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SESSION 1: Methodologies Adrift
SESSION 1: Methodologies Adrift
Panel session exploring imaginative processes, disruptive potential, and structural boundaries in art and education research.
Panel session exploring imaginative processes, disruptive potential, and structural boundaries in art and education research.
PANELISTS in alphabetical order
PANELISTS in alphabetical order
CALA COATS, Stickiness as Methodological Condition
CALA COATS, Stickiness as Methodological Condition
Assistant Professor, Art Education, School of Art, Arizona State University (event organizer)
Assistant Professor, Art Education, School of Art, Arizona State University (event organizer)
MARY FITZGERALD, The BlueSky Project
MARY FITZGERALD, The BlueSky Project
Associate Professor, School of Film, Dance, and Theatre, Arizona State University
Associate Professor, School of Film, Dance, and Theatre, Arizona State University
MIRA KALLIO-TAVIN, Roots & Canals: Emerging Arts-Based Research on Agential and Anthropocentric Realism of Places
MIRA KALLIO-TAVIN, Roots & Canals: Emerging Arts-Based Research on Agential and Anthropocentric Realism of Places
Associate Professor of Arts-Based Research and Pedagogy, Aalto University, Aalto, Finland
Associate Professor of Arts-Based Research and Pedagogy, Aalto University, Aalto, Finland
MIRKA E. KORO-LJUNGBERG, (Methodologies of) Wonder
MIRKA E. KORO-LJUNGBERG, (Methodologies of) Wonder
Professor of Qualitative Research, MLF Teachers College, Arizona State University
Professor of Qualitative Research, MLF Teachers College, Arizona State University
MANISHA SHARMA, Seeking Singularities: Performing Research as an Exercise in Self Consciousness
MANISHA SHARMA, Seeking Singularities: Performing Research as an Exercise in Self Consciousness
Associate Professor of Art, College of Fine Arts, University of Arizona, Tucson, AZ
Associate Professor of Art, College of Fine Arts, University of Arizona, Tucson, AZ
TESSA WINDT , The BlueSky Project
TESSA WINDT , The BlueSky Project
Community-Based Artists, Sculptor, Creative Aging Specialist, Phoenix, AZ
Community-Based Artists, Sculptor, Creative Aging Specialist, Phoenix, AZ
"Something in the world forces us to think. This something is an object not of recognition but of a fundamental encounter. What is encountered may be…. grasped in a range of affective tones: wonder, love, hatred, suffering. In whichever tone, its primary characteristic is that it can only be sensed. " (Deleuze, 1968, p. 139)
"Something in the world forces us to think. This something is an object not of recognition but of a fundamental encounter. What is encountered may be…. grasped in a range of affective tones: wonder, love, hatred, suffering. In whichever tone, its primary characteristic is that it can only be sensed. " (Deleuze, 1968, p. 139)
Where does methodology allow us to account for imagination and alterity, or that “something in the world” that can only be sensed to which Deleuze refers? How do we express the affective force of research encounters? Focusing on individual moments of intensity as a collective arts-based encounter, this panel will travel a series of active, emergent, and relational experiences together.
Where does methodology allow us to account for imagination and alterity, or that “something in the world” that can only be sensed to which Deleuze refers? How do we express the affective force of research encounters? Focusing on individual moments of intensity as a collective arts-based encounter, this panel will travel a series of active, emergent, and relational experiences together.
Methodological discussions in arts-based research often focus on the linguistic, disciplinary, and subjective boundaries of prescribed or predetermined methods, where procedures set out in advance create an ontological and epistemological cut with the world. Methodological boundary-making can blinker us to the affective tones of living. Paradoxically, affective ruptures are often the moments when new ideas are generated. Ruptures in our habitual ways of knowing can come as a flash or a slow wave, but both often exceed the boundaries of language and humanist signification, academic disciplines, and predetermined orientation. Manning (2016) encourages techniques rather than methods, focusing on affect, excess, intensity, and attunement as active modes of becoming: “…inventing metamodels that experiment with how knowledge can and does escape instrumentality, bringing back an aesthetic of experience where it is needed most in the field of learning” (p. 44).Modes of invention, indiscernibility, and imagination are at the root of many arts-based research processes.
Methodological discussions in arts-based research often focus on the linguistic, disciplinary, and subjective boundaries of prescribed or predetermined methods, where procedures set out in advance create an ontological and epistemological cut with the world. Methodological boundary-making can blinker us to the affective tones of living. Paradoxically, affective ruptures are often the moments when new ideas are generated. Ruptures in our habitual ways of knowing can come as a flash or a slow wave, but both often exceed the boundaries of language and humanist signification, academic disciplines, and predetermined orientation. Manning (2016) encourages techniques rather than methods, focusing on affect, excess, intensity, and attunement as active modes of becoming: “…inventing metamodels that experiment with how knowledge can and does escape instrumentality, bringing back an aesthetic of experience where it is needed most in the field of learning” (p. 44).Modes of invention, indiscernibility, and imagination are at the root of many arts-based research processes.
“Response always takes us somewhere new; we are not quite ourselves anymore—or at least the selves we were, but rather ourselves in encounter with another. Encounters are, by their nature, indeterminate; we are unpredictably transformed.” (Tsing, 2015, p. 46)
“Response always takes us somewhere new; we are not quite ourselves anymore—or at least the selves we were, but rather ourselves in encounter with another. Encounters are, by their nature, indeterminate; we are unpredictably transformed.” (Tsing, 2015, p. 46)
Non-representational, posthuman, and art-based research experiment with modes of encounter and expression. Unfortunately, methodologies that prioritize emergence and process face representational and institutional constraints. The unaccounted-for excess of affective ruptures with the weight of administrative, managerial, and accountability imperatives embedded in institutional research can halt imaginative potential and limit what Nxumalo, Vintimilla, and Nelson (2018) call, larval ideas. “Larval ideas, as potentialities of change, appear in an inchoate excitement. The feeling around them is the feeling of creation and creativity… of something in motion, being incubated, about to happen, unfolding” (p. 438).
Non-representational, posthuman, and art-based research experiment with modes of encounter and expression. Unfortunately, methodologies that prioritize emergence and process face representational and institutional constraints. The unaccounted-for excess of affective ruptures with the weight of administrative, managerial, and accountability imperatives embedded in institutional research can halt imaginative potential and limit what Nxumalo, Vintimilla, and Nelson (2018) call, larval ideas. “Larval ideas, as potentialities of change, appear in an inchoate excitement. The feeling around them is the feeling of creation and creativity… of something in motion, being incubated, about to happen, unfolding” (p. 438).
This panel will nurture larval ideas, exploring destabilizing and de-subjectifying processes that invite imagination and alterity; as well as moments of capture, where thought is limited and ideas are aborted. A panel of artists, scholars, and educators will bring us into the experience of idea formation, affective encounter, and research creation through provocations, narratives, performances, and multimedia expressions that animate non-representational methodologies in a range of pedagogical milieus. Together we will create a collective aesthetic encounter with research in the event, where each panelist’s experience combines with and reorients the others, forming an experimental encounter assemblage. “Assemblages don’t just gather lifeways; they make them. Thinking through assemblages urges us to ask: How do gatherings sometimes become ‘happenings,’ that is, greater than the sum of the parts?” (Tsing, 2015, p. 23).
This panel will nurture larval ideas, exploring destabilizing and de-subjectifying processes that invite imagination and alterity; as well as moments of capture, where thought is limited and ideas are aborted. A panel of artists, scholars, and educators will bring us into the experience of idea formation, affective encounter, and research creation through provocations, narratives, performances, and multimedia expressions that animate non-representational methodologies in a range of pedagogical milieus. Together we will create a collective aesthetic encounter with research in the event, where each panelist’s experience combines with and reorients the others, forming an experimental encounter assemblage. “Assemblages don’t just gather lifeways; they make them. Thinking through assemblages urges us to ask: How do gatherings sometimes become ‘happenings,’ that is, greater than the sum of the parts?” (Tsing, 2015, p. 23).
Cala Coats
Cala Coats
References
Deleuze, G. (1969). Difference and Repetition. London, UK: Athlone Press.
Manning, E. (2016). The minor gesture. Durham, NC: Duke University Press.
Tsing, A. L. (2015). The mushroom at the end of the world: On the possibility of life in capitalist ruins. Princeton, NJ: Princeton University.
Nxumalo, F., Vintimilla, C. D., & Nelson, N. (2018). Pedagogical gatherings in early childhood education: Mapping interferences in emergent curriculum. Curriculum Inquiry, 48(4), 433-453.
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