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The ongoing climate emergency and the coronavirus pandemic have both impacted on the role and function of JAR, and the Research Catalogue in particular, on which the journal is based.
The ongoing climate emergency and the coronavirus pandemic have both impacted on the role and function of JAR, and the Research Catalogue in particular, on which the journal is based.
Assessing new knowledges that emerge from expositions of practice as research puts a particular kind of responsibility on peer-reviewers (as well as editors, and ultimately also readers) that goes beyond a simple application of expertise. While a reviewer’s expertise may tell us which elements of a submission are already dealt with in a particular field, the other, arguably more interesting and innovative parts of a submission are more complex to assess, since they are by definition departures from the very field a reviewer is an expert in.
Insofar as artistic research takes place within rich fabrics of practice, it is always also embedded in a multiplicity of languages – both verbal and non-verbal ones. Requiring submissions in English is – in some aspects – like asking for text as the only mode in which to report on an artistic research project: fixed formats that restrict options of articulation.
Achieving quality in artistic research must be a key concern. In academia, quality is often assessed with regard to the content of a research project, e.g. how novel and substantiated findings are; how those findings are presented usually does not matter. In art, however, both form and content are crucial; hence, the notion of quality must apply to more aspects of a project and in particular to the relations between them.
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