[-empyre-] Practice in Research & odd methods, rude mechanics

[Andreas Maria Jacobs]

I 'll second that as well

Art without real-life (non net) social connections be it academic, commercial and resulting from non-self initiated exposure (the net) just happens to  live in smaller and more isolated eco-systems 

I doubt if there is any difference between this kind of art apart from being deprived of the economo-cultural value expressed by an either financial (the horrific art market) or attention ( academia, conferences) driven value exchange system

Avoiding art research as an monology practioned in some academic worlds, is well expressed by this quote from wikipedia (search word:bricolage):

"Joe L. Kincheloe has used the term bricolage in educational research to denote the use of multiperspectival research methods. In Kincheloe's conception of the research bricolage, diverse theoretical traditions are employed in a broader critical theoretical/critical pedagogical context to lay the foundation for a transformative mode of multimethodological inquiry. Using these multiple frameworks and methodologies researchers are empowered to produce more rigorous and praxiological insights into socio-political and educational phenomena. Kincheloe theorizes a critical multilogical epistemology and critical connected ontology to ground the research bricolage. These philosophical notions provide the research bricolage with a sophisticated understanding of the complexity of knowledge production and the interrelated complexity of both researcher positionality and phenomena in the world. Such complexity demands a more rigorous mode of research that is capable of dealing with the complications of socio-educational experience. Such a critical form of rigor avoids the reductionism of many monological, mimetic research orientations (see Kincheloe, 2001, 2005; Kincheloe & Berry, 2004)."


Andreas Maria Jacobs


http://nictoglobe.com
http://burgerwaanzin.nl


Sent from my eXtended BodY

On 18 jan. 2013, at 22:43, Alan Sondheim <sondheim at gmail.com> wrote:

> I'll second what mez has to say here; it's always a situation of bricolage for people I know outside institutions; it's even difficult to get to conferences, to get published with academic presses, etc. Universities and art schools still provide communality after graduation for creative workers, but without these ties things always seem to be in a state of falling apart. At least the net provides the ability to proffer work, even if no audience emerges -
> 
> 
> On Fri, Jan 18, 2013 at 4:17 PM, mez breeze <netwurker at gmail.com> wrote:
> ..+ those who persist in operating outside these boundaries (in art or academia) are having a tougher time existing in such marginalised (sometimes engineered, sometimes otherwise) spaces.
> 
> Chunks,
> mez
> 
> 
> On Sat, Jan 19, 2013 at 3:10 AM, Talan Memmott <t.memmott at underacademy.org> wrote:
>  
> 
> 
> On 18 January 2013 at 15:08 Simon Biggs <simon at littlepig.org.uk> wrote: 
> 
> > ... and to respond to my own email (probably bad etiquette) one can observe the obverse to be the case - just as plenty of research is not necessarily instrumental so too is much art instrumental, whether responding to a commission brief, applying for thematised funding, completing a work destined to be sold in an art gallery or making adjustments to a performance in response to audience feedback. Adrian's argument has value but is too black and white...    
> > 
>  
> I would say that this is more and more so ... art becoming instrumental (in context) And, some of this has to do with the rise of practice oriented PhDs, where there is now the expectation, say for writers to pursue a Creative Writing PhD. 
>  
> Talan Memmott, Caput Magnum 
> Full Digressor of Undefined Arts and Sciences 
> UnderAcademy College 
> http://underacademycollege.wordpress.com/ 
> TWITTER: @underacademy
> 
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