A Thought Experiment on Artistic Research as High-Risk Ethnography 1

Benschop, Ruth

doi:10.4324/9780429438875-4

Cited by 3 publications

(4 citation statements)

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“…Se requieren armazones conceptuales que sean accesibles al estudio y análisis del fenómeno artístico. Las aproximaciones fenomenológicas y heurísticas han sido consideradas las aproximaciones que más se ajustan al estudio de los procesos de creación artística (Benchop, 2020;Eisner, 2008;McNiff, 2018). La fenomenología abarca el campo de estudio de las experiencias vividas en un nivel general descriptivo o interpretativo de los fenómenos humanos (Moustakas, 1990;Van Manen, 1984;2017), y la heurística (Douglas & Moustakas, 1985;Moustakas, 1990) se adentra en un análisis profundo InvestIgacIón en creacIón artístIca | Carlos Navarro Moral ARTÍCULOS de la experiencia vivida desde una perspectiva más personal.…”

Section: Fundamentos De Investigación En Creación Artísticaunclassified

Investigación en Creación Artística

Moral

2023

AeI

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La investigación en creación artística es un tipo de investigación escasamente identificada. En muchas ocasiones se asimila simplemente con el hecho de hacer arte en sí mismo, en otras ocasiones se integra dentro de la aproximación de investigación basada en artes. El artículo parte de esta problemática y profundiza en el significado de la investigación en creación artística, mostrando que las aproximaciones fenomenológica y heurística son las aproximaciones más adecuadas para dar fundamento a la investigación en creación artística. El artículo concluye mostrando que la investigación en creación artística presenta unos principios metodológicos y criterios de validez que la hacen diferente del resto de investigaciones en las que se produce una sinergia entre el arte y la investigación, siendo la vía de indagación introspectiva más adecuada para avanzar en el conocimiento del acto creativo.

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Section: Fundamentos De Investigación En Creación Artísticaunclassified

Investigación en Creación Artística

Moral

2023

AeI

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“…Building on interventionist, ethnographic, and artistic work in STS, we conceptualise friction as the hidden or implicit tensions that are often part of participatory practices themselves and aim to make these frictions explicit in order to better understand the 'internal inconsistencies within empirical fields' (Downey and Zuiderent-Jerak, 2017, p. 240; also see Zuiderent-Jerak and Jensen, 2007;Benschop, 2019;Borgdorff et al, 2019). Following Ruth Benschop, by analytically focusing on 'friction' we understand the concert as if it were a breaching experiment (Garfinkel, 1967): a practice that allows us to articulate and study the difficulties of innovating participation in symphonic practice (see also Benschop, 2019, p. 54).…”

Section: Empty Minds: Observing Participation In Practicementioning

confidence: 99%

“…While the audience was invited to challenge traditional concert conventions, in practice many audience members used this freedom to reproduce traditional concert conventions where they could. When we see Empty Minds as a breaching experiment (Garfinkel, 1967;Benschop, 2019) in which conventions, codes, and unspoken rules that enable participants to give meaning to a social situation are breached to demonstrate their workings, we can see that audience members repaired the situation by falling back on concert routines which allowed them to focus on the music itself.…”

Section: Performing For (Un)ruly Audiencesmentioning

confidence: 99%

Empty Minds: Innovating Audience Participation in Symphonic Practice

2021

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Symphony orchestras today acknowledge the need to make their art relevant again in today's societies and innovate their practices. When these innovations regard audience participation, they challenge the ritualised formats of classical music performance and disrupt normative, social, and artistic traditions. The orchestra therefore presents an interesting case to develop a better understanding of the value-laden dynamics of innovation in public participation. Implicit notions of an 'ideal public' and its desirable behaviour often structure the design, setup , and assessment of participatory innovations. Fieldwork during the Empty Minds concerts, that the South Netherlands Philharmonic organised in 2018 to innovate participation, supports this claim. The organisers aimed to assign new participatory roles to the audience. Throughout the organisational process, three forms of frictions developed. The hierarchical pattern of symphonic concerts conflicted with the plan for new audience participation, material routines were challenged, and during the actual concerts, audience members did not participate in new ways. The observed frictions show that what matters artistically cannot be separated from how the performance is organised: artistic qualities emerge in and through socio-material practice. What comes to count as desirable public participation is thus not a given, but needs to be continuously articulated, negotiated and constructed.

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“…By behaving outside of the norm (being extremely polite to your parents), the rules, expectations, and values that structure everyday life become tangible again (1964). Building on Garfinkel's work, Pinch and Bijsterveld argue that it can be useful to study musical innovations as if they were breaching experiments, because these innovations 'reveal underlying norms and values in the musical practices at hand ' (2003: 538; also see Benschop, 2019;Prior, 2018). In other words, because innovations might disturb the routinised ways of working in a practice, they allow us to see anew what conventions, routines, and norms entail.…”

Section: The Curious Case Of Innovating Symphonic Concertsmentioning

confidence: 99%

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A Thought Experiment on Artistic Research as High-Risk Ethnography 1

Cited by 3 publications

References 1 publication

Investigación en Creación Artística

Investigación en Creación Artística

Empty Minds: Innovating Audience Participation in Symphonic Practice

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