The British Library placement student Coral Manton has produced a series of case studies of PhD students working with and in multimedia PhDs:
[The students] discuss the artefacts and content they’re producing and the challenges they’ve encountered around long-term archiving, managing rights and permissions, seeking advice from libraries, and ensuring access for future researchers to allow them to build on the research.
Here’s the link:
Clearly, how non-traditional research is able to be archived and accessed continues to be a key question for institutions and individuals.
I recently wrote a book chapter called That Thing Produced and in it I explore the epistemic conditions and possibilities of practice-research. Here’s a small sample:
In this chapter, I use the term knowledge in the conflated and ambiguous way – both intellectual endeavour and a tool for the knowledge economy. I do so to recognise its common usage in contemporary higher education, and to acknowledge that the absence of nuance enables academics rather fortuitously to speak with different audiences in the academy (with different goals, desires, histories and understandings) as if we are talking about the same thing. For example, even the statement “I am doing research” comes loaded with ambiguity because of how different people might understand differently the epistemic value and purpose of doing research. (p.483)
The chapter is part of a book called A World of Muscle, Bone & Organs: Research and Scholarship in Dance, and it is an open access PDF available from: www.coventry.ac.uk/c-dare/e-book.
Here’s Tim Ingold talking through some ideas about research and art (and truth and novelty) at CCA in Glasgow (14 February 2018).
Thanks to Rosemary Lee for sharing the link.
The Journal of Artistic Research has published Issue 14:
The issue includes a very useful editorial on the term exposition: “that in the act of exposition, that which is seemingly exposed is also constituted”.
Hard drives fail.
This of course has nothing to do with practice-as-research but I’ve heard so many cases recently of people working in the academy who have lost hours, days, even weeks of work simply because they have the (very mistaken) belief that hard drives are infallible.
The worst thing about hard drive failure is that often you get no indication that it’s happening. One moment all is good, the next all is not good.
There is nothing you can really do to stop hard drives failing.
But, you can have a simple backup system that builds in redundancy in case of theft, fire, digital fuck-ups, document corruption or of course hard drive failure.
Here are some backup basics courtesy of the NY Times: https://www.nytimes.com/2017/03/31/technology/personaltech/data-backup-guide.html
– make a copy of the main document (or documents) you are working on (e.g. PhD thesis) every day and then archive the old version (which will get backed up using your awesome automated backup system), give the new version today’s date and get started
– use automated backup (e.g. Time Machine on Mac OS)
– use cloud based syncing software (e.g. Dropbox) as a fall-back backup system. Services like Dropbox are really for syncing, not backup
– use at least two external hard drives for different backups (i.e. external hard drives fail as well!)
– it will happen to you (some day)
Normal practice-as-research service will resume next week.
I can’t find any direct link to this call for submissions for the Journal for Artistic Research, but here are some basic details.
Call for Submissions: JAR Issue 14 – Autumn 2017
The deadline for consideration is 17 March 2017
To be considered for Peer Review, the editorial board considers:
1. Whether the exposition exposes artistic practice as research. This goes beyond simply documenting, describing, or writing about work. It engages with questions and claims about knowledge within practice. For a detailed articulation of this please read the editorial to JAR0.
2. The degree to which the exposition is conceptually and artistically strong, considered, and significant to the field.
3. Whether the multimedia and design capacities of the RC have been used effectively and meaningfully to support the argument or understanding of the research.
To submit an article, contributors are required to register for an account on the RC and use the online writing space to layout and expose their research. JAR provides editorial and technical guidance with these processes.
For our guidelines on submissions visit:
For submissions information, and advice on whether your research is suitable for JAR, contact the Managing Editor, Phoebe Stubbs, at email@example.com