the History of Imperial Science and Commercial Surrogacy in India

Somatechnics ◽  
2015 ◽  
Vol 5 (1) ◽  
pp. 88-103 ◽  
Author(s):  
Kalindi Vora
Keyword(s):  
Assisted Reproductive Technologies ◽  
Reproductive Technologies ◽  
The Body ◽  
Body Parts ◽  
Colonial History ◽  
Women's Bodies ◽  
Commercial Surrogacy ◽  
Art Practices ◽  
History Of ◽  
Travel Industry

This paper provides an analysis of how cultural notions of the body and kinship conveyed through Western medical technologies and practices in Assisted Reproductive Technologies (ART) bring together India's colonial history and its economic development through outsourcing, globalisation and instrumentalised notions of the reproductive body in transnational commercial surrogacy. Essential to this industry is the concept of the disembodied uterus that has arisen in scientific and medical practice, which allows for the logic of the ‘gestational carrier’ as a functional role in ART practices, and therefore in transnational medical fertility travel to India. Highlighting the instrumentalisation of the uterus as an alienable component of a body and subject – and therefore of women's bodies in surrogacy – helps elucidate some of the material and political stakes that accompany the growth of the fertility travel industry in India, where histories of privilege and difference converge. I conclude that the metaphors we use to structure our understanding of bodies and body parts impact how we imagine appropriate roles for people and their bodies in ways that are still deeply entangled with imperial histories of science, and these histories shape the contemporary disparities found in access to medical and legal protections among participants in transnational surrogacy arrangements.

scholarly journals Mask-Making and Drawing as Method: Arts-Based Approaches to Data Collection With War-Affected Children

2019 ◽  
Vol 18 ◽  
pp. 160940691983247
Author(s):  
Amber Green ◽  
Myriam Denov
Keyword(s):  
Data Collection ◽  
Research Team ◽  
Data Gathering ◽  
Research Process ◽  
Future Research ◽  
Northern Uganda ◽  
Visual Methods ◽  
Conflict Zones ◽  
Mask Making ◽  
In Captivity

Globally, the numbers of children living in conflict zones and displaced by war have risen dramatically over the past two decades, and with this, scholarly attention to the impacts of war on children. More recently, researchers have examined how war-affected children are being studied, revealing important shortcomings. These limitations relate to the lack of child participation in research, the need for researchers to engage children in the research process as “active agents” rather than “passive objects” under study, as well as the need for researchers to pay closer attention to ethical dilemmas associated with researching war-affected children. To address these realities, innovative research methods that can be adapted across diverse sociocultural contexts are warranted. In light of these shortcomings, our research team integrated two arts-based methods: mask-making and drawing, alongside traditional qualitative data collection methods with a particularly marginalized population of young people: children born in captivity within the Lord’s Resistance Army in northern Uganda. In this article, we provide information on the context of northern Uganda. We describe how the use of mask-making and drawing was used as data gathering tools and the ways in which these arts-based methods had important benefits for the research participants, researchers, and impacted on the validity of the research as a whole. We propose that the use of these participatory visual methods enriched the themes elicited through more traditional methods. The article describes how these arts-based mediums fostered community building among children typically excluded from their communities and were successful as a tool to build trust between participants and the research team when exploring sensitive topics. The article concludes with implications for future research with war-affected children.

Replication of Special Education Research

2016 ◽  
Vol 37 (4) ◽  
pp. 205-212 ◽  
Author(s):  
Matthew C. Makel ◽  
Jonathan A. Plucker ◽  
Jennifer Freeman ◽  
Allison Lombardi ◽  
Brandi Simonsen ◽  
...  
Keyword(s):  
Special Education ◽  
Education Research ◽  
Success Rate ◽  
Research Design ◽  
Experimental Research ◽  
Journal Citation Report ◽  
Research Process ◽  
Publication History ◽  
Central Tenet ◽  
History Of

Increased calls for rigor in special education have often revolved around the use of experimental research design. However, the replicability of research results is also a central tenet to the scientific research process. To assess the prevalence, success rate, and authorship history of replications in special education, we investigated the complete publication history of every replication published in the 36 journals categorized by ISI Web of Knowledge Journal Citation Report as special education. We found that 0.5% of all articles reported seeking to replicate a previously published finding. More than 80% of these replications reported successfully replicating previous findings. However, replications where there was at least one author overlapping with the original article (which happens about two thirds of the time) were statistically significantly more likely to find successful results.

“When My Hands Were Tied, You Were Able to Continue”

2021 ◽  
Vol 2 (2) ◽  
pp. 161-176
Author(s):  
Mary Kimani ◽  
Catherine Vanner
Keyword(s):  
Child Abuse ◽  
Qualitative Case Study ◽  
Case Study Research ◽  
Document Analysis ◽  
Research Process ◽  
Research Assistant ◽  
Ethical Challenges ◽  
Individual Interviews ◽  
Abuse Case

This paper discusses our experiences harnessing the complementarity of perspectives, positions, and resources as an outsider lead researcher and an insider research assistant while reporting a child abuse case that we learned of during qualitative case study research in Kenya. We use collaborative autoethnography to examine our experiences during the research process, with semi-structured individual interviews of each other and document analysis of our email correspondence. We provide a narrative of vulnerability regarding the complexity of reporting child abuse and offer recommendations on how researchers can navigate their limitations and strategically draw from insider-outsider partnerships when managing ethical challenges.

THE RUSSIAN OUTPOST OF PURE SCIENCE IN THE GLOBAL OCEAN (TO THE 75-TH ANNIVERSARY OF SIO RAS, 1946–2021)

2021 ◽  
Vol 49 (3) ◽  
pp. 12-32
Keyword(s):  
Research Team ◽  
General Information ◽  
Global Ocean ◽  
Recent Past ◽  
Historical Events ◽  
Pure Science ◽  
History Of ◽  
Entire History ◽  
Academy Of Sciences ◽  
Large Research

A brief overview of the main historical events that accompanied the formation and establishment of the Laboratory of Oceanology in the Academy of Sciences in 1941 is given. Then, a few years later, the Laboratory was transformed into the Institute of Oceanology, the director of which was appointed the Minister of the Merchant Fleet of the USSR, Academician P. P. Shirshov. By his initiative in 1949, the Institute became the owner of its first large research vessel "Vityaz". It is shown that the entire history of the institute and its research team was primarily based on the development and generalization of the results of regular sea and ocean expeditions. The article provides general information about the results obtained in the recent past, and their development and deepening in the works of the institute at present.

The Echigo-Tsumari Triennale and Satoyama (越後妻有トリエンナーレと里山)

2017 ◽  
Vol 5 (1) ◽  
pp. 31-45
Author(s):  
Amiko Matsuo ◽  
亜実子 松尾
Keyword(s):  
Social Practice ◽  
Economic Recession ◽  
Place Identity ◽  
Art Practices ◽  
Social Art ◽  
Active Pursuit ◽  
History Of ◽  
Major Producer ◽  
Set Up ◽  
Regional Histories

Fram Kitagawa is a major producer of contemporary art festivals in Japan. His optimistic vision connects artists, farmers, rural residents, and researchers to redefine the notion of local identity and place. Doing so revitalizes rural Japanese communities by increasing awareness through the restorative process of satoyama, which allows for connections between the history of the landscape, aesthetics, and local socio-economic issues. Kitagawa’s active pursuit of dialogue within the multiple narratives of local and regional histories makes the Echigo-Tsumari Art Triennali precursors to other expansive social art practices. More importantly, the restorative efforts of Kitagawa and the Echigo-Tsumari Art Triennale endure despite the economic recession, the Chuetsu earthquake, polarization of the urban and rural, and the Tohoku devastation on 3/11. This persistence depends upon linking artistic practices with social development rooted in place-making and place-identity. Increased awareness by Western artists might set up Echigo-Tsumari as a model for transformative art elsewhere on the scale of Kitagawa’s vision. The model could inspire, for example, more work in the vein of Theaster Gates, the American ceramic and social practice installation artists, who argues that artists should do more than just make objects. Rather, we should “make the thing that makes the thing,” and as Gates asserts, we should transform culture. 北川フラムは、日本における現代アート・フェスティバルの重要なプロデューサーの一人である。彼の前向きな考え方は、アーティスト、農民、地方の住民、そして地域のアイデンティティや場所の概念の再定義を行う研究者を結びつけている。この結びつきは里山の回復プロセスに対する人々の気づきを促し、日本の地方コミュニテイを活性化している。さらにこの結びつきによって、風景の歴史、美学、地域の社会経済問題を結びつけることも可能となっている。北川が地元や地方の歴史に関する多様な物語と活発に対話しつづけてきたことによって、越後妻有トリエンナーレは他の社会的アート実践のさきがけとなった。より重要なのは、経済的不況、中越地震、都市と地方の二極化、そして３１１の東日本大震災の発生にもかかわらず、北川と越後妻有トリエンナーレが活力を失わずに努力を続けてきたということである。この努力の継続は、場所づくりや場所のアイデンティティに根付いた社会的発展とアートによる実践が結びついていることに依っている。西洋のアーティストたちから、ますますこのトリエンナーレに注目があつまるようになっている。そのため、北川の考えるような規模の場所でということであれば、世界の別のどこかで実践される変革的アートのモデルとして越後妻有が機能することになるだろう。陶芸や社会実践的インスタレーションを製作するアメリカのアーティストであるスイースター・ゲイツは、アーティストはただ作品を作る以上のことをすべきだと主張する。越後妻有のようなアートのモデルは、この彼の考えに連なるような作品を生み出しうるだろう。われわれはゲイツの主張するように、「モノをつくるモノをつくる」べきである。つまり、われわれは文化を変革すべきなのである。 This article is in Japanese.

scholarly journals REVIVAL OF UKRAINIAN BLACKSMITHING: ART PRACTICES AND EDUCATION DURING THE 1970S–2010S

2021 ◽  
Vol 4 ◽  
pp. 680-692
Author(s):  
Svitlana Rohotchenko
Keyword(s):  
16Th Century ◽  
Educational Institutions ◽  
Soviet Power ◽  
Historical Method ◽  
Technical Schools ◽  
History Of Development ◽  
Art Practices ◽  
History Of ◽  
Specialized Education ◽  
Training Practice

The article is aimed at making an outline of the revival process experienced by professional Ukrainian blacksmithing art, development of which resumed in the 1970s, after an imposed pause that had lasted for over half a century. The facts from the history of development and further evolution of blacksmithing are publicized, as well as the reasons that caused almost complete distinction of traditional blacksmithing handicraft and professional blacksmithing art as a result of suppression by the Soviet power. The objective of the research is a real-time coverage of the stages of revival of blacksmithing craft, art, and education. Extermination of the traditional blacksmithing education that existed in Ukraine since the 16th century and up till 1917 took its toll. Young blacksmiths were trained in the forges where they worked as assistants. The first departments of artistic blacksmithing were established in the colleges, technical schools, institutes, and academies only in the late 1980s. Lack of specialized education was a drawback for Ukrainian blacksmithing comparing to the European states where there was no gap in training practice. In the article, the most well-known modern Ukrainian blacksmithing educational institutions are analyzed on the basis of historical method, chronological and cultural approaches. 

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