Narrative, Power and the Public
In this book, we have reflected on research methodologies and methods for artistic research. The methodological guidelines, discussions and conversations with the practitioners are meant to provide ideas for those who want to deepen their understanding of their own artwork and its various contexts, and, following that, for those who engage with the arts without calling themselves artists. Shortly put, our aim has been to increase the awareness and reflectivity of both artists and their audiences about how to study art from the inside, that is, study art as artists, from the perspective of people involved in living, breathing artistic practices and communities. We have maintained throughout the book that an artistic researcher has three intertwined tasks. Self-evidently, he or she needs to develop and perfect his or her own artistic skills, vision and conceptual thinking. One way or another, the artistic researcher must develop a personal vocabulary for not only doing but also writing and speaking about his or her art. This is necessary in contributing to academia and returning something to the researcher’s academic colleagues and his or her “invisible college” around the world. Thus, the researcher proposes an argument in the form of a thesis, and in so doing, helps build a community of artistic research and the bodies of knowledge these communities rely on. As important as an academic community might be, there is also a larger public, including practicing artists, with whom the researcher is almost obliged to communicate, perhaps in terms of something like...
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