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This book offers reflections from Arts-Based Educational Research (ABER) scholars who, since 2005, were awarded the American Educational Research Association ABER Special Interest Group's Outstanding Dissertation Award. The book includes essays from ten awardees who, across diverse artistic disciplines, share how their ABER careers evolve and succeed—inspiring insights into the possibilities of ABER. It also examines the essential role of mentorship in the academy that supports and expands ABER scholarship. Drawing from dissertation exemplars in the field, this book allows readers to look at how ABER scholars learn with the world while creatively researching and teaching in innovative ways

Living through the Covid-19 global pandemic has changed the way that we experience our lives, the way that we relate to one-another, and the way that we engage with the world. Focusing contextually on the initial lockdowns of the pandemic in 2020, this book proposes that art-based research has a central, illuminative role to play in our understanding of unfolding crises.The changes brought on by the global event may not be readily accessible or expressible through traditional academic research. Art-based research offers the opportunity to explore, document, and reflect on the emerging and often ineffable qualities of transformed lives by drawing on emotional, bodily, and interactive aspects of experience. Such an approach allows for meaning-making that makes room for reflexive, interpersonal, and dialogical engagement. The contributions aim to capture and explore lived experiences of the pandemic, as well as begin a discussion about how meaning-making is changing through and beyond the pandemic. This book further explores how the nature and practice of art-based research in itself has been challenged and transformed.The book will be of interest to scholars working in art education, art psychotherapy, consumer research, visual studies, cultural studies, and sociology.

This project addresses the contexts of Practice as Research and how to undertake it. This second iteration updates thinking and practices but sustains a direct and clear approach on how to become a practitioner-researcher. New features include an extension of range “beyond” the arts and a case for intra-disciplinarity in Practice Research as an influence in the formation of the “future university”. A comparison is made between Artistic Research and Practice Research recognizing that research through practices with being-doing-knowing is central to both. Acknowledging the current crisis in legitimation, a broad view is taken of how things might be known by an onto-epistemology for the twenty-first century foregrounding the bodymind but sustaining rationality and community by way of Other/other dialogic exchange. Perspectives from around the world in Part II offset the more Eurocentric emphasis in Part I.

The texts presented in Proportion Harmonies and Identities (PHI) Tradition and Innovation were compiled with the intent to establish a multidisciplinary platform for the presentation, interaction, and dissemination of researches. They also aim to foster the awareness and discussion on the topic of Tradition and Innovation, focusing on different visions relevant to Architecture, Arts and Humanities, Design and Social Sciences, and its importance and benefits for the sense of identity, both individual and communal. The idea of Tradition and Innovation has been a significant motor for development since the Western Early Modern Age. Its theoretical and practical foundations have become the working tools of scientists, philosophers, and artists, who seek strategies and policies to accelerate the development process in different contexts.

Making a Laboratory defines a new audiovisual embodied research method that short-circuits experimental practice and video recording to generate new kinds of data and documents. Overturning conventional hierarchies of knowledge, “Dynamic Configurations with Transversal Video” (DCTV) grounds both discursive and audiovisual knowledges within the space of embodied practice, synthesizing insights from historical epistemologist Hans-Jörg Rheinberger and philosopher of science Karen Barad to offer the first rigorous definition of laboratoriality outside a techno-scientific paradigm. In this concise book, nonbinary practitioner-researcher Ben Spatz situates the DCTV method in the context of artistic research and alongside emerging audiovisual methods in other fields, while highlighting its unique characteristics. Across six focused chapters, Making a Laboratory introduces DCTV as a queer feminist adaptation of Jerzy Grotowski's “poor” theater laboratory and defines its core elements, drawing on a range of thinkers including Giorgio Agamben, Rebecca Schneider, and Hito Steyerl, in order to examine power, identity, and documentation in lab practice. Drawing from the ethical consent practices of the BDSM community, it lays the groundwork for a radical reinvention of audiovisuality from the perspective of embodiment — the audiovisual body.

Urban Sensographies views the human body as a highly nuanced sensor to explore how various performance-based methods can be implemented to gather usable ‘felt data'about the environment of the city as the basis for creating embodied mappings.The contributors to this fascinating volume seek to draw conclusions about the constitution, character and morphology of urban space as public, habitable and sustainable by monitoring the reactions of the human body as a form of urban sensor. This co-authored book is centrally concerned, as a symptom of the degree to which cities are evolving in the 21st century, to examine the effects of this change on the practices and behaviours of urban dwellers. This takes into account such factors as: defensible, retail and consumer space; legacies of modernist design in the built environment; the effects of surveillance technologies, motorised traffic and smart phone use; the integration of ‘wild'as well as ‘domesticated'nature in urban planning and living; and the effects of urban pollution on the earth's climate.Drawing on three years of funded practical research carried out by a multi-medial team of researchers and artists, this book analyses the presence and movement of the human body in urban space, which is essential reading for academics and practitioners in the fields of dance, film, visual art, sound technology, digital media and performance studies.

Jungian Arts-Based Research and'The Nuclear Enchantment of New Mexico'provides clear, accessible and in-depth guidance both for arts-based researchers using Jung's ideas and for Jungian scholars undertaking arts-based research. The book provides a central extended example which applies the techniques described to the full text of Joel Weishaus'prose poem The Nuclear Enchantment of New Mexico, published here for the first time.Designed as a'how-to'book, Jungian Arts-Based Research and'The Nuclear Enchantment of New Mexico'explores how Jung contributes to the new arts-based paradigm in psychic functions such as intuition, by providing an epistemology of symbols that includes the unconscious, and research strategies such as active imagination. Rowland examines Jung's The Red Book as an early example of Jungian arts-based research and demonstrates how this practice challenges the convention of the detached researcher by providing holistic knowing. Arts-based researchers will find here a psychic dimension that also manifests in transdisciplinarity, while those familiar with Jung's work will find in arts-based research ways to foster diversity for a decolonized academy. This unique project will be essential reading for Jungian and post-Jungian academics and scholars, arts-based researchers of all backgrounds and readers interested in transdisciplinarity.

Knowings and Knots presents a range of interdisciplinary perspectives on the methodology of research-creation and asks how those who make knowledge think about and value it. Not just a method but a site of ongoing experimentation around what counts as knowledge, research-creation is a meeting place of academia, artistic creation, and the wider public. The contributors argue that academic institutions and funders must recognize research-creation as innovative knowledge-making that leaps over the traditional splitting of theory from practice while considering how gender/feminist studies, Indigenous practices, and new materialism might inform and develop the conversation. Through this book, readers can transform the way they experience both art and education. Contributors: Carolina Cambre, Owen Chapman, Paul Couillard, T.L. Cowan, John Cussans, Randy Lee Cutler, Petra Hroch, Rachelle Viader Knowles, Natalie Loveless, Glen Lowry, Erin Manning, Sourayan Mookerjea, Natasha Myers, Simon Pope, Stephanie Springgay, Sarah E. Truman

This volume explores the issue of collaboration: an issue at the centre of Performance Arts Research. It is explored here through the different practices in music, dance, drama, fine art, installation art, digital media or other performance arts. Collaborative processes are seen to develop as it occurs between academic researchers in the creative arts and professional practitioners in commercial organisations in the creative arts industries (and beyond), as well as focusing attention and understanding on the tacit/implicit dimensions of working across different media.

In recent years, the rise of research-creation—a scholarly activity that considers art practices as research methods in their own right—has emerged from the organic convergences of the arts and interdisciplinary humanities, and it has been fostered by universities wishing to enhance their public profiles. In How to Make Art at the End of the World Natalie Loveless draws on diverse perspectives—from feminist science studies to psychoanalytic theory, as well as her own experience advising undergraduate and graduate students—to argue for research-creation as both a means to produce innovative scholarship and a way to transform pedagogy and research within the contemporary neoliberal university. Championing experimental, artistically driven methods of teaching, researching, and publication, research-creation works to render daily life in the academy more pedagogically, politically, and affectively sustainable, as well as more responsive to issues of social and ecological justice.

In Research in the Creative and Media Arts, Desmond Bell looks at contemporary art and design practice, arguing that research activity is now a vital part of the creative dynamic.Today, creative arts and media students are expected to develop a range of research competencies and critical capacities in their creative project work. This book plots the basis for a research culture in the creative and media arts. It provides an illuminating genealogy of artistic research, revealing the intimate connections between art and science over the centuries and identifying some of the founding figures of practice-based artistic research. Bell explores the research that artists undertake through a number of case studies, talking to a range of contemporary artists and media makers about their work and the role research plays in this. He also traces the dialogues between art practice and a range of other humanity disciplines, such as history, anthropology and critical theory. His analysis reveals how contemporary art practice is now so locked into a set of interlocutions about process and purpose that it increasingly resembles a research practice in and of itself. Research in the Creative and Media Arts is a comprehensive overview of the relationship between research and practice that is ideal for undergraduate and postgraduate students, as well as researchers in the fields of art and design, art history and visual culture.

Research Methodology in Arts, Science and Humanities examines various aspects of research methodologies required in thefield of arts, science and humanities. The book is divided intothree different parts where the first part is dedicated towards theresearch methodologies used in the field of arts, following withthe methodologies used in the field of science and humanitiesas part II and Part III respectively. Provides the reader with theinsights into the three different field and the methodologies requiredto know more about the three.

Nominated for the TaPRA Early Career Research Prize 2018In this book, Jo Scott shares writing and documentation from her practice as research (PaR) project, which explored and analysed a mode of performance she developed, called live intermediality. The book offers a much-needed example of fully developed writing in relation to a practice as research (PaR) project. Weaving together theory, documentation and critical reflection, it offers fresh insights into both the process and presentation of PaR work, as well as theories around intermediality in performance, the role and actions of the live media performer and how live media events are created. It can be read alongside Robin Nelson's 2013 text, Practice as Research in the Arts, as it demonstrates how Nelson's model for PaR can be applied and developed. It also includes a set of online videos and commentaries, which complement and reflect on the writing in the core text.

Drawing on original international research by a cross-European social science team, this book makes an important contribution to the discussion about the future of arts and humanities research. It explores the responses of these fields to the growing range of questions being asked about the value, impact and benefit of publicly-funded research. The objective is to better understand what really matters rather than what is easily measured.The book increases our understanding of the contribution which university-based arts and humanities research makes to society and the economy by exploring how it is defined, appreciated and accounted for by researchers, policymakers and civil society. It identifies appropriate practices and methodologies to assess and demonstrate quality and value beyond the academy. The book will be essential reading for researchers and policymakers, as well as research organisations and anyone interested in the arts and humanities.

Unfolding the Unconscious Psyche is a study of the creative arts and depth psychology, and the threads that run between the two. Edward Applebaum begins with works of art, in media including painting, music, literature and film, and pursues aspects of each towards an understanding of the unconscious psyche of the creator. By combining a study of the artistic work with the insight of depth psychology, Applebaum opens a dialogue between studies of works of art and their creators and the individuals who form the work's audience. Each discussion is dictated by the artwork itself and is viewed from a variety of perspectives. Throughout the book the reader is encouraged to develop their own analytical technique: to follow the clues available, link threads together and analyse what they can see. The result demonstrates the value of dialogue in blending depth psychology with the arts, through examination of work by artists including Georgia O'Keefe, Ingmar Bergman, Frida Kahlo, Gustav Mahler and Virginia Woolf. Applebaum also seeks to correct misconceptions about the arts that have filtered into the study and practice of depth psychology since the earliest writings of Freud and Jung. This uniquely creative and insightful work will be absorbing reading for analytical and depth psychologists, students of analytical psychology, academics and scholars of the arts and anyone with an interest in the application of Jungian ideas.

This book outlines the principles and practices of arts-related inquiry and provides both suggestions about conducting research in the field as well as case study examples. The ideas presented here have emerged from the authors'own experiences of undertaking arts-related research and the challenges of implementing these approaches. The book therefore draws on personal research, practice and experience to address the concerns academics increasingly appear to be voicing about developing the scholarship and practice of arts-related research. There is a need for greater attention to, and clarity on, issues of theoretical positioning, methodology and methods when conducting robust and reputable arts-related research, which this book provides.

Research Methods for Arts and Events Management provides a compelling and comprehensive guide to research methods for undergraduate and postgraduate students in arts and events management, as well as for managers in the industry. It provides students and practising managers with: Essential skills to design qualitative and quantitative research studies Guidance in designing, managing, and monitoring research work The theory behind, and application of, identifying and implementing appropriate research methodologies Exercises to consolidate learning and help students to put the theory into practice. The full text downloaded to your computer With eBooks you can: search for key concepts, words and phrases make highlights and notes as you study share your notes with friends eBooks are downloaded to your computer and accessible either offline through the Bookshelf (available as a free download), available online and also via the iPad and Android apps. Upon purchase, you'll gain instant access to this eBook. Time limit The eBooks products do not have an expiry date. You will continue to access your digital ebook products whilst you have your Bookshelf installed.

From Lucretius throwing a spear beyond the boundary of the universe to Einstein racing against a beam of light, thought experiments stand as a fascinating challenge to the necessity of data in the empirical sciences. Are these experiments, conducted uniquely in our imagination, simply rhetorical devices or communication tools or are they an essential part of scientific practice? This volume surveys the current state of the debate and explores new avenues of research into the epistemology of thought experiments.

Practice-led research is a burgeoning area across the creative arts, with studio informed doctorates frequently favoured over traditional approaches to research. Practice as Research: Approaches to Creative Arts Enquiry is specifically designed as a training tool and is structured on the model used by most research programmes. A comprehensive introduction lays out the book's framework and individual chapters provide concrete examples of studio-based research in art, film and video, creative writing and dance. Comprehensive in its approach, the volume draws on thinkers including Deleuze, Bourdieu and Heidegger in its examination of the relationship between practice and theory demonstrating how practice can operate as a valid alternative mode of enquiry to traditional scholarship.

The Routledge Companion to Research in the Arts is a major collection of new writings on research in the creative and performing arts by leading authorities from around the world. It provides theoretical and practical approaches to identifying, structuring and resolving some of the key issues in the debate about the nature of research in the arts which have surfaced during the establishment of this subject over the last decade.Contributions are located in the contemporary intellectual environment of research in the arts, and more widely in the universities, in the strategic and political environment of national research funding, and in the international environment of trans-national cooperation and communication. The book is divided into three principal sections – Foundations, Voices and Contexts – each with an introduction from the editors highlighting the main issues, agreements and debates in each section.The Routledge Companion to Research in the Arts addresses a wide variety of concepts and issues, including: the diversity of views on what constitutes arts-based research and scholarship, what it should be, and its potential contribution the trans-national communication difficulties arising from terminological and ontological differences in arts-based research traditional and non-traditional concepts of knowledge, their relationship to professional practice, and their outcomes and audiences a consideration of the role of written, spoken and artefact-based languages in the formation and communication of understandings. This comprehensive collection makes an original and significant contribution to the field of arts-based research by setting down a framework for addressing these, and other, topical issues. It will be essential reading for research managers and policy-makers in research councils and universities, as well as individual researchers, research supervisors and doctoral candidates.

Creative Arts Research: Narratives of Methodologies and Practices is an innovative set of essays that grows out of active engagement with arts practice, pedagogy and research. The collection presents a selection of arts-based research projects, their methodologies, practices and guiding philosophies, and throws new light on a range of issues that bring artists, designers, and performers into conversation with one another. The collection weaves together theoretical and applied dimensions of creative arts research. Following Martin Heidegger, the lead authors, Elizabeth Grierson and Laura Brearley situate the text through consideration of ways of framing, knowing and being, looking and listening, analysing, being-with, proposing, acting and reflecting, constructing, performing, deconstructing, and learning. Heidegger's notion of “gathering” and his proposition, “Questioning builds a way... the way is one of thinking” provides the means to link the different chapters. This wide-ranging metaphoric device allows the authors to emphasise a set of fundamental questions concerning epistemologies, ways of knowing, and ontologies, ways of being, and the relations between the two. Their book opens a conceptual space to recognise the diversity of practices that count as creative arts research.

This book addresses one of the most exciting and innovative developments within higher education: the rise in prominence of the creative arts and the accelerating recognition that creative practice is a form of research. The book considers how creative practice can lead to research insights through what is often known as practice-led research. But unlike other books on practice-led research, it balances this with discussion of how research can impact positively on creative practice through research-led practice. The editors posit an iterative and web-like relationship between practice and research. Essays within the book cover a wide range of disciplines including creative writing, dance, music, theatre, film and new media, and the contributors are from the UK, US, Canada and Australia. The subject is approached from numerous angles: the authors discuss methodologies of practice-led research and research-led practice, their own creative work as a form of research, research training for creative practitioners, and the politics and histories of practice-led research and research-led practice within the university. The book will be invaluable for creative practitioners, researchers, students in the creative arts and university leaders. Key Features•The first book to document, conceptualise and analyse practice-led research in the creative arts and to balance it with research-led practice•Written by highly qualified academics and practitioners across the creative arts and sciences •Brings together empirical, cultural and creative approaches•Presents illuminating case histories of creative work and practice-led research

Cet ouvrage, traitant de méthodologie de recherche, tend à préciser la nature et les enjeux de la recherche-création ainsi que le territoire qu'elle occupe en recherche systématique.

'Practice-led research is a burgeoning area across the creative arts, with studio-based doctorates now increasingly favoured over traditional research. This new paperback edition of the first book to be designed specifically as a training tool to guide students embarking on such research will be welcomed by students and educators. The chapters provide concrete examples of studio-based research in art, film, video, creative writing and dance, each contextualised by a theoretical essay, complete with references. More than a handbook, the volume draws on such thinkers as Deleuze, Bourdieu and Heidegger in its examination of the relationship between practice and theory. It takes pains to elaborate methodologies, outcomes and contexts and is a valuable demonstration of how practice can operate as a valid alternative mode of enquiry to traditional scholarly research'--Provided by publisher