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Art Education Practice and Research collection
For more information and prices please contact Holly Rose, [email protected].
Collection Contents
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Bergson and Durational Performance
By James LaytonHumans have always marked time, whether by using the earth's natural rhythms or with the clock. Unlike pre- industrial people, living in an age of social acceleration is dominated by clock-time and network time, presenting many more options than can possibly be achieved in a human lifespan.
This book explores the possibility of an alternative experience of time, one that is closer to the pure duration described by philosopher Henri Bergson. The discussions in this book contribute to contemporary performance analysis, philosophy and Bergson studies as well as exploring aspects of immersive and participatory performance, walking practices, ritual and online performance.
Using durational performances as case studies, the author demonstrates new insights into Bergson’s philosophy alongside key theorists in psychology and anthropology. Through a series of performance analyses, Bergson's philosophy of duration is coupled with ideas from Maslow, Csikszentmihalyi and Victor Turner to speculate on the possibilities available in challenging an experience of the world in which time is short, but the possibility of experience is abundant.
The main audience is an academic and student market. Undergraduate and postgraduate students of theatre studies, performance and the performing arts, doctoral researchers, researchers interested in time and performance, the relationship between performance and philosophy, those with an interest in philosophy, sociology, anthropology, and psychology will all find much of interest.
Potential wider readership in those who are interested in the phenomenon of social acceleration, in performance philosophy as well in Bergson’s philosophy.
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Becoming a Visually Reflective Practitioner
Authors: Sheri R. Klein and Kathy Marzilli MiragliaProfessional practice is increasingly becoming more complex, demanding, dynamic and diverse. This important and original new book considers how self-study using arts-based methods can enable purposeful reflection toward understanding and envisioning professional practice. Ideally for visual arts practitioners on all levels, this book presents a self-study model grounded in compelling research that highlights arts-based methods for examining four areas of professional practice: professional identities, work cultures, change and transitions and envisioning new pathways.
Chapters address the components of the self-study model, artistic methods and materials, and strategies for interpreting self-study written and visual outcomes with the aim of goal setting. Each chapter includes visuals, references and end-of-chapter prompts to engage readers in critical and visual reflection. Appendices offer resources and guidelines for creating and assessing self-study outcomes.
The fluctuating nature of professional practice necessitates the pursuit of discernment and clarity that can be achieved through an ongoing reflective practice. Self-study is a systematic and flexible methodology for purposeful reflection on professional practice that embraces dialogic, interpretive, rhizomatic and visual inquiry. Self-study can occur at any level of practice and in the context of work-related professional development, formal study or as a self-initiated inquiry. An arts-based self-study model for visual arts practitioners is explored and focuses on four intersectional components shaping professional practice: professional identities, work cultures and communities, transition and change within professional practice and envisioning new pathways for professional practice.
The self-study model is grounded in contemporary theory, practice and compelling research, and embraces robust strategies for understanding the complexities of professional practice that can include dual, multiple, overlapping, hybrid and conflicting professional identities, tensions within work cultures and unexpected changes within professional practice. Each chapter focuses on a component of the self-study model and an area of professional practice, concluding with references and end-of-chapter prompts that are aimed to facilitate critical reflection-on-practice and the creation of written and visual responses.
With visual arts practitioners in mind, various arts-based methods for self-study are discussed that highlight visual journaling as a key method for engaging in self-study. Interpretive research methods are discussed to guide readers in understanding the phases and processes for interpreting written and visual self-study outcomes. Processes are outlined to help readers determine key insights, themes, issues and questions from their self-study outcomes, how to use them in formulating new questions and articulating new professional goals. Several levels for interpretation are presented to offer readers options relative to their professional needs and aims.
Throughout the text, charts and visuals serve to summarize and visualize key chapter points. Images by visual arts practitioners appear throughout the text and represent a wide range of artistic media, methods and approaches appropriate for self-study. The appendices provide additional resources for enhanced understanding of chapter concepts and key terms, guidelines and rubrics for writing reflections, creating visual responses and using a visual journal in the self-study process.
Primary readership will be visual arts practitioners at all levels. Ideal for university level graduate courses or as a guide for individuals and small groups of practitioners who seek to engage in arts-based self-study as professional development.
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Beyond Text
This original new book represents a variety of art forms across different professional contexts. Its focus is on the ways that educational practitioners and leaders from a range of cultures, disciplines, professions and organizations practice arts-based research, and it explores how these can enable innovative means of learning and enhance professional and organizational development.
This vibrant project allowed for long term systematic conversations between a large and unusually diverse group of twenty-nine people from eight organisations in six countries. It was unusually diverse in many senses: for some the word ‘data’ meant little, for others it was central to their daily work; for some artistic practice was core, while for others the arts were a means to an end; while some were social entrepreneurs running their own companies others were researching in universities and a number were doing both; some were working within the STEM disciplines of business, management, engineering, science, technology, sustainability and the built environment, others were in the social sciences of social and health care, education and youth work while others were engaged in rapid or long term social and cultural action as a means of resisting state violence and military occupation; some worked in one of the safest countries on the planet, others in one of the most tear-gassed refugee camps in the world.
Within these professional groups there were also ranges of experience, for example senior researchers, early career researchers, PhD students, seasoned professional artists and newcomers to arts forms. Whilst the main communication of this group was English, six other major languages were spoken, Estonian, Finish, Catalan, Spanish, Arabic and key stakeholders bought Swedish and Japanese into the space. This meant that while the conversations in and about arts-based practice were transnational, interdisciplinary and systematic, they had all the messy, troubled-ness that the intercultural on all of the above levels brings with it.This unique and exciting collection discusses how creative arts practices can have a significant impact on research across a range of international contexts, drawing on their own field of research and educational experience. For instance, drama, music, dance and visual arts can be used to understand how learners internalise concepts, reflect on how decisions are made in the midst of action in leadership education, or investigate the use of the intuitive alongside the rational and analytical in their educational experience. Non-textual arts-based forms of research can also provide modes of investigation into pedagogical and professional practices when applied to fields that normally lie outside of the arts.
Its greatest strengths are its focus on arts-based research as a way of learning in a variety of contexts, and often in collaboration. Its consistent theoretical, artistic and professional engagements make it a very readable and engaging read.
The representation of a variety of art forms across different professional contexts means that this book will have appeal to several readerships in higher education, including the following groups.
Academics and practitioners using arts-based methods in organisation and business settings. Researchers in the arts and researchers generically in the social sciences, humanities and arts. University students of the arts, education and professional studies, especially those interested in the wider international and intercultural diversity of research methodologies.
Those working in international research teams using any form of qualitative research will also find this collection very interesting. It also has potential interest for groups outside higher education with an interest in arts-based research – for example community groups looking to explore collaborative projects.
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