processandpracticeasresearch

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Emma’s recommendation

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http://www.cclbsebes.ro/docs/Sebus_SI_2014/13_LINekhvyadovich.pdf

The aim of the intentional analysis of consciousness is to identify and study those aspects of consciousness that are involved in the comprehension of reality. The object of cognition is constructed in the process of cognition and phenomena of the world exist not objectively but from the perspective of cognition (p189) (3-ebook)

Analysing the present is used to pinpoint and study aspects of conciousness that are related to understanding reality  

to exist is to be understood in language, where to be understood means to be interpreted; secondly, he substantiates a hermeneutic circle as one of the principles revealing specifics of the interrelation between understanding and interpretation (191) (p5: ebook) 

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Ethnomethodologists, on the other hand, treat social facts as a topic of study. People are understood to employ their stock of social knowledge and reasoning procedures to produce the very ‘social facts’ that other sociological approaches treat as unproblematic  (p43)

In fact, a central project of ethnomethodology is to explicate and document the typically taken-for-granted ethno-methods used by members. Hence, many insights can be gained from revealing the often taken-for-granted and typically unexplicated methods through which histories are compiled from diverse sources of evidence. (p43)

Value may be found in what we take for granted 

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Practice as research

discursive momentum provides the interest impelling invention—and you notice that, in this description, interest precedes invention rather than being a quality of the invention. It also produces collaboration.(p22)

discussion drives an appetite for invention

These human arrangements are mirrored in the way materials are selected and allowed to “speak”

human dailogue reflects curatorial dialogue between objects

For Carter, this collaboration ‘is not simply a pragmatic response to increasingly complex working conditions; it is what begins to happen wherever artists talk about what they are doing, in that simple but enigmatic step, joining hand, eye and mind in a process of material thinking’ (p30)

collaboration is not just the sensible solution to complex problems. Collaboration is ignited by conversation, in a merging of thinking about materiality. 

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‘meaning is available in the social act before consciousness or awareness of that meaning and has its objective existence within the field of experience:“The response of one organism to the gesture of another in any given social act is the meaning of that gesture”

Meaning in communication exists in experience before its is processed in consciousness

social organization cannot be divorced from ongoing courses of inquiry in real settings (p174)..3

relationship is not seperate from research in real settings

d. Perhaps this is a way to enhance the ability of our students and ourselves through the process of collaboration, to move forward as effective, informed and prepared practitioners

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‘the key element of practice based research is auto ethno methodology or self observation’ (4.38)

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Kaprow’s: Essays on the blurring of Art and Life

13What is authentic experience ..environment is a process of interaction p4

Allan Kaprow wrote over 60 essays, artist statments and books in his time 

Kaprow sees most art as convention- or a set of conventions- by which the   

meanings of experience are framed, intensified and interpreted                                                                                                                         The meanings of life interest him more than the meanings of art p 

Experience for Kaprow is the meaning of his practice 

As a society we were less aware of our discontent

'he wants the shapes thresholds and durations of experience itself- the conventions of consciousness and communal exchange, whether personal habits or a labour day parade- to provide the frames in which the meanings of life may be intensified or interprated’ p13

Breifly seduced by new technologies, Kaprow sees them as theoretical models-or better yet, as metaphors of feedback and interactivity-for a truly participatory art with its sources in everyday experience.p13

'art was reduced to a physical criterion, which was elevated to a metaphysical condition by an evangelical monologue'

kaprow regards the very idea of form as 'too external, too remote', to inform a time when artists must look to 'nonart models' of communication for insight into the changing nature of communication p14

the model for experimental arts of this generation have been the less preceding arts than modern society itself, particularly how and what we communicate, what happens to us in the process and how this might connect us with natural processes beyond society

‘even a crude experience, if authentically an experience, is more fit to give a clue to the intrinsic nature of esthetic experience than an object already set apart from any other mode of experience’ p15 

(ie. real life experience alludes more to the essence of art than the art object...)

'in the arts, communication tends to flow in one direction, from an artist through a medium toward an audience' p17

WE the audience have been 'communicated' to, and what has been communicated to us is something of the artists creative experience  p17

Actual participation in a work of art courts anarchy. It invites the participant to make a choice of some kind. Usually that choice includes whether to participate.In chosing to participate, one may also be choosing to alter the work' p17 (ref to toilet roll piece)

‘the experimental context of social and psychological interaction, where outcomes are less than predictable. Therein, the given natural and social forms of experience provide the intellectual, linguistic, material, temporal, habitual, performative, ethical, moral and esthetic frameworks within which meaning may be made’ p17 

social contexts/experience lay the ground work for meaning

‘continuity lay in the recognition that refined esthetic consiousness is grounded in the raw materials of everyday life, the recovery of which would require an excavation of the sources of art in human experience’ p17 

basics of everyday life provide the foundation of art, to get to the core of art, you need to examine everyday life 

‘participatory art dissipates into the situations, operations, structures, feedback systems, and learning processes it is like ‘ (Toilet roll:  allowing the audience insight into our research process/ my working method )

method is a style of making that tends toward the quantifable and the mundane rather than toward the expression of extraordinary qualities

 Method :' not the style of artist genius, but of the artist accountant' p22

method becomes a discipline by which experience is shaped and interpreted. It is a pragmatic version of the creative act p23

experience is allocated meaning and defined through methodology. Method is the ‘sensible expression/translation’ of the creative act. 

'meaning emerges, not from the enactment of high drama, but from the low drama of enactment- not from the content in art, but from the art in content'p23

'carry enough cinderblocks, follow the plan, and meaning will emerge'

'for kaprow it was not esthetics that gave meaning to life that gave meaning to esthetics'p24

 'ideas and experiences resist and temper each other over time' :p25

ideas and experiences balance and repel each other over time 

kaprow sees language as a means to understand barriers of the mind that segregate esthetic from everyday experience p25

language can break down the barriers between art and life 

chance then, rather spontaneity is a key term, for it implies risk and fear .It also better names a method that becomes manifestly unmethodical if one considers the pudding more proof than the recipe

Chance describes a process  that is unsystematic ..if one  concludes the result is more important than the process

a happening cannot be reproduced.. 'one is left exposed to the quite marvellous experience of being surprised ' p49

they are a moral act, a human stand of great urgency, whose professional status as art is less a criterion than their certainty as an ultimate existential commitment p49

happenings are so much something to be judged but more of expression of extensional dedication 

the happenings are dead long live the happenings(p59)

they played the game of planned obsolescence (p59)

they were designed to become void/null/defunct

the line between the happening and daily life should be kept fluid and perhaps indistinct as possible, the reciprocation between the handmade and the readymade will be at its maximum power this way (p62)

the distinction between the happening and life should be flexible and illegible as possible, te dialogue will be at its maximum power this way.(might have bearing to the drawing machine...)

it is also the convention of stage theater,preventing the use of a thousand possibilities that, for example, the movies take pictures of but, in the final film, can only be watched , not physically experienced (p62)

our task for the exhibition was to translate our experience and application of research into artworks. Using the films as anchorage and source material 

whatever is to happen should do so in natural time (p62) 

happenings are an active art, requiring that creation and realization, artwork and appreciator, artwork and life be inseparable(p64)

The idea of recording conversation stemmed from a mutual interest in the blurring of art and life. Each week, there was an element of chance and spontaneity as with any conversation

happenings freed from the restrictions of conventional art materials, have discovered the world at their fingertips, and the intentional results are quasi-rituals never to be repeated

art and life are not simply commingled; the identity of each is uncertain (p82)

It may be proposed that the social context and surroundings of art are more potent, more meaningful,more demandingof an artists attention than the art itself.It's not what artists touch that counts most.It's what they don't touch (p94)

Education of the unartist:

‘art has served as an instructional transition to its own elimination by life’ p102

following the russian revolution, artists everywhere began calling themselves workers,no different from those in factories(p118)

education of the unartist part3

duchamps readymades replaced the artist labour with a standardized object of ordinary use by simply moving it largely unchanged, into an art context. (p141)

the artist is not simply recreating the world but is commenting on the infinite reproducibility of its illusions. 

 there is a relationship between the drawing robot as a found object/drawn from life and the experiential element of conversation

emphasis  upon situational processes rather than some canned act as a product for later review (p149)

Video for these artists is a system of echos, communications, reflections, and dialogues linking the self with what is outside the self and back again. (p146)

a gallery is not a retreat, everything becomes art, not self awareness

what is the nature of thought?Is it totally verbal or not?What is the relation between mind, speech and culture?How and what do we communicate?(p161-the seventies)

basic research is inquiry into whole sitations,

what is basic research at one moment becomes detail work or something trivial in another; and seeking what is worth researching at a particular moment is where guesswork comes in  p177 (ebook-173)

intentionally performing everyday life is bound to create some curious kinds of awareness. Life's subject matter is almost too familiar to grasp, and lifes formats are not familiar enough (ebook 187) p183

happenings are events is real time p195 (1979)

lifelike art holds that art is connected to life and  everything else p196 ebook(201)

conversation is the very means of lifelike art which is always changing

(p206)

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Squigly pen and weird claw hand test

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I thought about using a drone toy an interactive drawing element..

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Nobuhiro Nakanishi: Acetate hanging structure, a hybrid of how Emma and I displayed our work at our exhibition

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Diagram detailing methods of research

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tacit knowledge

the weak reading is the claim that tacit knowledge is precisely that type of competence which does not rely on explicit formulation in order to be effective (p8)

a strong reading which claims that they are not the types of things that could be specified, that is, they are categorically unspecifiable – which is what seems to be implicit in the master/apprentice relation (p4)

As mentioned, the weak reading is the claim that tacit knowledge is precisely that type of competence which does not rely on explicit formulation in order to be effective

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Art process as research

To continue to borrow research methods from other fields denies the intellectual maturity of art practice as a plausible basis for raising significant life questions and as a viable site for exploring important cultural and educational ideas.

In other situations, theories are based on experience, which helps us understand more complex things. This kind of theorizing involves understanding, which is an adaptive process of human thinking and acting that is informed by our experiences and encounters. It is also a cognitive process whereby what we know shapes our interactions and transforms

our awareness. In these instances, our intuition and intellect draw on real-life circumstances that serve as an experiential base that shapes our understanding and allows us to see and do things differently. The capacity to create understanding and thereby critique knowledge is central to visual arts practice, and artists are actively involved in these kinds of thoughtful research processes.(p96)

If a primary purpose of research is to increase awareness of ourselves and the world welive in, then it seems plausible to argue that understanding is a viable outcome of inquiry.(p97)If a goal of any inquiry is to be able to act on the knowledge gained, then it is reasonable to expect that understanding is as significant as explanation as an outcome of research. If this is accepted, then this quest for understanding means individual and social transformation is a worthy human enterprise, for

to know

means to be able to think and act and to thereby change things.These creative insights have the potential to transform our understanding by expanding the various descriptive, explanatory, and immersive systems of knowledge that frame individual and community awareness. These forms of understanding are grounded in human experiences and interactions and yield outcomes that can be individually liberating and culturally enlightening.

If a goal of any inquiry is to be able to act on the knowledge gained, then it is reasonable to expect that understanding is as significant as explanation as an outcome of research. If this is accepted, then this quest for understanding means individual and social transformation is a worthy human enterprise, for

to know

means to be able to think and act and to thereby change things.My argument is that to appreciate how visual arts contributes to human understanding,there is a need to locate artistic research within the theories and practices that surround artmaking. It is from this central site of creative practice that other forms of inquiry emerge, such as critical and philosophical analysis.   First, the identification of a range of theories and practices underscores the notionthat visual arts is an eclectic and hybrid discipline that is firmly centered on artmaking and also involves the constituent practices of art writing.

 Second, the nature of art practice as research is that it is a creative and critical process that accepts that knowledge and understanding continually change    methods are flexible, and outcomes are often unanticipated, yet possibilities areopened up for revealing what we don

’

t know as a means to challenge what we doknow.  Third, a flexible framework that can be adapted to suit different purposes, emphases, and scales, yet retain a dynamic relationship between the parts and thewhole, will guard against the tendency to codify visual arts research practices    Fourth, such a framework serves as a forum that helps position debates in thefield and related areas that inform visual arts research practices.

Fifth, as new visual arts research is undertaken, it can be located and critiquedwithin dimensions of theory and domains of inquiry so as to ascertain howpractice informs theory and theory informs practice. (p99)

Last, a framework for theorizing offers the possibility that visual arts practice can be readily translated into other forms of research language if the purposedemands it. In this way, the research culture remains grounded in the theories and practices of the visual arts, yet the outcomes can be communicated across disciplines.

The frameworks described in these chapters therefore are flexible and evolving systems of interlocking and infolding inquiry, whose structures move from a stable or unstable state to a liquid form, as new possibilities emerge.

Furthermore, within the context of research practices, visual and textual art forms are the most appropriate means of capturing these elusive understandings. Consequently,meanings are made rather than found as human knowing is transacted, mediated, and constructed in social contexts. These views indicate that research practice itself is a site for creating and constructing interpretations as meaning is made during the inquiry process

Understanding constitutes a creative, re-productive act, in which the researcher appropriates the meaning of the object, rather than mechanically mirroring it. (p107 tbc)

 Figure 4.3c, describes deconstruction methods that critiqueareas of emphasis and omission in systems and structures. In studio contexts, visual and verbal methods are used to embody meanings that explain how things are and how they might be. (p107)

Discursive, incorporates the empiricist focus on structure and the interpretivist emphasis on agency through the use of discursive methods. These are conceptual and analytical techniques to identify patterns and consistencies (p108)

 Dialectical, adapts the interpretivist sense of agency and the critical perspective of action, using dialectical methods. Dialectical methods use discourse and language-based strategies to assess the adequacy of arguments, claims, and actions that are part of a research project.Within the context of art practice as research, language forms such as metaphor and analogy are used in visual ways as agentsthat challenge and change things

Domains of enquiry:  The crucial element in the use of deconstructive methods is that the creative process of giving form to critical responses ensures that constructive responses to problems and vexing issues become a distinctive part of the research processes.

A self-reflexive practice describes an inquiry process that is directed by personal interest and creative insight, yet it is informed by discipline knowledge and research expertise. This requires a transparent understanding of the field, which means that an individual can see through existing data, texts, and contexts so as to be open to alternative conceptions and imaginative options (p110)

in responding to empirical understandings, an artist-researcher will reflect on information gathered so as to review conceptual strategies used and consider otherapproaches. This reflexive practice is meta-analytic and reveals new views, much in the same way a gallery curator does when reassembling a collection so as to present a different reading of artworks.

(p111 tbc)

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This is a review of an exhibition of collaborating artists who worked communally to create an exhibition of work. The work exhibited utilized 'Death of the Author' and played with ideas of authorship. The work was unlabeled and it was unclear which artist made what.

Not directly applicable to Mine and Emma's project (maybe to our research method) but I like the approach

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Practice lead research, research lead practice (relevant quotes)

GENERALLY, ARTISTS HAVE LEFT THE RESPONSIBILITY OF ASSESSING THE SIGNIfi CANCE OF WHAT IT IS THAT THEY DO TO OTHERS, PREFERRING TO LET CRITICS, HISTORIANS AND CULTURAL THEORISTS DO THE TALKING.

  A SECOND LESSON TO BE TAKEN FROM ARTISTIC AND SCIENTIfiC INVESTIGATIONS OF A CENTURY AGO IS THE REALISATION OF THE NECESSITY OF COMMUNICATING ACROSS FiELDS OF INQUIRY.

  COMING TO UNDERSTAND THE INTERCONNECTIONS AMONG VISUAL FORMS, PATTERNS OF INQUIRY AND DIffERENT PERSPECTIVES Offers THE POSSIBILITY OF MAKING INTUITIVE AND INTELLECTUAL LEAPS TOWARDS THE CREATION OF NEW KNOWLEDGE. (p43)

  ¢OMING TO UNDERSTAND THE INTERCONNECTIONS AMONG VISUAL FORMS, PATTERNS OF INQUIRY AND DIffERENT PERSPECTIVES OffERS THE POSSIBILITY OF MAKING INTUITIVE AND INTELLECTUAL LEAPS TOWARDS THE CREATION OF NEW

  THIS TYPE OF RESEARCH THUS AIMS, THROUGH CREATIVITY AND PRACTICE, TO ILLUMINATE OR BRING ABOUT NEW KNOWLEDGE AND UNDERSTANDING, AND IT RESULTS IN OUTPUTS THAT MAY NOT BE TEXT-BASED, BUT RATHER A PERFORMANCE (MUSIC, DANCE, DRAMA), DESIGN, fi LM, OR EXHIBITION.(p47)

  A GOOD EXAMPLE OF THE INTERDEPENDENT RELATIONSHIP AMONG THE ARTWORK, THE VIEWER AND THE SETTING CAN BE SEEN IN CONCEPTUALISING PRACTICE-LED RESEARCH WITHIN HIGHER EDUCATION AS ALL THESE FORMS INTERACT WITHIN AN INTERPRETIVE COMMUNITY. iN THIS INSTANCE, KNOWLEDGE EMBEDDED IN PRACTICE, KNOWLEDGE ARGUED IN A THESIS AND KNOWLEDGE CONSTRUCTED AS DISCOURSE WITHIN THE INSTITUTIONAL SETTING ALL CONTRIBUTE TO NEW UNDERSTANDING.

  iN ESTABLISHED fi ELDS OF RESEARCH, MAKING IS GENERALLY REGARDED

AS CONSEQUENT TO THINKING – AT LEAST IN THEORY. tHUS A SERIES OF

EXPERIMENTS, FOR EXAMPLE, IS CARRIED OUT IN ORDER TO TEST A CERTAIN ASSUMPTION, I.E. TO SOLVE A PROBLEM OR ANSWER A QUESTION. iN THE fi ELD OF PRACTICE-LED RESEARCH, PRAXIS HAS A MORE ESSENTIAL ROLE: MAKING IS CONCEIVED TO BE THE DRIVING FORCE BEHIND THE RESEARCH AND IN CERTAIN MODES OF PRACTICE ALSO THE CREATOR OF IDEAS.

  tHE IMPLICATION IS THAT CREATIVE OPTIONS AND NEW ASSOCIATIONS OCCUR IN SITUATIONS WHERE THERE IS INTENSE CONCENTRATION,

BUT WITHIN AN OPEN LANDSCAPE OF FREE-RANGE POSSIBILITY RATHER THAN A CLOSED GEOGRAPHY OF WELL-TRODDEN PATHWAYS.

  IF THEN STUDIO INQUIRY IS UNDERTAKEN WITHIN A RESEARCH CONTEXT IN AN ACADEMIC SETTING THE IMAGINATIVE OUTCOMES GENERATED CONSEQUENTLYSERVE AS A MEANS TO CRITIQUE EXISTING KNOWLEDGE.

  PRACTICE-LED RESEARCHERS SUBSEQUENTLY MOVE ECLECTICALLY ACROSS BOUNDARIES IN THEIR IMAGINATIVE AND INTELLECTUAL PURSUITS. fiHEN SEEN IN RELATION TO THE SURROUNDING

AREAS, DIffERENT PERSPECTIVES AND PRACTICES MAY EMERGE AS INQUIRY TWISTS AND TURNS TOWARDS VARIOUS SOURCES IN THE EXPLORATION OF FORMS, PURPOSES AND ACTIONS. aS SUCH, THE BORDER AREAS LABELLED CONCEPTUAL, DIALECTICAL AND CONTEXTUAL

PRACTICES ENCOMPASS THOSE FEATURES THAT ARE PART OF RESEARCH ACTIVITY.

  CONCEPTUAL PRACTICES ARE AT THE HEART OF THE THINKING AND MAKING TRADITIONS WHEREBY ARTISTS GIVE FORM TO THOUGHTS IN CREATING ARTEFACTS THAT BECOME PART OF THE RESEARCH PROCESS.

  HERE THE ARTIST-RESEARCHER ENGAGES IN PRACTICES THAT MAKE GOOD USE OF THE CAPACITY TO ‘THINK IN A MEDIUM’ UTILISING THE DISTRIBUTED COGNITIVE MODALITIES ASSOCIATED WITH VISUAL KNOWING. dIALECTICAL PRACTICES ARE FORMS OF INQUIRY WHEREBY THE ARTIST-RESEARCHER EXPLORES THE UNIQUELY HUMAN PROCESS OF MAKING MEANING THROUGH EXPERIENCES THAT ARE FELT, LIVED, RECONSTRUCTED AND REINTERPRETED. tHESE MAY BE PERSONAL OR PUBLIC AND MAY RESULT FROM EXPERIENCES OF ART-MAKING PROCESSES OR OUTCOMES OF ENCOUNTERS WITH ARTWORKS. ¢ONSEQUENTLY MEANINGS ARE ‘MADE’ FROM THE TRANSACTIONS AND

NARRATIVES THAT EMERGE AND THESE HAVE THE POWER AND AGENCY TO CHANGE ON AN INDIVIDUAL OR COMMUNITY LEVEL.

  THE REFLEXIVE TRADITION OF THE ARTS ENABLES BOTH THE ARTIST AND THE VIEWER TO PARTICIPATE IN AN EXCHANGE THAT IS MEDIATED BY AN ARTWORK WHEREBY CHANGE AND TRANSFORMATION OFTEN RESULTS. tHIS IS THE NATURE OF AESTHETIC EXPERIENCE: IT IS INTERACTIVE, ENCOURAGES DIALOGUE AND GENERATES DEBATES.

    tHERE IS AN INHERENTLY TRANSFORMATIVE QUALITY TO THE WAY WE ENGAGE IN ART PRACTICE AND THIS DYNAMIC ASPECT IS A UNIQUE QUALITY OF THE CHANGING SYSTEMS OF INQUIRY EVIDENT IN THE STUDIO EXPERIENCE. tHE ARTIST INTUITIVELY ADOPTS THE DUAL ROLES OF THE RESEARCHER AND THE RESEARCHED, AND THE PROCESS CHANGES

BOTH PERSPECTIVES BECAUSE CREATIVE AND CRITICAL INQUIRY IS A REflEXIVE PROCESS.(p52)

FOR THE VIEWER, VISUAL METAPHORS HELP TRANSFORM MEANINGS BY ILLUSTRATING SIMILARITIES AND HELPING MAKE CONNECTIONS. (p53)

  a CENTRAL CLAIM MADE IN THIS CHAPTER IS THAT PRACTICE-LED RESEARCHERS SHARE THE GOAL THAT RESEARCH INVOLVES THE QUEST TO CREATE NEW KNOWLEDGE, BUT DO SO BY MAKING USE OF A SERIES OF INQUIRY PRACTICES THAT ARE THEORETICALLY RICH, CONCEPTUALLY ROBUST AND PROVOKE INDIVIDUALS AND COMMUNITIES INTO SEEING AND UNDERSTANDING THINGS IN NEW WAYS. (p62)

  FACING THE UNKNOWN AND DISRUPTING THE KNOWN IS PRECISELY WHAT ARTIST-RESEARCHERS ACHIEVE AS THEY DELVE INTO THEORETICAL, CONCEPTUAL, DIALECTICAL AND CONTEXTUAL PRACTICES THROUGH ARTMAKINGtO FULLY CONSIDER THE IMPACT THIS QUEST FOR NEW KNOWLEDGE HAS ON THE SELF, OTHERS AND COMMUNITIES REQUIRES A NEW RESPONSIBILITY ON THE PART OF ARTIST-RESEARCHERS TO TAKE UP THE CHALLENGE OF THEORISING THEIR PRACTICE, FOR ‘IN ACADEME, THE ARTIST-RESEARCHER CANNOT HIDE BEHIND THE ROBE OF THE MUTE ARTIST’ p62

THUS IT IS ACCEPTED THAT ARTISTS CANUNDERTAKE THE PRODUCTION OF ART AND, AT THE SAME TIME, BE UNDERTAKING Research THAT WILL ULTIMATELY BE EMBODIED IN THE fiNAL ARTWORK.SCRIVENER ASSERTS THAT THE ‘PROPER GOAL OF VISUAL ARTS RESEARCH IS VISUAL ART’ AND OBSERVES THAT UNDERSTANDING THE ART MAKING PROCESS AS YIELDING NEW KNOWLEDGE, INDEPENDENT OF THE ART OBJECT, MAY RISK RELEGATING THE ARTWORK TO THE STATUS OF A BY-PRODUCT. TO EXPECT THE ARTWORK TO PRIMARILY EMBODY KNOWLEDGE WOULD, IN THE EYES OF MANY, LEAD TO A UTILITARIAN VIEW OF WHAT ART CAN BE.(p68)

YET  IF ONE WERE LOOKING FOR THE KEY QUALITIES OF RESEARCH INQUIRIES THAT COULD ACTUALLY BEGIN TO ADDRESS SUCH STUPENDOUS

IMPOSSIBILITIES, THEN THE PRODIGIOUS CREATIVE COMPASS POTENTIALLY AVAILABLE TO PERFORMANCE PRACTICE AS RESEARCH COULD WELL BECOME ONE OF THEM. oR AS THE POET lOUIS aRAGON ONCE SO WISELY SAID, WITHOUT BRUSHING fi NGERS UNDER HIS CHIN: ‘ff YOUR IMAGINATION, MY DEAR READER, IS WORTH MORE THAN YOU IMAGINE.’ (P128)

iN OTHER WORDS, KNOWLEDGE EMBEDDED IN PRACTICE IS OFTEN PERSONAL AND INEffABLE. iN ORDER TO MAKE THIS PERSONAL KNOWLEDGE MORE GENERALLY USEFUL A PROCESS OF REfl ECTION AND CONTEXTUALISATION IS OFTEN REQUIRED. REFLECTION CAN HELP TO fi ND PATTERNS THAT MAKE THIS PERSONAL KNOWLEDGE MORE GENERALLY APPLICABLE AND CONTEXTUALISATION HELPS TO PLACE THOSE FINDINGS WITHIN A BROADER HISTORY OF ACCUMULATED KNOWLEDGE. THESE PROCESSES ARE IMPORTANT BECAUSE THEY ARE ESSENTIAL TO TRANSFORMING PERSONAL KNOWLEDGE  INTO COMMUNAL KNOWLEDGE(P163)

sO WHAT DRIVES OUR WORK? iN THE END IT IS OUR CREATIVE DESIRE FOR ARTISTIC EXPRESSIVITY THAT RESULTS IN AN INTERPLAY BETWEEN ACTIONS AND IDEAS. aND IT IS OUR DESIRE FOR A PRODUCTIVE DIALOGUE WITH OTHERS AROUND THIS EXPRESSIVITY THAT LEADS US TO THE EXTENSIVE DOCUMENTATION, REfl ECTION AND DIALOGUE THAT POSITIONS OUR PRACTICE WITHIN A RESEARCH FRAMEWORK.(P164)

AROUND EACH CREATIVE WORK THERE IS A WIDE FIELD OF POSSIBLE INTERPRETIVE CONTEXTS AND IT IS IN THE EXEGESIS THAT SOME OF THESE CAN BE DELIMITED. THIS DELIMITING ACT, WHICH IS SELDOM COMFORTABLY ARRIVED AT, IS THE GESTURE WHICH ENABLES THE CANDIDATE TO MAKE A DISCURSIVE CLAIM FOR THE SIGNIFICANCE OF HIS OR HER STUDY.(P226)