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ISSUE 14

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Editorial

JAR has always been careful to invite ‘expositions of practice as research’ rather than just ‘expositions.’ The reason lies in one aspect of the term ‘exposition’, which suggests that ‘to expose’ is to explain something or make it public. While not incorrect, this reading is not sensitive enough to a central idea in JAR: that in the act of exposition, that which is seemingly exposed is also constituted. This creative aspect is the reason why we don’t tell authors how this is best achieved and accept that some submissions employ tested strategies while others test their readers with new solutions to the challenge of ‘exposition’. However the exposition of practice as research may happen, peer-reviewers and the editorial board are called to assess how successful a submission is in unfolding an epistemic claim while keeping in mind that such claims may exceed propositional language.

When analyzing the construct of ‘exposing practice as research’ further, the phrase suggests that ‘research’ is not inherently constituted in ‘practice’. What is to stop somebody from exposing what they do as art, for example, or as architecture, design or music? In other words, the ‘as’ turns what is exposed, at least potentially, into a multiple—when we see an exposition we also ‘see’ what is not (yet) articulated, or at least conceive that other expositions may be possible. This renders ‘research’ somewhat precarious, as if it was never the full story. At the same time, it also means that ‘practice’ is only incompletely captured by art (or research), liberating it from any specific determination. Hence the value is placed on ‘the practitioner’ as somebody who is ‘fit for action’ [1] before knowing what the specific action will be. Yet, without its exposition, ‘practice’ is an empty term that is not, actually, active. Expositions make practice, and the more and differently it is exposed, the richer practice becomes. In this sense, research does not produce art, it enriches art as much as art enriches research—their common root is a practice in excess of any single articulation.

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Expositions

"Play" was a project developed by Matilde Meireles and Diogo Alvim with the participation of experimental filmmaker Richard O'Sullivan. This multilayered performance was specially conceived...

https://doi.org/10.22501/jar.309117

OPEN EXPOSITION

The Salford Samples Joanne Scott

The Salford Samples is a practice-as-research project in intermedial place-making. Using materials that arise from the city of Salford, including fragments of its cultural history, an autobiographical audio diary...

https://doi.org/10.22501/jar.301815

OPEN EXPOSITION

Stop and Go is a research project investigating physical and social transformation at nodes and hubs of transnational mobility and migration alongside major pan-European road corridors in a geographic triangle...

https://doi.org/10.22501/jar.330596

OPEN EXPOSITION

'Systems of Pain/Networks of Resilience' is a creative exploration of observation and entanglement as tools for negotiating pain. Research on ecology, restoration, and psychology creates a series of videos, images, and performances...

https://doi.org/10.22501/jar.286506

OPEN EXPOSITION

My interdisciplinary, practice-led research involves a diverse methodological approach, including experimental film production, continental philosophy, psychoanalysis, and neuroscience...

https://doi.org/10.22501/jar.285865

OPEN EXPOSITION

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