Paradigm Example Research Paper

Paradigm Example Research Paper-2
Brad Haselman’s article “A Manifesto for Performative Research” (2006) anticipated the performative turn in artistic research. He proposed and argued for a performative research model for the creative arts, distinguishing it from qualitative and quantitative models that constitute the dominant research paradigms in traditional research.

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This new paradigm of research could be deemed the “performative paradigm”, a mode of research characterised by a productive performativity where art is both productive in its own right as well as being data that could be analysed using qualitative and aesthetic modes. However, as in artistic research, the scientist or the social scientist or the humanities scholar will assume different orientations during their research—from “being in it”—flush with the other co-producers in the research process, to a more distanced orientation where the researcher steps back to look for and try to find and understand the patterns in the data.

Making a claim for a “new” paradigm in research cannot go unremarked. In the “happening” phases of research we are in the realm of the illocutionary and perlocutionary.

He termed this methodology “performative” research. A performative paradigm potentially offers the creative arts a radical new vision and a way of distinguishing its research from dominant knowledge models.

Haseman’s work has been significant in boldly asserting a performative paradigm and claiming it for the creative arts.

Bolt is currently the lead researcher on an Office of Learning and Teaching project, “Developing new approaches to ethics and research integrity training through challenges posed by creative practice research.” She is author of Art Beyond Representation: The Performative Power of the Image (I. Tauris, 2004) and Heidegger Reframed: Interpreting Key Thinkers for the Arts (I. In her essay “The Experiential Turn”, published online as part of the Walker Art Center’s inaugural Living Collections Catalogue, According to the terms of “the performative” it could thus be argued that even the most illusionistic of representational art as exemplified in trompe l’oeil painting is performative—the pictorial equivalent of speech act theory.

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Thus von Hantelmann argues that it “makes little sense to speak of a performative artwork because every artwork has a reality-producing dimension.” In “The Experiential Turn”, Von Hantelmann picks her way through the tautological theoretical terrain and the popular take up of the performative to argue its value in understanding the experiential turn in contemporary art, that is, contemporary art’s concern with creating a/effects on its viewers.What does this slippage of the “performative” into “experiential” in contemporary art mean for art? I address the following questions: What is performativity?More specifically for this essay, what does this mean for the emerging discipline of artistic research? Does it reduce art merely to a phenomenological investigation of art’s reception, or does the evaluation of such work in the research field collapse artistic research into ethnographic or auto-ethnographic research on the one hand or scientific measurement of responses and psychometric testing on the other hand? And what would be the characteristics of a performative research paradigm?While art has its own eloquence that is non-reducible, through the form of the exposition the “art” becomes data for discussion. In artistic research the methodology is often the “innovation” or new knowledge. What has become apparent, however, is that artistic research or creative arts enquiry reveals new modes and methodologies that could be considered to constitute a new paradigm of research distinct from the dominant modes of qualitative and quantitative research that provide the default modes of research in the academy. Here the exposition often describes process, not as something to be replicated, as in science, but as novel and unique. While his lectures were not well received at the time, their publication as How to do Things with Words (1962) incited interest among intellectuals across the humanities and social sciences. The central, most profound and enduring aspect of these lectures was Austin’s claim that certain speech utterances or productions don’t just describe or report the world, but actually have a force whereby they perform the action to which they refer. This essay had developed in response to my experience in supervising creative arts MFAs and Ph Ds in artistic research in Australia, where an exhibition, recital, performance or other form of creative work constitutes the major component of the submission in conjunction with an exposition that provides a meta-discussion of the context, methodology and research findings of the research.In this model, the art is the research and the written exposition provides the discursive contextualisation for the research project. The question of “what gets left” out in the reporting of scientific research is instructive. Von Hantelmann differentiates the concept of the performative from that of the avant-gardes arguing that the avant-garde position sees itself as working from outside of society rather than being embedded with “convention”. This is the generative potential of artistic research. Visualization and Cognition: Thinking with Eyes and Hands. In this essay I propose to revisit the stakes involved in this “new” discipline of research in order to think through whether the widespread adoption of the term “the performative arts” across the contemporary arts and performance has undermined or consolidated such a claim. In Knowledge and Society: Studies in the Sociology of Culture Past and Present 6.


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