Art/Research International (Journal)
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EDITORIAL: FICTION AS RESEARCH: WRITING BEYOND THE BOUNDARY LINES
The Editorial for Volume 6, Issue 1: Fiction as Research: Writing Beyond the Boundary Lines.
WRITING SOCIOLOGICAL CRIME FICTION : YOU WILL HAVE YOUR DAY IN COURT
In this article I share and discuss a poetic work of experimental sociological crime fiction titled “You Will Have Your Day in Court” (in Crockett Thomas, 2020c). In it I reimagine the “true crime” story of “King Con” Paul Bint, who for a period in 2009 successfully impersonated Keir Starmer, the then Director of Public Prosecutions. I first introduce my collaborative approach to writing sociological crime fiction, connections to poststructuralist philosophy and conceptualisation of research as a process of translation. After sharing the piece, I discuss thematic aspects of the work, such as the popular fascination of fraud, desire for explanations for criminal acts, and the narrative constraints placed on people who have experienced criminalisation. I also consider stylistic elements including use of narrative voice, characterisation, and narrative structure. I hope that this article is of interest to scholars aiming to marry poststructuralist thought with an experimental approach to writing sociological fiction
A Review of Loveless’s (2019) How to Make Art at the End of the World: A Manifesto for Research-Creation
This piece is a review of Natalie Loveless’s How to Make Art at the End of the World: A Manifesto for Research-Creation (2019). Poetic responses frame a more traditionally structured review. In her book, Loveless draws upon a diverse combination of theories to collage an argument for a care-full ethic in the increasingly neoliberal university. Her manifesto positions research-creation as an opportunity to reframe the narrative of research and pedagogy by going beyond what we study and attend to questions of how and why
20:30 BRUXSELS TALKS: A SCRIPT FOR A FUTURE FICTION RADIO SHOW
On the 23rd of January 2020, a radio talk show of the future, 20:30 Bruxsels Talks, took place in Brussels. With fictional guests and artists from the year 2030, it discussed how the transition to a climate-proof city had happened since 2019. The body of this article is the script of this fiction piece, produced by BrusselAVenir and BNA-BBOT. In the introduction we explain the relationship between the field of futures studies and fiction, we frame 20:30 Bruxsels Talks within futures studies, and highlight the potential of fiction for knowledge creation and dissemination. By publishing the script, we hope to inspire researchers, changemakers and artists to explore fiction as a method, as a format and as a space, to trigger conversation and imagination, and engage citizens to take up a role in shaping the cities they live in.
Note: This article should be read in conjunction with “20:30 Bruxsels Talks: Fiction as a Method, Fiction as a Format, Fiction as a Space,” written by the same author team and published in this issue
Affective Epiphanies: The Aesthetic Relation of Stories in Museum Encounters
This proposition explores the potential of a pedagogy of affect as an arts- based research approach to museum education at the university level. Such an approach is predicated on a continuous movement of situated stories as the heart of the learning encounter, generated relationally between object-body-space, or artwork- learner-museum. As a forum for deliberation, the purpose of this conversation is to consider how emotions, as the basis for teaching with caring and sensory awareness, bring vitality, aliveness, and feelings to the fore. This conversation explores affective epiphanies sourced from personal practical knowledge as an expression of arts- research-in-progress. By drawing on autoethnographic life writing, I explore an alternate approach to three museum collections that demonstrate how and why the aesthetic relation of stories operate as pedagogic pivots in ways that reconfigure conventional museum engagement. Rethinking museum education with an arts research perspective is an effort to advance how context connects affective systems of knowing relationally, and why embracing stories offers new pathways to understand museum education through more expansive learning approaches, inclusive of feeling
“Institutionalized States of Information Abstinence”: Cut-up Inquiry of Sex Educators’ Erasure Poems
In this study, I provide applied examples of using cut-up poetic inquiry as an arts-based research method for analyzing erasure poetry. The erasure poetry was composed by five poet-participants and me during a sensory ethnography that explored embodied experiences of a sexual educator training program. I first overview erasure poetics in the context of sexuality education. I explain how erasure poetry as method can interrupt authoritative proclamations of truth, while also providing a technique to grapple with complex, corporeal data – central topics in sex education research. I then theorize cut-up poetic inquiry as an additional form of erasure, asking and illustrating how the processes of cut-up can distill information to enable emergent analytic insights in the context of my research. Throughout, I meditate on how erasure poetry as an arts- based research method can contribute to discussions of language, discourse, and embodiment in sex education research
Thom Roberts Reads Crowns: Musing on Art and Neurodiversity through the Lens of One Artist’s Practice
At Studio A, a supported studio for neurodiverse artists, the prolific painter, performer, photocopier, and installation artist Thom Roberts frequently reaches out to connect with friends and fellow artists by running his hands across the backs of their heads; “reading” their crowns. It’s a blessing I have been lucky enough to receive countless times over the course of my ethnographic engagement with Studio A, and as my relationship with Thom has developed. During my research, I have witnessed Thom read crowns in all kinds of contexts, from pubs to art galleries, in a performance artwork that could also be understood as an experimental artist talk. Here, I trace the narrative of this facet of Thom’s practice. I consider how such embodied encounters have the potential to open avenues of communication and connection between people who might experience the world in very different ways
“NARRATIVIZING INJUSTICE” THROUGH FICTION
In this theoretical musing, I propose a methodological and normative framework for including fiction writing in interdisciplinary research. Reviewing some traditional literary and rhetorical analyses alongside social theory, I reflect on ways of reading and citing, which inform our own fiction writing practices. In the first section, I consider how to read the text seriously as the starting point of sharing literary social worlds, followed by a vignette of critiquing fiction through citations to subvert dominant narratives. I end with an aspirational call for academics to consider fiction as a space where inclusivity and narrativizing injustice must be centered
A WHITE PALETTE GATHERING: DISCUSSING WHITENESS IN ONE ACT
Storytelling, a tenet of Critical Race Theory, offers a distinct approach for researchers engaging in narrative inquiry. This article models a fiction as research approach for creating a literature synthesis as a pedagogical strategy for teacher educators and pre-service teachers. The white palette refers to a painting palette, a blank slate or canvas, often considered neutral ground. Whiteness, however, is not neutral and this one-act conversation centers on examining whiteness as it impacts my role as a white teacher educator. The production, players, and script developed out of salient literature inclusive of Critical Race Theory, Art Education, and Critical Whiteness Studies. I am both author and a participant in this story. In this capacity, I disclose the impacts of the literature on my white teacher educator identity and reveal how I created arts-based data artifacts to evidence the overall story