reading diary/WRITING-AS

thetic experience is pre-discursive corporeal development she

WRITING-AS

macleod essay 

353:

an artist who is in pursuit of further art research will not have produced an argument and drawn conclusions so much as provided a provocation to produce more art, contingent to the changed conditions s/he has effected through the phd

critical reflection and critical reflexivity, we deploy the latter as an encompassing term which registers the way in which the phds cited here turn back to engage critically both with their own purposes and institutional contexts. This is partly due to those purposes of art research which refuse the convention of a written thesis, also the shifting of the central focus of research from sources external to it, to the art, which then becomes the enquiry, itself.

354:
methodologies, for instance, are not subject to theory but have to be found within the research art practice
I love this, this unpacks so many things I've been thinking as I've finished the first full draft of the written thesis and am starting to devote more time and attention to the art. In particular, how to present that work when it is both documentation and also holds the potential to perform as well, and I'm finding that it performs something that is outside of the written thesis, and doesn't lend itself to writing at all. 

355

Within both Geist and Practice as Research: Approaches to Creative Arts Enquiry by Barrett and Bolt (2007), there is a proposition that methods appropriate to the research practice of the arts are ‘immanent’, that is, not fixed, not predictive, but arising through and from the research itself. in other words, research ‘for’ art is particular to its author, its contexts and the capacity to reflexively unsettle.
journals: The Journal of Writing and Creative Practice

Art and Research: A Journal of Ideas, Contexts and Methods

356
look at susan melrose: 

susan melrose has also written several papers on performativity, and in ‘entertaining other options: restating theory in the age of practice as research’, she outlines the ‘multi-planed and multi-faceted schematics of writing and performance’ (melrose 2002). she also endorses the particularity of what she calls ‘insider knowledges’ which lead to ‘performance theory-and-practice’. in other words, this is a conjoining of what we might call tacit knowledge and intellectual achievement. notable in this essay is its analysis of a ‘crisis’ in writing which arises from the ‘diverse sites of semiotic engagement of the performer, choreographer and spectator, etc.’ This has been very little recognized in the literature on research in the arts and it arises out of paying attention to the event of theatrical performance. melrose makes clear that we need ‘a professional, writing-productive context and economy’.
Yes. and what has been written about the nature of the documentation of performance is still very basic. The concepts behind the documentation are complex, but the modes of presentation are still very simple, and to me, entirely unfulfilling. We need a documentation of performance that is, like performance, immanent. 

358-359
on  price’s still in progress phd:

if phds are to substantiate claims for the production of more challenging art, then they will need arenas in which to be shown and some of them will be outside the existing gallery system because the most exacting phds do change the contexts within which they are produced. if we want to see interesting developments within our emerging research cultures, in other words, we must foster what artists are and have already produced as research.

362

authors in Geist on method, point out clearly that art as research is also art as art, that there is a particular rhetoric which does not mean that art is subject to the rules of linguistic formulation, but that it is a kind of ‘rhetoric in action’ (Weckman 2008).

feminist interior: This is a study which looks at and produces ‘creative passages into the self’ (zia 2001). its thesis is formulated through excerpts from the artist’s journal, her diary, exegeses specifically on current feminist theory, play scripts, albums and paintings. Together they provide what the author calls a genealogy of the feminine. it is highly literary, poetic and almost constructs its own set of enacted literary and artistic myths. it deploys both writing and art works as generative sources to realize the self as ‘a complex becoming between the numinous and the ordinary’ (zia 2001: 3). The artist proposes a poetic zone where the numinous is said to enter into the ordinary as a particular space, place and moment of becoming more truly ‘a self’.

 

363

like key published sources we have already mentioned, notably Barrett and Bolt (2007), we propose the method is in the research and changes as new ideas are encountered.

paRip uk networking website

367Fine art is of its essence an open and speculative discipline within which artists apply multi-sourced methods and bricolage-like approaches to their research enquiries. it might be useful finally, to remind ourselves that this is in no way new or radical, in that this is precisely what artists have always done.

again this ties into the impulse to foster what artists have produced, and are producing. yes.  

and

 as shottenkirk (2007) proposes, we need not worry overly about the concept of new knowledge; by taking artist researchers on, we have done so on the understanding that they will provide new knowledge, however, whether we accept that they have given us new knowledge or insight into our worlds (institutional or otherwise), remains subject to the politics of our environments and possibly whether we have been able to retain open minds.

 

 excellent, excellent, excellent. 

Bergdorf

Chapter 3: 

arguing for art research in the institutional setting, that it doesn't need to be protected from 'academism' that the academy is where 

60 the cultural past meets current

practice, and the future is prepared; questions

are asked that have no answers yet

epistemologically speaking, it makes sense to include artist-researchers in the academy because we are finding the non-discursive methods other fields are flirting with (specifically i'm thinking of cultural geography, Tim Ingold and non-representational methodologies) 

Chapter 6:

boundary work, determining what differentiates art from non-art, or other disciplines, a problem in a post-structural age innit
but here, he means artistic research, on the boundary between the art world and the academy 

133 It is true that what art is is not determined by artists alone, but is

‘defined’ in the ‘art world’ (to follow Danto and Howard Becker), in the

‘field of cultural production’ (to follow Pierre Bourdieu), in the ‘network

of actors’ (to follow Bruno Latour).

137 What we now need is a metaphysics of art,

after its fall.

and 138 Metaphysics of art – after its fall, after the end of art, after postmodernism

– means an understanding of art as a critical reflective practice,

encompassing non-conceptual content, which sets our aesthetic,

intellectual, and moral life into motion. It also means an understanding

of artistic research as the practice of that fundamentally unfinished

critical reflection.