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Journal ArticleDOI

Cardography as a research method through writing and drawing in higher education workshops

01 Sep 2021-Journal of Writing in Creative Practice (Intellect)-Vol. 14, Iss: 2, pp 193-207
TL;DR: Cardography is an invented designation based on a/r/tography, as a creative living research methodology that uses cards as a device for a visual inquiry, considering that each book's page is a card to be written or drawn (digital or paper), documenting the dialogic process during each research workshop as discussed by the authors.
Abstract: This article is supported by the author’s experience through a methodology created during her Ph.D. thesis ‘The experience of book’s place at the university’, also during COVID-19 restrictions. The student transformed public presentations into collaborative research workshops, where new interrelations and concepts occurred rooted in arts-based research methodologies, exploring art and education, in its scope. Cardography is an invented designation based on a/r/tography, as a creative living research methodology that uses cards as a device for a visual inquiry, considering that each book’s page is a card to be written or drawn (digital or paper), documenting the dialogic process during each research workshop. The research result contemplates an artistic object, which is displayed afterwards in university and art exhibitions. The reader is invited to follow a fil rouge alignment, inspired by a book structure, reflecting upon concepts and research methods not yet implemented at the art education doctoral course. © 2021 Intellect Ltd
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Journal ArticleDOI
TL;DR: The authors studied the structure of tacit knowing in language and showed that the way we endow our own utterances with meaning and our attribution of meaning to the utterances of others are acts of tacit-knowing.
Abstract: I propose to enquire here into the way we endow our speech with meaning and into the way by which we make sense of speech that we hear spoken. I shall show that, notwithstanding their informal character, these acts possess a characteristic pattern, a pattern that I shall call the structure of tacit knowing; I shall show that to form such a structure is to create meaning. Both the way we endow our own utterances with meaning and our attribution of meaning to the utterances of others are acts of tacit knowing. They represent sense-giving and sense-reading with in the structure of tacit knowing. My enquiry shall outline the total structure of language, comprising both its formal patterns successfully established by modern linguistics and its informal semantic structure, studied so far mainly by philosophy.

137 citations

Journal ArticleDOI
TL;DR: A/r/tography as discussed by the authors is a research methodology, a creative practice, and a performative pedagogy that lives in the rhizomatic practices of the in-between.
Abstract: This article explores moments of becoming a/r/tography. A/r/tography is a research methodology, a creative practice, and a performative pedagogy that lives in the rhizomatic practices of the in-between. Resisting the tendency for endless critique of past experience and bodies of knowledge, a/r/tography is concerned with the creative invention of concepts and mapping the intensities experienced in relational, rhizomatic, yet singular, events. Considering several recent research projects, this article explores what it means to be becoming a/r/tography. Rather than asking what an art education practice means, the question becomes what does this art education practice set in motion do? There can be no being a/r/tography without the processes of becoming a/r/tography.

126 citations

Journal ArticleDOI
TL;DR: In this article, the authors examine two walking events that explore questions of sovereignty, borders, histories, and time through strategies of speculation, counter-cartographies, and anarchiving practices.
Abstract: This article examines two walking events that explore questions of sovereignty, borders, histories, and time through strategies of speculation, counter-cartographies, and anarchiving practices. To the Landless by Dylan Miner and Miss Canadiana’s Heritage and Cultural Walking Tour: The Grange by Camille Turner ask us to imagine a past, present, and future that are radically different from ongoing settler colonialism and White supremacy. Stepping ‘out of time’ has important implications for the kinds of research-creation events it germinates. Chronological time is so pervasive and powerful that we as qualitative researchers are often caught up in its neoliberal progress narrative. Walking with scholars and artists who refuse time’s organization and the fixing or preservation of state narratives disrupts colonial legibility and the repeated imposition of the normative order. Unsettling time becomes a model for research and education that are outside colonial, neoliberal, and dominant ideologies. To unsettle something is to open it up to possibility.

20 citations

Journal ArticleDOI
TL;DR: In this paper, the role of material objects in the formation of religious subjects is investigated, and it is argued that religious artifacts become significant to religious identity construction to the extent they act as resources for the configuration of a narrative structure in which transcendent or sacred others play a part.
Abstract: What role do material objects play in the formation of religious subjects? Drawing from an ethnographic investigation of the evolving relationships between a group of Eastern Orthodox converts and their religious icons, this article develops a theoretical approach to this question that conceptualizes material artifacts as “plot devices” in the formation of religious identity narratives. Integrating insights from studies of material religious culture with narrative theories of identity, this article argues that religious artifacts become significant to religious identity construction to the extent they act as resources for the configuration of a narrative structure in which transcendent or sacred others play a part. As the empirical details of this study demonstrate, attending to how religious objects’ symbolic meanings (i.e., who or what they represent) are mediated by their unique material characteristics (how they make meanings physically present to social actors in embodied social interaction) is of vital importance for explaining the significant role material artifacts play in the religious emplotment of action and experience.

16 citations

01 Jan 2004
TL;DR: In this paper, the authors argue that the boundaries of what constitutes a PhD Thesis should be "stretched" to enable new ways of addressing, demonstrating and accessing content and to allow different individuals to embark on research that is sympathetic to their potential research capabilities and methodological beliefs.
Abstract: What happens if a PhD Thesis cannot be articulated in a conventional format? What if some notions require other senses to be fully accessed, appreciated, and expressed? What if words alone tell only one portion of the story? Can a suitcase and its complex content be a research thesis? This paper examines these questions via a recent experience where a PhD thesis was designed and developed by the author as a series of travelling containers that include written text and a range of interactive artefacts. 1 More than supporting material, these artefacts are embodied conceptual arguments that transfer ideas and sensations when physically handled. This suitcase system was designed for five main reasons: * to experiment with and display in-action some of the propositions the thesis argues, * to allow readers interpret and construct extra layers of meaning alongside those discussed by the author, * to enable the creation of an asynchronous dialogue with both author and future readers, * to allow readers appreciate some of the tools described in the thesis by touching and playing with them besides reading about them, and * to expand the thesis content beyond what words can describe/define. The author argues that in some circumstances ideas should be expressed and accessed in multiple ways and that anomalous formats can enable researchers to convey concepts on sensorial, emotional, and intellectual levels that traditional formats cannot always reach. The thesis this paper discusses uses metaphors on several levels, beyond doing so within its written sections. As a matter of fact, the author has explored the opportunity for a thesis as an artefact to become a metaphorical space. In addition, the thesis/artefact is not only a platform for expressing ideas and reflections, but also a place where content can be experienced in the act of unfolding. This paper is divided into three main sections. In the first part a background to the case study is discussed, including research questions, rationale and methodological underpinnings. The second section offers an analysis of the case study, including an overview of the thesis/suitcase structure and the ways in which readers can interact with it. In the third part the author discusses the key implications of such an approach to research and some possible future developments. This paper argues that the suitcase-format offered the author a chance to be consistent with what the research advocates on a methodological level and to express and make accessible notions that a conventional thesis would have not facilitated. To conclude, this paper argues that the boundaries of what constitutes a PhD Thesis should be 'stretched' to enable new ways of addressing, demonstrating and accessing content and to allow different individuals to embark on research that is sympathetic to their potential research capabilities and methodological beliefs. Such propositions impact on the nature of postgraduate research and on the competencies necessary to supervise such research.

14 citations