By Maggi Savin-Baden, Katherine Wimpenny
This publication outlines the foundations and practices of arts-related inquiry and gives either feedback approximately carrying out learn within the box in addition to case learn examples. the tips awarded the following have emerged from the authors' personal stories of project arts-related examine and the demanding situations of imposing those methods. The ebook hence attracts on own examine, perform and event to deal with the troubles lecturers more and more seem to be voicing approximately constructing the scholarship and perform of arts-related learn. there's a desire for better consciousness to, and readability on, problems with theoretical positioning, method and techniques whilst engaging in strong and respected arts-related learn, which this publication offers.
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Additional resources for A Practical Guide to Arts-related Research
The authors refer to this process as the ‘rhizomatic 20 THE HISTORY AND DEVELOPMENT OF ARTS-RELATED RESEARCH relations of a/r/togrpahy,’ (Irwin et al, 2006:70), which we suggest promotes transdisciplinary knowledge as the artist/researcher/teacher explores thinking which transcends any one particular (disciplinary) realm. Further, Irwin and Springgay (2008) suggest rhizomes: activate the in-between; the interstitial spaces of art making, researching and teaching’ through a process which ‘becomes inter-textually and multiply located in the context of discursive operations.
It is simply a matter of what works best for both. For me, as an artist and a teacher and a writer, it is a good fit. It requires sensitivity, good judgement, an ironic posture that doesn’t take itself too seriously, and a great deal of organisation, rigour and discipline. It is not for the fainthearted, and it is a tremendous amount of work. Yet, it is wonderfully invigorating and in itself, very satisfying. Although these things are not the purposes of research, they certainly motivate the researcher to continue with the work, and that in itself is a useful outcome.
The experience of being creative – even in a brief research encounter - can have several positive impacts on people, connected with eudaimonic wellbeing and the production of identity (Fujiwara et al, 2014; Gauntlett, 2007). My research (Challis 2013a, b; Challis 2014) and experience in the field of participatory community arts practice, suggests that, to maximise the impact of being creative, certain things need to be in place. If the conditions are created for Continued 37 CHAPTER 3 even the slightest acquisition of skills within a symbolic domain and the intense concentration associated with ‘creative flow’ (Csikzentmihaly 2002), impact is intensified.