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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.
At the performance turn, this book takes a fresh 'how to' approach to Practice as Research, arguing that old prejudices should be abandoned and a PaR methodology fully accepted in the academy. Nelson and his contributors address the questions students, professional practitioner-researchers, regulators and examiners have posed in this domain.
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.
What is socially engaged art history? Art history is typically understood as a discipline in which academics produce scholarship for consumption by other academics. Today however, an increasing number of art historians are seeking to broaden their understanding of art historical praxis and look beyond the academy and towards socially engaged art history. This is the first book-length study to focus on these growing and significant trends. It presents various arguments for the social, pedagogical, and scholarly benefits of alternative, community-engaged, public-facing, applied, and socially engaged art history. The international line up of contributors includes academics, museum and gallery curators as well as arts workers. The first two sections of the book look at socially engaged art history from theoretical, pedagogical, and contextual perspectives. The concluding part offers a range of provocative case studies that highlight the varied and rigorous work that is being done in this area and provide a variety of inspiring models. Taken together the chapters in this book provide much-needed disciplinary recognition to socially engaged art history, while also serving as a springboard to further theoretical and practical work.
'Art Practice as Research' presents a compelling argument that the creative and cultural inquiry undertaken by artists is a form of research. The text explores themes, practice, and contexts of artistic inquiry and positions them within the discourse of research.
This book presents and analyzes artistic interactions both within the Soviet bloc and with the West between 1945 and 1989. During the Cold War the exchange of artistic ideas and products united Europe?s avant-garde in a most remarkable way. Despite the Iron Curtain and national and political borders there existed a constant flow of artists, artworks, artistic ideas and practices. The geographic borders of these exchanges have yet to be clearly defined. How were networks, centers, peripheries (local, national and international), scales, and distances constructed? How did (neo)avant-garde tendencies relate with officially sanctioned socialist realism? The literature on the art of Eastern Europe provides a great deal of factual knowledge about a vast cultural space, but mostly through the prism of stereotypes and national preoccupations. By discussing artworks, studying the writings on art, observing artistic evolution and artists? strategies, as well as the influence of political authorities, art dealers and art critics, the essays in Art beyond Borders compose a transnational history of arts in the Soviet satellite countries in the post war period. ÿ
"Interesting and fresh-represents an important and vigorous challenge to a discipline that at the moment is stuck in its own devices and needs a radical critique to begin to move ahead." --Paul McHugh, Johns Hopkins University School of Medicine "Remarkable in its breadth-an interesting and valuable contribution to the burgeoning literature of the philosophy of psychiatry." --Christian Perring, Dowling College Moving Beyond Prozac, DSM, and the New Psychiatry looks at contemporary psychiatric practice from a variety of critical perspectives ranging from Michel Foucault to Donna Haraway. This contribution to the burgeoning field of medical humanities contends that psychiatry's move away from a theory-based model (one favoring psychoanalysis and other talk therapies) to a more scientific model (based on new breakthroughs in neuroscience and pharmacology) has been detrimental to both the profession and its clients. This shift toward a science-based model includes the codification of the Diagnostic and Statistical Manual of Mental Disorders to the status of standard scientific reference, enabling mental-health practitioners to assign a tidy classification for any mental disturbance or deviation. Psychiatrist and cultural studies scholar Bradley Lewis argues for "postpsychiatry," a new psychiatric practice informed by the insights of poststructuralist theory.
Since the initial publication of Introduction to Art Therapy Research, interest in this field has grown dramatically along with public policy demands for an up-to-date, culturally relevant evidence base on which to practice. This revised and expanded edition pays particular attention to the field’s unique and compelling questions, most current literature, and emerging trends in research, while guiding readers through the basics of qualitative, quantitative, and art-based research design. Written by a prominent figure in the world of art therapy, this pragmatic text is organized into three parts: Part I provides an overview of the basic steps in conceptualizing an art therapy research study, with an emphasis on perspectives that are intrinsic to art therapy. Chapters in Part II cover an inclusive methodological framework from quantitative and outcomes research to qualitative, practitioner-based field research, critical-participatory orientations, phenomenological and narrative approaches, and the growing influence of art-based research in art therapy. Part III offers up-to-date ethical guidelines and valuable tools for understanding and evaluating research reports, as well as practical guidance for publication in scholarly journals based on the author’s long experience as the editor of the field’s leading scholarly publication. Also included are added coverage on cross-cultural research as well as high quality examples from published, peer-reviewed art therapy research studies that illustrate material throughout the text.
Is artificial intelligence (AI) becoming more and more expressive, or is human thought adopting more and more structures from computation? What does it mean to perform oneself through AI, or to construct one’s subjectivity through AI? How does AI continue to complicate what it means to have a body? Has the golden age of AI, especially with regards to creative applications, already ended? Choreomata: Performance and Performativity after AI is a book about performance and performativity, but more specifically, it is a book about the performance of artificiality and the performance of intelligence. Both humans and human-designed computational forces are thoroughly engaged in an entangled, mutual performance of AI. Choreomata spins up a latticework of interdisciplinary thought, pairing theoretical inquiry from philosophy, information theory, and computer science with practical case studies from visual art, dance, music, and social theory. Through cross-disciplinary proportions and a diverse roster of contributors, this book contains insights for computer scientists, social scientists, industry professionals, artists, and beyond.