Creating new stories for praxis: navigations, narrations, neonarratives

This paper considers differing understandings about the role and praxis of studio-based research in the visual arts. This is my attempt to unpack this nexus and place it in a context of credibility for our field. Jill Kinnear (2000) makes the point that visual research deals with and intensifies elements of research and language that have always been part of the practice of an artist. Presented is a way to conceptualise and explain what we can do as researchers in the visual arts. I am recontextualizing notions of research, looking at the resemblances, the self-resemblances and the differences between traditional and visual research methods as a logic of necessity. I am investigating how we can decode and recode what we do in the language of appropriation and bricolage. In mapping the processes and territories, I am interested in the use of autobiography as a way to incorporate a deep sense of the intricate relationships of the meaning and actions of artistic practice and its embeddedness in cultural influences, personal experience and aspirations (Hawke 1996:35). This is a study that explores possible parameters for visual research, questioning in what sense is it the best way to understand our relationship with traditional research fields

Opening borders!

On the centenay of Yehudi Menuhin we want to enlighten his role in rescuing artistic practices of cultural minorities and its contributions to fight against violence, racism and xenophobia at european schools and communities. We discuss our research artistic action in the last 20 years through the MUS-E program in Portugal, focus on Évora multicultural neighborhood.FC

Researching collaborative artistic practice.

In this paper we offer discussion of collaboration in artistic practice, based on a two-and-a-half-year-long research project undertaken by artists/researchers at the University of Waikato, working in collaboration with local performers. Grounded in kaupapa M¯ori, feminist and phenomenological research methodologies, this research project provided a context for exploring existing understandings of collaborative processes in the arts, and for immersion in and development of alternative processes, across artistic mediums and cultures. Drawing on contemporary understandings of cross-cultural and intercultural practices in the arts, we discuss how shared conceptualisation of ideas, immersion in different creative processes, personal reflection and development over extended periods of time were found to foster collaboration. In this paper we will explore the value and nature of relationships within collaboration, and discuss how selfdetermination or tino rangatiratanga might be maintained within the context of collaborative performance art

Risk across design domains

Design processes involve risk: to life and limb if the product is unsafe, to the financial health of the company if the product is late, unsuccessful or simply the wrong product, as well as to the emotions and careers of the designers. Many of the risks are shared universally by all designers, but each different industry and each different project faces its own spectrum of serious and minor risks. Different industries have put their methodological effort into finding ways to mitigate the risks they recognise as important. As part of the Across Design project exploring similarities and differences between design processes in different industries, this paper examines how risks are perceived and handled in different types of design process, and proposes that designers and managers can usefully look to other industries for ways to handle risks that are more central for those other industries