Paradigm Example Research Paper

Barbara Bolt is a practising artist and art theorist and is Associate Dean of Research at the Victorian College of the Arts, and the Melbourne Conservatorium of Music at the University of Melbourne. Her website is: Over the past decade or so the term “performativity” has come to pervade contemporary discussions around the visual and performing arts—the performative arts, performative arts practitioners, performative arts based research, performative strategies, performative pedagogy, performative sound design, ad infinitum—ushering in what has been termed the performative turn.She has written extensively on artistic research and the ethical implications of art as research. She has co-edited four volumes including Material Inventions: Applying Creative Arts Research, London (I. Tauris, 2014), Carnal Knowledge: Towards a “New Materialism” through the Arts, London, (I. Tauris, 2013) and Practice as Research: Approaches to Creative Arts Enquiry, (I. While initially there tended to be a conflation of the terms performativity, performance and performance art in discourses around contemporary art and aesthetics, it could now be said that all art is ontologically performative.Drawing from his own field of theatre, Haseman agued that: when research findings are presented as performative utterances, there is a double articulation with practice that brings into being what, for want of a better word, it names.

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Secondly, like the qualitative researchers before them, artistic researchers need to carefully mark out the territory of a performative paradigm and differentiate it from the established research orthodoxies by refining its protocols and procedures; defining its concepts, methodologies and interpretive methods and assessing whether a performative paradigm really can hold its own within the broader field of research.

The term “performativity” was introduced to the world by J. Austin in a lecture series entitled “How to do things with words”, delivered as part of the William James Lectures at Harvard in 1955.

The essay argues that the performative needs to be understood in terms of the performative force of art, that is, its capacity to effect “movement” in thought, word and deed in the individual and social sensorium.

These movements enable a reconfiguration of conventions from within rather than outside of convention.

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. However, before we make claims for a performative model for the creative arts, there are a number of urgent tasks that need to be addressed. Firstly, there is a need to define the terms of a performative model in relation to the existing theories of performativity. 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.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.Is it enough to say that the performance/production is an event/act/production that becomes the thing done and experienced by an audience? Against what criteria do we assess the success or failure of a performance/production?Finally, can a performative model make valid “truth” claims that will be recognised by the broader research community?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. 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”.


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