This project addresses the contexts of Practice as Research and how to undertake it. This second iteration updates thinking and practices but sustains a direct and clear approach on how to become a practitioner-researcher. New features include an extension of range “beyond” the arts and a case for intra-disciplinarity in Practice Research as an influence in the formation of the “future university”. A comparison is made between Artistic Research and Practice Research recognizing that research through practices with being-doing-knowing is central to both. Acknowledging the current crisis in legitimation, a broad view is taken of how things might be known by an onto-epistemology for the twenty-first century foregrounding the bodymind but sustaining rationality and community by way of Other/other dialogic exchange. Perspectives from around the world in Part II offset the more Eurocentric emphasis in Part I.

At the performance turn, this book takes a fresh 'how to' approach to Practice as Research, arguing that old prejudices should be abandoned and a PaR methodology fully accepted in the academy. Nelson and his contributors address the questions students, professional practitioner-researchers, regulators and examiners have posed in this domain.

Practice-led research is a burgeoning area across the creative arts, with studio informed doctorates frequently favoured over traditional approaches to research. Practice as Research: Approaches to Creative Arts Enquiry is specifically designed as a training tool and is structured on the model used by most research programmes. A comprehensive introduction lays out the book's framework and individual chapters provide concrete examples of studio-based research in art, film and video, creative writing and dance. Comprehensive in its approach, the volume draws on thinkers including Deleuze, Bourdieu and Heidegger in its examination of the relationship between practice and theory demonstrating how practice can operate as a valid alternative mode of enquiry to traditional scholarship.

'Art Practice as Research' presents a compelling argument that the creative and cultural inquiry undertaken by artists is a form of research. The text explores themes, practice, and contexts of artistic inquiry and positions them within the discourse of research.

What is socially engaged art history? Art history is typically understood as a discipline in which academics produce scholarship for consumption by other academics. Today however, an increasing number of art historians are seeking to broaden their understanding of art historical praxis and look beyond the academy and towards socially engaged art history. This is the first book-length study to focus on these growing and significant trends. It presents various arguments for the social, pedagogical, and scholarly benefits of alternative, community-engaged, public-facing, applied, and socially engaged art history. The international line up of contributors includes academics, museum and gallery curators as well as arts workers. The first two sections of the book look at socially engaged art history from theoretical, pedagogical, and contextual perspectives. The concluding part offers a range of provocative case studies that highlight the varied and rigorous work that is being done in this area and provide a variety of inspiring models. Taken together the chapters in this book provide much-needed disciplinary recognition to socially engaged art history, while also serving as a springboard to further theoretical and practical work.

This book presents and analyzes artistic interactions both within the Soviet bloc and with the West between 1945 and 1989. During the Cold War the exchange of artistic ideas and products united Europe?s avant-garde in a most remarkable way. Despite the Iron Curtain and national and political borders there existed a constant flow of artists, artworks, artistic ideas and practices. The geographic borders of these exchanges have yet to be clearly defined. How were networks, centers, peripheries (local, national and international), scales, and distances constructed? How did (neo)avant-garde tendencies relate with officially sanctioned socialist realism? The literature on the art of Eastern Europe provides a great deal of factual knowledge about a vast cultural space, but mostly through the prism of stereotypes and national preoccupations. By discussing artworks, studying the writings on art, observing artistic evolution and artists? strategies, as well as the influence of political authorities, art dealers and art critics, the essays in Art beyond Borders compose a transnational history of arts in the Soviet satellite countries in the post war period. ÿ

A multidisciplinary introduction to the field of computational creativity, analyzing the impact of advanced generative technologies on art and music. As algorithms get smarter, what role will computers play in the creation of music, art, and other cultural artifacts? Will they be able to create such things from the ground up, and will such creations be meaningful? In Beyond the Creative Species, Oliver Bown offers a multidisciplinary examination of computational creativity, analyzing the impact of advanced generative technologies on art and music. Drawing on a wide range of disciplines, including artificial intelligence and machine learning, design, social theory, the psychology of creativity, and creative practice research, Bown argues that to understand computational creativity, we must not only consider what computationally creative algorithms actually do, but also examine creative artistic activity itself.

This book proposes a novel creative research practice in geography based on comics. It presents a transdisciplinary approach that uses a set of qualitative visual methods and extends from within the geohumanities across literary spatial studies, comics, urban studies, mobility studies, and beyond. Written by a geographer-cartoonist, the book focuses on ‘narrative geographies’ and embraces a geocritical and relational approach to examine comic book geographies in pursuit of a growing interest in creative, art-based experimental methods in the geohumanities. It explores comics-based research through interconnections between art and geography and through theoretical and methodological contributions from scholars working in the fields of the social sciences, humanities, literary geographies, mobilities, comics, literary studies, and urban studies, as well as from visual artists, comics authors, and art practitioners. Comics are valuable objects of geographical interest because of their spatial grammar. They are also a language particularly suited to geographical analysis, and the ‘geoGraphic novel’ offers a practice of research that has the power to assemble and disassemble new spatial meanings. The book thus explores how the ‘geoGraphic novel’ as a verbo-visual genre allows the study of geographical issues, composes geocentred stories, engages wider and non-specialist audiences, promotes geo-artistic collaboration, and works as a narrative intervention in urban contexts. Through a practice-based approach and the internal perspective of a geographer-cartoonist, the book provides examples of how geoGraphic fieldwork is conducted and offers analysis of the processes of ideation, composition, and dissemination of geoGraphic narratives.

"This work′s quality, diversity, and breadth of coverage make it a valuable resource for collections concerned with qualitative research in a broad range of disciplines. Highly recommended." —G.R. Walden, CHOICE The Handbook of the Arts in Qualitative Inquiry: Perspectives, Methodologies, Examples, and Issues represents an unfolding and expanding orientation to qualitative social science research that draws inspiration, concepts, processes, and representational forms from the arts. In this defining work, J. Gary Knowles and Ardra L. Cole bring together the top scholars in qualitative methods to provide a comprehensive overview of the past, present, and future of arts-based research. This Handbook provides an accessible and stimulating collection of theoretical arguments and illustrative examples that delineate the role of the arts in qualitative social science research. Key Features Defines and explores the role of the arts in qualitative social science research: The Handbook presents an analysis of classic and emerging methodologies and approaches that employs the arts in the qualitative research process. Brings together a unique group of scholars: Offering diverse perspectives, contributors to this volume represent a wide range of disciplines including the humanities, media and communication, anthropology, sociology, psychology, women′s studies, education, social work, nursing, and health and medicine. Offers comprehensive coverage of the genres employed by qualitative researchers: Scholars use multiple ways to advance knowledge including literary forms, performance, visual art, various types of media, narrative, folk art, and more. Articulates challenges inherent in alternative methodologies: This volume discusses the issues and challenges faced when employing art in research including ethical issues, academic merit issues, and even funding issues. Intended Audience This is an essential resource for any scholar interested in qualitative research, as well as a critical resource for all academic and public libraries.