scholarly journals Stopgaps, Beasts + Other Strategies of Being in Public Space

2016 ◽  
Vol 10 (1) ◽  
pp. 167-176
Author(s):  
Lisa Hirmer ◽  
Elizabeth Jackson
Keyword(s):  
Public Space ◽  
Research Project ◽  
Creative Practice ◽  
Creative Research ◽  
Personal Experiences

In this dispatch, Elizabeth Jackson reflect upon the process and possible implications of a collaboration called "Stopgaps and Gems," a creative research project that saw newcomer youth exploring and sharing their personal experiences and insights with other members of Guelph's public. Following Jackson's piece, she and Lisa Hirmer engage in a dialogue about Hirmer's creative practice, Dodolab, and the ways in which her work conceptualizes, engages, and challenges conventional notions of power, place, and representation.

scholarly journals PÅ FELTARBEJDE BLANDT FOLK

1995 ◽  
Author(s):  
Lisanne Wilken
Keyword(s):  
Social Relationships ◽  
Crucial Role ◽  
Personal Relationships ◽  
Social Boundaries ◽  
Research Project ◽  
Field Methods ◽  
Cultural Contexts ◽  
Personal Experiences ◽  
Innate Capacity ◽  
Anthropological Fieldwork

Lisanne Wilken: Fieldwork among People Personal relationships between the anthropologist and the informants in a given field plays a crucial role for anthropological fieldwork and for the information the anthropologist gets. With reference to personal experiences from fieldwork in Northern and Central Italy, the author argues that methods of establishing and maintaining personal field relations ought to play a much more prominent role in the discussions of anthropological field methods than is usually the case. In today’s discussions of anthropological methodology one can easily get the impression that field relations are coincidentially automatically, established, or that anthropologists have an innate capacity for the creation of social relationships in a variety of social and cultural contexts. The article discusses how dependence on a few close informants may block the collection of data and suggests ways to establish a broad range of informants. One solution is to establish field relations prior to the commencement of fieldwork. This method not only ensures that informants are available when fieldwork is started but also facilitates the cross-cutting of social boundaries which may otherwise be difficult to crosscut.The article also suggests that questionnaires may be used as a method to attract attention to the research project in the field and to broaden the circle of informants. The focus of the article is not the nature of the data collected during fieldwork, but rather the circumstances for the collection of data.  

scholarly journals The Ethics of Rural Place-Making: Public Space, Poetics, and the Ontologies of Design

1970 ◽  
Vol 16 (1) ◽  
Author(s):  
Emily Potter
Keyword(s):  
Public Space ◽  
Local Community ◽  
Place Making ◽  
Post Colonial ◽  
North East ◽  
Creative Research ◽  
Material Environment ◽  
Rural Place ◽  
Poetic Practice ◽  
Climate Change Community

The small settlement of Hopetoun in the Victoria’s north-east – Mallee country – is oriented physically, economically and socially around Lake Laschelle. Large signs map the way for the tourist to its edge, where boat ramps and picnic sites await. And yet there is no water here and has been none for years. The presence of water in its absence is palpable. Over three years I followed water around the drought-ridden Mallee, a participant in a creative research project that sought to poetically recollect and assemble stories from this country as an experiment in place-making. Via collaborative practice between artists, with local community, and with the material environment of the Mallee itself, this still ongoing project brings poetic practice to bear on questions of political urgency – drought, climate change, community distress – usually the province of the techno and social sciences. In a land cultivated to take note of water’s absence, the project began to assemble its presence. This paper discusses this project as a methodological experiment that raises unsettling questions about the ethics of place-making in a context of post-colonial environmental change.

Making Art – Taking Part! Negotiating participation and the playful opening of liminal spaces in a collaborative process

2016 ◽  
Vol 3 (1) ◽  
pp. 1
Author(s):  
Elke Zobl ◽  
Laila Huber
Keyword(s):  
Art Education ◽  
Public Space ◽  
Participatory Research ◽  
Power Relations ◽  
Research Project ◽  
Collaborative Process ◽  
Team Members ◽  
Liminal Spaces ◽  
Living Together ◽  
Making Art

How can we open participatory spaces playfully and critically? Our article raises this question in the context of a research project at the intersection of participatory and interventionist art, critical art education and participatory research. In the project “Making Art – Taking Part!” (www.takingpart.at), which the authors, along with additional team members, conducted with students aged 14–16 in Salzburg, Austria, an artistic intervention in public space was developed based on the ideas, experiences, and desires of the students. In a collaborative process, we explored strategies for self-empowerment, deconstruction of established knowledge and power relations, and appropriation by artistic and art mediation means around the topic of “living together”. In this paper, we argue that by employing such strategies, a liminal space can be opened – in a playful, yet critical way – in which the meaning of participation is collaboratively negotiated.

scholarly journals Contamination of overt data with covert data

2017 ◽  
Vol 14 (4) ◽  
pp. 1-3
Author(s):  
James Pickles
Keyword(s):  
Data Collection ◽  
Hate Crime ◽  
Data Gathering ◽  
Research Participant ◽  
Structured Interviews ◽  
Research Project ◽  
Ethical Implications ◽  
Personal Experiences

A research project was conducted which explored LGBT (lesbian, gay, bisexual, transgender) hate crime. Participants were invited to share their narratives and personal experiences of hate crime, discrimination and violence through semi-structured interviews. The study helped us understand how people who experience ‘hate’ responded to, managed and reconciled the identities for which they were victimized. This case study focuses on a situation where a research participant requested a copy of an interview they gave for the hate crime project. The interview copy was to be used for the participant’s own personal purposes. The participant’s request potentially risked the contamination of ethical (overt) data collection, with their own covert data gathering. The ethical implications of this scenario raise many questions for ethicists and researchers to discuss.

scholarly journals Binding Matters

IDEA JOURNAL ◽  
2020 ◽  
Vol 17 (01) ◽  
pp. 94-106
Author(s):  
Isla Griffin
Keyword(s):  
New Zealand ◽  
Fine Art ◽  
The Body ◽  
Creative Arts ◽  
Research Project ◽  
Creative Research ◽  
The World ◽  
Darkened Room ◽  
Uniform Wall ◽  
Cadaver Studies

This visual essay introduces and critically reflects on a creative research project entitled ‘Spectra on the edge of embodiment,’ undertaken as part of my Master of Fine Art study in 2017 at the College of Creative Arts, Massey University, Wellington, New Zealand. The project was motivated by several questions and concerns: What is the being that is human? How does it interact with the space it occupies? Through a work of art, is it possible to convey to a viewer the metacognitive perceptions I have propagated in connecting to my interiority and how it interfaces with the world? The work took the form of an immersive spatial installation including multiple video projections accompanied by a sound loop. Occupying a darkened room within a gallery setting, it animated uniform wall surfaces and corner spaces. The video imagery originated from textural surfaces, detritus, fluids and other such flotsam and jetsam reminiscent of interior anatomies, compelling viewers to linger and wonder what the body might look like from the inside. Such a detailed imaginary view of the body’s interior environment stems from extensive cadaver studies that I undertook as part of my training as a physiotherapist.

scholarly journals A Vision For The Future of Non Binary Fashion on Video Trans Animal Conceptual Sculpture Performance Explorations

2021 ◽  
Author(s):  
Patrick James Edelman
Keyword(s):  
Public Space ◽  
Natural Environment ◽  
Research Project ◽  
Dance Performance ◽  
Transformative Power ◽  
The Future ◽  
Practice Based Research ◽  
Human Animal ◽  
Wearable Sculpture ◽  
The Relationship

The Vision for the Future of Non-binary Fashion on Video is a practice- based research project that examines the relationship between trans and non-binary bodies to, public space through creative methods of wearable sculpture, dance, performance and experimental video. This project enacts my theory of gender pregnancy, that one can achieve a non-binary appearance through using garments, motifs, or colors typically associated with binary gender and juxtaposing them into one look that is full of gender. This project dismantles binary notions of gender, public/private, mind/body and human/animal. Through the use of performance this project speaks to the transformative power of queer visibility in reclaiming public space. The resulting video, Trans Animal Fashion Futures, presents similarities between trans experiences and non-human animals in an to situate trans narratives as part of the ‘natural’ environment. Ultimately, this project engages with trans subjects and experiences to imagine queer collective futures in the interest of all.

scholarly journals All Parts of the Same Thing: Dispatches from the Creativity Everything Lab

2021 ◽  
Author(s):  
David Gauntlett ◽  
Mary Kay Culpepper
Keyword(s):  
Everyday Life ◽  
Case Studies ◽  
Community Outreach ◽  
Multiple Perspectives ◽  
Research Project ◽  
Creative Practice ◽  
Wide Range ◽  
Teaching Research ◽  
Multiple Media

We established the Creativity Everything Lab at Ryerson University in 2018 as a place that would support and unlock “all kinds of creativity for all kinds of people.” In this article, we detail the transdisciplinary roots of our work and outline some of our activities and the thinking behind them. As a team of researchers developing projects and experiences that embrace a wide range of creators and creative practices, we are fashioning the lab to facilitate the actions of doing and making in a range of spheres: in everyday life, professional creative practice, and in learning and research. Three case studies – our ongoing efforts at supporting learning for students, a research project on platforms for creativity, and the community outreach of the 2019 Creativity Everything #FreeSchool – explore how teaching, research, events, and collaborations in multiple media intersect in a multifaceted system for relating to, and engaging with, creativity. Our studies suggest that creative practice as research helps people make connections that fuel curiosity and experimentation. We argue that engaging in multiple perspectives of the “everything” of creativity better equips our students, university, and public to reap its benefits and rewards.

Researching people who are bereaved: Managing risks to participants and researchers

2017 ◽  
Vol 26 (1) ◽  
pp. 224-234 ◽  
Author(s):  
Ashleigh E Butler ◽  
Beverley Copnell ◽  
Helen Hall
Keyword(s):  
Data Collection ◽  
Research Team ◽  
Ethical Issues ◽  
Management Strategies ◽  
Research Process ◽  
Lessons Learned ◽  
Research Project ◽  
Safety Risks ◽  
Potential Safety ◽  
Personal Experiences

Conducting qualitative research, especially in areas considered ‘sensitive’, presents many challenges. The processes involved in such research often expose both participants and the research team to a vast array of risks, which may cause damage to their personal, professional, social and cultural worlds. Historically, these risks have been considered independent of each other, with most studies exploring only the risks to participants or only risks to researchers. Additionally, most researchers only consider risks during data collection, frequently overlooking risks that might be present during other phases of the research project. We aim, therefore, to bring together this fractured literature to enable an integrated exploration of the current academic discourse relating to risks to participants with the literature exploring risks to researchers across all phases of the research process. This article draws on personal experiences to highlight ethical issues and risks encountered by both participants and researchers throughout all phases of a research project. Beginning in recruitment, we discuss the risk of secondary distress in participants arising from researcher contact and then explore the concept of informed consent during grief and bereavement research. We then focus on risks present during data collection, examining risks for participants, such as emotional distress, and potential safety risks for the research team. Finally, we consider the risks which arise in data analysis, including both confidentiality and the possibility of researcher burnout. Previous recommendations are summarised, with new management strategies suggested based on lessons learned along the way.

Intimate Distances: an artwork made on opposite sides of the world

2021 ◽  
pp. 147447402110205
Author(s):  
Susanna Castleden
Keyword(s):  
Tacit Knowledge ◽  
Research Project ◽  
Creative Project ◽  
Creative Research ◽  
The World ◽  
Embodied Experiences

Intimate Distances is an art project created in two parts – 6 months and 20,000 km apart. As a creative research project, it was conceived as a way to physically and conceptually explore distance through the intimate gesture of touch. It sought to visually communicate the spatial, temporal and embodied experiences of being on opposite sides of the world through the humble process of frottage. Grand ideas were intended to be galvanised by even grander distances. However, as this article recounts, the 12-month project took unexpected turns, which were generated by a series of failures and finally resulted in an embracing of uncertainty. Rather than following the proposed script, my tacit knowledge led the project in unforeseen ways that were ultimately more productive than expected. Through this article, which itself is a form of enacting an ephemeral experience, I outline how Intimate Distances unfolded and how non-representational theory and performative research entwine in this creative project.

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