For all you interested in a cross over between art -practices and
research, the possibilities and impossibilities, the book Collision
Interarts Practice and Research might be of interest.
It's published by Cambridge Scholars Press in the UK and can be
ordered on their website. On this website is also a .pdf file with
the table of content.
Cheers, Jacky Sawatzky
And pass this on to other that might be interested in Interarts
Research and art Practice.
Ps. Some shamelss self promotion, the article I wrote is called
Plotting the Pixel and is based on the R.g.b-project. Here the link
for the website of this project:
Collision: Interarts Practice and Research
Editor: David Cecchetto, Nancy Cuthbert, Julie Lassonde and Dylan
Date Of Publication: Dec 2008
With very few exceptions, interdisciplinary art and interarts
practices—examined as such, including the perspective of artist-
researchers, and not subsumed under a singular category of
performance or visual art—have, until now, been largely ignored.
While it would be simplistic to think that this collection somehow
rectifies the "piecemeal" status of this discourse, our wager is that
this collection works towards presenting an understanding of this
status as, in a certain sense, constitutive of the field.
Beginning with an introduction to the very multiplicities that
compose and complicate interdisciplinary practices, then moving into
questions of body/technology, location/movement, space/practice,
performativity/aesthetics, this collection covers an enormous amount,
while still retaining an overarching sense of unity in the context of
the subject as a whole. Each of these sections negotiates a series of
interrelated collisions in order to address a range of theoretical
positions, as well as a variety of international and cultural
perspectives. In addition to addressing the notion of
interdisciplinarity and the challenges of specific interarts
practices, this publication seeks to question how we might understand
interarts practice in a way that does not exclude perspectives such
as spirituality, law, political activism and community development,
to name only a few. The inclusion of these disparate practices within
this publication—itself a site of collision of the poetic, the
conversational, and the theoretical—is thus not presented as an
attempt to unify or normalize them, but rather as a productive
charting of their radical explosion; a collision that is always a
David Cecchetto is an Interdisciplinary Ph.D. candidate in Cultural,
Social, and Political Thought at the University of Victoria (Canada).
David's artistic work has been presented in Canada, the United
States, Mexico, and Russia, and his recent research publications
include "vagrant(ana)music: Three (four) plateaus of a contingent
music" (Radical Musicology, 2007), "Ethical and Activist
Considerations of the Technological Artwork" in Transdisciplinary
Digital Art (Springer, 2008) and "Sounding the Hyperlink: Skewed
Remote Musical Performance and the Virtual Subject" (Mosaic Journal,
2009). See www.davidcecchetto.net
Nancy Cuthbert teaches in the Department of History in Art at the
University of Victoria (Canada), where she is a doctoral candidate.
Her current research, on the modernist fountain sculptures of
Japanese-American artist George Tsutakawa (1910-1997), is focused on
interrelationships between post-war public sculpture, architecture
and urbanism. Her essay, "Westall's Peasants: British Identity and
the Crisis of Nation in 1799," is included in the forthcoming
anthology Us and Them: Perceptions, Depictions and Descriptions of
Celts, edited by Pamela O'Neill, Tony Earls and Julianna Grigg.
Julie Lassonde works independently in the areas of physical theatre
improvisation, performance art, feminist law and translation. Her
publications include "Performing Law" (International Journal of the
Arts in Society, 2006). In 2007, she received an Innovative
Electronic Theses and Dissertations Award in Uppsala, Sweden for her
interdisciplinary Master's thesis in law and visual arts. She has
been on the Board of Directors of InterAccess Electronic Media Arts
Centre in Toronto, Canada since 2006.
Dylan Robinson teaches courses in the Music Department at the
University of Victoria (Canada) and is a doctoral candidate at the
Centre for Research in Opera and Music Theatre at the University of
Sussex, UK. His publications include "Distracting
Music" (Musicological Explorations, September 2008) and
"Collaboratively Knowing Music" in Ways of Knowing: (Un)Doing
Methodologies, Imagining Alternatives in the Humanities, (Cambridge
Scholars Publishing, 2009). His most recent research project is on
Representations of First Nations and Indigenous Cultures in Opera.
"The essays here take "collision" in its full range of significances,
deftly tackling such elusive and difficult topics as the
interdisciplinary sublime, melancholy and digital performance, and
the phenomenology of pain. Varying from dense theoretical
disquisitions to creative diary entries, the contents open up new
vistas in the resurgent consideration of interarts production and
interdisciplinary inquiry. Coherent even in the huge scope they
cover, these essays provide a startling and provocative snapshot of
the current state of interartistic thought and practice. They
challenge, outrage, entertain, and engage – often all at the same
time." Dr. Stephen Ross, associate professor, director of English
Graduate Studies and Director of the program in Cultural, Social, and
Political Thought at the University of Victoria, Canada
Price Uk Gbp: 44.99
Price Us Usd: 67.99
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