parip provocation what do we know? how do we know ?
TRANSCRIPT
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PARIP Provocation
What do WE know?
How do we KNOW?
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Subject/Object For at least a century in Western
thought, philosophers (of science, mind etc) have recognised the imbrication of subjectivity within notionally ‘objective’ projects
But a shift from positivism to reflexivity has made little impact on research, even in Performance
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Arts Research
Some arts research more or less fits the traditional mould, but ‘practice as research’ and ‘practice-based research’ typically do not.
My contention is that, if we are serious about these modes, we need as a community to promote a shift in the academy concerning ‘knowledge’
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New Paradigms:Action Research ‘Action Research’ offers one model
for the ‘reflective practitioner’ the traditional theory-practice
hierarchy is subverted work begins with the experience of
process and moves outwards rather than applying a ‘grand narrative’ from without
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Performance Research
Recently, performers have drawn upon their own processes of making and doing as a mode of research
But, in advocating ‘practice as research’, we must avoid simply reifying experience, the body or subjective consciousness
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Thinking
In ‘What is called Thinking?’, Heidegger famously suggested that thinking is ‘... something like building a cabinet’
It is a thinking of the ‘embodied mind’ a mind in the body and the body in the mind
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Reflexive Praxis
‘Practice as research’ involves thinking in doing as in ‘building a cabinet’
‘Practice-based research’ involves reflection upon the making-showing-reception processes of performance
The second should not be a meta-commentary on the first, but a dialogic subject-object interaction
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PARIP Provocation What do WE know? How do we KNOW?
As a community of performance researchers, we can make a distinctive contribution to knowledge about knowledge ... but
we still have work to do for it to be recognised in the academy