A connective model for the practice-led research exegesis: An analysis of content and structure
TL;DR: In this paper, a connective model of exegesis is proposed, which allows the researcher to both situate their creative practice within a trajectory of research and do justice to its personally invested poetics.
Abstract: Since the formal recognition of practice-led research in the 1990s, many higher research degree candidates in art, design and media have submitted creative works along with an accompanying written document or ‘exegesis’ for examination. Various models for the exegesis have been proposed in university guidelines and academic texts during the past decade, and students and supervisors have experimented with its contents and structure. With a substantial number of exegeses submitted and archived, it has now become possible to move beyond proposition to empirical analysis.
In this article we present the findings of a content analysis of a large, local sample of submitted exegeses. We identify the emergence of a persistent pattern in the types of content included as well as overall structure. Besides an introduction and conclusion, this pattern includes three main parts, which can be summarized as situating concepts (conceptual definitions and theories); precedents of practice (traditions and exemplars in the field); and researcher’s creative practice (the creative process, the artifacts produced and their value as research).
We argue that this model combines earlier approaches to the exegesis, which oscillated between academic objectivity, by providing a contextual framework for the practice, and personal reflexivity, by providing commentary on the creative practice. But this model is more than simply a hybrid: it provides a dual orientation, which allows the researcher to both situate their creative practice within a trajectory of research and do justice to its personally invested poetics. By performing the important function of connecting the practice and creative work to a wider emergent field, the model helps to support claims for a research contribution to the field. We call it a connective model of exegesis.
Citations
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01 Oct 2006
TL;DR: Art Practice as Research: Inquiry in the Visual Arts by Graeme Sullivan as discussed by the authors provides an in-depth perspective on the inherent value of visual arts practice as research and the robust possibilities that it offers when interconnected with wider research systems and methodologies that are constituted by the other disciplines.
Abstract: Art Practice as Research: Inquiry in the Visual Arts Graeme Sullivan (2005). Thousand Oaks, CA: Sage Publications. 265 pages. ISBN 1-4129-0536-2Reviewed by Charles GaroianThe Pennsylvania State UniversityFor over four decades, art education scholars have been advocating for the visual arts within the context of K-12 education by arguing their cognitive and affective significance as a discipline-specific area of inquiry and across school curricula. Beginning with the establishment of the professional field of art education in the mid-1960s to the development of Discipline-Based Art Education, to Visual Culture studies in art education, and most recently, the growing literature on Art-Based Research, the field has reinvented itself in order to clarify its positioning and to gain agency and credibility within the larger context of educational research and practice in the U.S. and internationally. Depending on the political climate surrounding schooling, these efforts at bringing the visual arts to the center of curricular and pedagogical concerns have, for the most part, fallen on deaf ears.While there is little disagreement about the importance of visual arts education among the populace, when push comes to shove within the political economy of schooling, art is the first area of content to be questioned, then reduced, if not eliminated, from the curriculum. As post-Sputnik education and now No Child Left Behind has shown us, the visual arts are the first to suffer when politics enters the picture of what constitutes basic education in the U.S. If the larger role that the visual arts can play in the education of children is going to be taken seriously, then it is arguments like those found in Graeme Sullivan's recent book, Art Practice as Research: Inquiry in the Visual Ans (2005), that can ensure a broader appreciation and understanding of how the visual arts constitute significant research and contribute in significant ways to children's creative and intellectual development.Given its research-on-art-as-research focus, Sullivan's book makes a significant contribution to the literature in the field of art education. His arguments place art-based research in the center of educational practice as they clearly establish the visual arts as a significant form of creative and intellectual inquiry. While creativity has long been touted as the major contribution of the visual arts to new knowledge, it has not been central to a pragmatic understanding of art's intellectual value in knowledge acquisition, as Sullivan clearly demonstrates.While in the past, research methodologies were borrowed from the hard sciences and social sciences to study and argue for the curricular and pedagogical relevance of art making in classrooms, Sullivan has mined existing methodologies and compared them with the ways in which the visual arts are constituted as research. What is unique about his approach is that he does not rely solely on external research methodologies to validate the importance of visual arts practice for creative and intellectual development.Instead, he provides an in-depth perspective on the inherent value of visual arts practice as research and the robust possibilities that it offers when interconnected with wider research systems and methodologies that are constituted by the other disciplines.In Art Practice as Research: Inquiry in the Visual Arts, Sullivan begins with "Part 1: Contexts for Visual Arts Research," in which he establishes the conceptual, historical, and educational foundations of visual arts research, arguing that if it is to have any impact at all, it must be grounded in visual arts strategies, challenge existing paradigms of institutionalized knowledge, and adapted to other systems of research, theory, and practice. In "Part 2: Theorizing Visual Arts Practice," he develops and establishes the visual knowing of the artist-as-theorist, and the idea that complex systems of inquiry in art practice are robust and boundary-breaking in their methodologies, and proposes that their cognitive and transformative processes enable new insights, criticalities, and understandings to occur. …
473 citations
TL;DR: In this paper, an investigation into the practice-based doctorate in the visual and performing arts, a genre that is still in the process of development, is described, where a key feature of these doctorates is that they comprise two components: a visual or performance component, and a written text which accompanies it which in some ways is similar to, but in others, is quite different from a traditional doctoral dissertation.
Abstract: This article describes an investigation into the practice-based doctorate in the visual and performing arts, a genre that is still in the process of development. A key feature of these doctorates is that they comprise two components: a visual or performance component, and a written text which accompanies it which in some ways is similar to, but in others, is quite different from a traditional doctoral dissertation. This article focuses on the overall organizational patterns, or macrostructures of the texts that students submit as part of the examination in these areas of study, and how these patterns of organization are related to those found in more established examples of the doctoral dissertation genre in other areas of study. The study found that there is a range of organizational possibilities for the written text that is part of a doctoral submission in the visual and performing arts, each at different points on a continuum. Our study shows how the genre we examined has both the capacity for change, while remaining ‘stabilized for now’ in terms of its social action and purpose.
42 citations
TL;DR: This article proposes that the interrelations between the two components in doctoral submissions of this kind can be theorized as being on a continuum of interrelations, with a number of key text types (or archetypes) being manifested.
Abstract: Doctoral writing in the visual and performing arts poses many challenges for the academy, not the least of which is accounting for the possible relations which can hold between the written and creative/performed components of a doctoral thesis in these fields. This article proposes that the interrelations between the two components in doctoral submissions of this kind can be theorized as being on a continuum of interrelations, with a number of key text types (or archetypes) being manifested. Through textual analysis of the written component only, the different possible relations can be distinguished through the ways in which the creative component is resemiotized in the written text, through both the verbal and visual semiosis of the written component. This enables us to identify a number of ways in which the ‘one’ project can be construed through its two different component parts, casting an important light on debates within the field in terms of the relations between creative practice and research.
27 citations
Cites background from "A connective model for the practice..."
...This plurivocality derives from what Hamilton and Jaaniste (2010) describe as the ‘dual orientation’ of a connective thesis to ‘overtly connect the creative practice and its processes with its broader theoretical and practical contexts’ (p. 39–40)....
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...Berridge’s thesis seems to be an archetypal example of what Hamilton and Jaaniste (2010) call the ‘connective’ model, though that term is perhaps somewhat broader and would also encompass theses such as Fenton’s and Oscar’s....
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...…a particular discipline one kind of interrelation has become more or less conventionalized (see, for example, strong local consistencies found by Hamilton and Jaaniste, 2010, at Queensland University of Technology, and by Milech and Schilo, 2004, at 418 V i s u a l C o m m u n i c a t i o n 1 2…...
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01 Jan 2015
TL;DR: This thesis proposes clearer definitions of what constitutes ‘Aboriginal health’ and ‘cultural safety’, a clearer model of applied cultural safety, and an implementation framework for making institutions culturally safe as a pretext for the practice of Aboriginal health using Aboriginal health paradigms.
Abstract: This thesis is a study of the relationships between Aboriginal and Torres Strait Islander health scholars and the medical schools within which they work. It is an empirical study, and a story, not only of the inclusion of Indigenous health into medical curricula in Australia, but an analysis of the relationships that underpin the way Aboriginal health in Australia is conceptualised, defined and translated into policy and practice. Theory, literature, field notes, case studies and Indigenous autoethnography are synthesised into a rich analysis of the pedagogy of place, power and power relations, structural violence and whiteness. The notion of ‘inclusion’ is revealed as problematic in Australian health, higher education, state and social institutions, in that these institutions tend to include Aboriginal peoples on terms which appear altruistic, but which actually reify white power and racism. In this way, medicine and medical education is practiced upon and for Aboriginal peoples, rather than with, using paradigms that render Aboriginal individuals as the problem. Medical schools and state institutions have difficulty in understanding Aboriginal paradigms of health care, and in particular, difficulty in implementing and applying these paradigms in action. Medical schools, while sustaining Indigenous health programs, can exhibit differing and covert values and motivations, a reticence to share economic control and governance, and poor adherence to, or understanding of, accountability and quality as it relates to Aboriginal health. The thesis proposes clearer definitions of what constitutes ‘Aboriginal health’ and ‘cultural safety’, a clearer model of applied cultural safety, and an implementation framework for making institutions culturally safe as a pretext for the practice of Aboriginal health using Aboriginal health paradigms.
26 citations
Cites background from "A connective model for the practice..."
...This is a particular form of ‘practice-led’ research, where the creation of the text as an artefact helps to inform analysis (Hamilton and Jaaniste 2010)....
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Dissertation•
27 Sep 2016
TL;DR: In this paper, the authors propose a method to solve the problem of "crowdsourcing" in online advertising, and they propose a solution to solve it.................................................................................................................................................................................................
Abstract: ................................................................................................................................ 6 ACKNOWLEDGEMENTS ........................................................................................................ 8 Chapter 1 Introduction ..................................................................................................... 10 1.1 Aims of and justification for this research .................................................................. 10 1.2 Outline: content overview and chapter layout .......................................................... 11 1.3 Overview of research methods ........................................................................................ 13 1.4 Literature analysis ............................................................................................................... 13 1.5 Recording analysis ............................................................................................................... 16 1.6 Music score analysis ............................................................................................................ 20 1.7 Performance .......................................................................................................................... 21 Chapter 2 Expression ........................................................................................................ 24 2.1 Introduction ........................................................................................................................... 24 2.2 Early concepts of expression ............................................................................................ 24 2.3 Romantic attitudes to expression ................................................................................... 25 2.4 Definition of expression and its elements ................................................................... 27 2.5 Confirmation from the standard violin literature .................................................... 29 2.6 The importance of expression for violin playing ...................................................... 30 2.7 Conclusion .............................................................................................................................. 32 Chapter 3 Context ............................................................................................................... 34 3.1 Chapter Outline ..................................................................................................................... 34 3.2 The French Revolution ....................................................................................................... 35 3.3 The impact of Beethoven on the nineteenth century .............................................. 37 3.4 Beethoven reception ........................................................................................................... 39 3.5 Beethoven’s impact on composers ................................................................................. 39 3.6 Beethoven’s impact on musicians in general ............................................................. 40 3.7 Beethoven’s musical significance and the characteristics of his music ............. 41 3.8 Beethoven’s impact on performance ............................................................................. 45 3.9 Beethoven’s impact on Wieniawski ............................................................................... 46 3.10 The French school ............................................................................................................. 48
25 citations
Cites background from "A connective model for the practice..."
...Such practice was officially recognised as a research methodology in the early 1990s, and since then, numerous scholars have further established and supported this (Elliott, 1991; Hamilton & Jaaniste, 2010; Haseman, 2009; Hunter, 2009; Richards, 1992; Spiller, 2009; Wyman, 2009)....
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References
More filters
Book•
01 Jan 1969
4,944 citations
"A connective model for the practice..." refers methods in this paper
...Holsti describes content analysis as ‘[a] technique for making inferences by objectively and systematically identifying specified characteristics of messages’ (Holsti 1969: 14)....
[...]
2,829 citations
"A connective model for the practice..." refers background in this paper
...Content analysis involves the identification of patterns within a communication or across related sets of communications, through the observation of recurrent words, themes or content sets and categories (Stemler 2001)....
[...]
01 Oct 2006
TL;DR: Art Practice as Research: Inquiry in the Visual Arts by Graeme Sullivan as discussed by the authors provides an in-depth perspective on the inherent value of visual arts practice as research and the robust possibilities that it offers when interconnected with wider research systems and methodologies that are constituted by the other disciplines.
Abstract: Art Practice as Research: Inquiry in the Visual Arts Graeme Sullivan (2005). Thousand Oaks, CA: Sage Publications. 265 pages. ISBN 1-4129-0536-2Reviewed by Charles GaroianThe Pennsylvania State UniversityFor over four decades, art education scholars have been advocating for the visual arts within the context of K-12 education by arguing their cognitive and affective significance as a discipline-specific area of inquiry and across school curricula. Beginning with the establishment of the professional field of art education in the mid-1960s to the development of Discipline-Based Art Education, to Visual Culture studies in art education, and most recently, the growing literature on Art-Based Research, the field has reinvented itself in order to clarify its positioning and to gain agency and credibility within the larger context of educational research and practice in the U.S. and internationally. Depending on the political climate surrounding schooling, these efforts at bringing the visual arts to the center of curricular and pedagogical concerns have, for the most part, fallen on deaf ears.While there is little disagreement about the importance of visual arts education among the populace, when push comes to shove within the political economy of schooling, art is the first area of content to be questioned, then reduced, if not eliminated, from the curriculum. As post-Sputnik education and now No Child Left Behind has shown us, the visual arts are the first to suffer when politics enters the picture of what constitutes basic education in the U.S. If the larger role that the visual arts can play in the education of children is going to be taken seriously, then it is arguments like those found in Graeme Sullivan's recent book, Art Practice as Research: Inquiry in the Visual Ans (2005), that can ensure a broader appreciation and understanding of how the visual arts constitute significant research and contribute in significant ways to children's creative and intellectual development.Given its research-on-art-as-research focus, Sullivan's book makes a significant contribution to the literature in the field of art education. His arguments place art-based research in the center of educational practice as they clearly establish the visual arts as a significant form of creative and intellectual inquiry. While creativity has long been touted as the major contribution of the visual arts to new knowledge, it has not been central to a pragmatic understanding of art's intellectual value in knowledge acquisition, as Sullivan clearly demonstrates.While in the past, research methodologies were borrowed from the hard sciences and social sciences to study and argue for the curricular and pedagogical relevance of art making in classrooms, Sullivan has mined existing methodologies and compared them with the ways in which the visual arts are constituted as research. What is unique about his approach is that he does not rely solely on external research methodologies to validate the importance of visual arts practice for creative and intellectual development.Instead, he provides an in-depth perspective on the inherent value of visual arts practice as research and the robust possibilities that it offers when interconnected with wider research systems and methodologies that are constituted by the other disciplines.In Art Practice as Research: Inquiry in the Visual Arts, Sullivan begins with "Part 1: Contexts for Visual Arts Research," in which he establishes the conceptual, historical, and educational foundations of visual arts research, arguing that if it is to have any impact at all, it must be grounded in visual arts strategies, challenge existing paradigms of institutionalized knowledge, and adapted to other systems of research, theory, and practice. In "Part 2: Theorizing Visual Arts Practice," he develops and establishes the visual knowing of the artist-as-theorist, and the idea that complex systems of inquiry in art practice are robust and boundary-breaking in their methodologies, and proposes that their cognitive and transformative processes enable new insights, criticalities, and understandings to occur. …
473 citations
"A connective model for the practice..." refers background in this paper
...…writings on the paradigmatic differences between established research traditions and the emerging field of practice-led research (see Gray and Pirie 1995; Press 1995; and more recently Sullivan 2005; Haseman 2006; Barrett and Bolt 2007; Biggs and Büchler 2009; Büchler et al. 2009, among others)....
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Book•
10 Jun 2014
TL;DR: In this paper, the authors provide concrete examples of studio-based research in art, film, video, creative writing and dance, each contextualized by a theoretical essay, complete with references.
Abstract: Practice-led research is a burgeoning area across the creative arts, with studio-based doctorates now increasingly favored 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 contextualized 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 inquiry to traditional scholarly research.
421 citations
Book•
28 Dec 2004
TL;DR: Planning the journey: introduction to research in art and design Mapping the terrain: methods of contextualizing research Locating your position: orienting and situating research Crossing the terrain:" establishing appropriate research methodologies Interpreting the map": methods of evaluation and analysis Recounting the journey:" recognizing new knowledge and communicating research findings".
Abstract: Visualizing Research guides postgraduate students in art and design through the development and implementation of a research project, using the metaphor of a 'journey of exploration'. For use with a formal programme of study, from masters to doctoral level, the book derives from the creative relationship between research, practice and teaching in art and design. It extends generic research processes into practice-based approaches more relevant to artists and designers, introducing wherever possible visual, interactive and collaborative methods. The Introduction and Chapter 1 'Planning the Journey' define the concept and value of 'practice-based' formal research, tracking the debate around its development and explaining key concepts and terminology. ’Mapping the Terrain’ then describes methods of contextualizing research in art and design (the contextual review, using reference material); ’Locating Your Position’ and ’Crossing the Terrain’ guide the reader through the stages of identifying an appropriate research question and methodological approach, writing the proposal and managing research information. Methods of evaluation and analysis are explored, and of strategies for reporting and communicating research findings are suggested. Appendices and a glossary are also included. Visualizing Research draws on the experience of researchers in different contexts and includes case studies of real projects. Although written primarily for postgraduate students, research supervisors, managers and academic staff in art and design and related areas, such as architecture and media studies, will find this a valuable research reference. An accompanying website www.visualizingresearch.info includes multimedia and other resources that complement the book.
329 citations
"A connective model for the practice..." refers background in this paper
...…model that we have observed relates to some aspects of various exegetical schemas that have been proffered by methodologists (e.g. Scrivener 2000; Gray and Malins 2004; Barrett and Bolt 2007; Biggs and Büchler 2009), we would emphasize that what we have presented is not a proposition for the…...
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