Abstract
For the contributors and most readers of this collection, it would seem obvious that art and performance are interdependent with research and practice and that art is significant in the creation, discovery, production, and circulation of knowledge. Yet, historically and in diverse institutions and discourses, this is neither self-evident nor accepted. From the viewpoint of public awareness and for some academics, the arts and performance, particularly as they have evolved over the past century, are considered difficult to demonstrably isolate as objects or entities. Moreover, and regardless of the area of study, the question of what precisely constitutes research and how knowledge is defined, produced, and communicated is problematic. Today, paradigms, methods, systems of verification, and boundaries of knowledge are persistently under examination in every field and discourse, whether in the arts, humanities, sciences, social sciences, or in multiple, developing inter- and cross-disciplinary areas.
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Notes
See Introduction for distinctions among performance studies, PaR, PAR, and so on; see also Jon McKenzie, Perform or Else: From Discipline to Performance (London and New York: Routledge, 2001).
For more on Kant et al., see Lucien Krukowski, Aesthetic Legacies (Philadelphia: Temple University Press, 1992).
Terry Eagleton, The Ideology of the Aesthetic (London: Blackwell, 1990).
Mark Johnson, The Meaning of the Body: Aesthetics of Human Understanding (Chicago: University of Chicago Press, 2007), 218.
Andrew Pickering, Science as Practice and Culture (Chicago: University of Chicago Press, 1992).
See A. J. Ayer, Language, Truth and Logic (New York: Courier Dove Publications, 1952)
Paul Feyerabend, Against Method (London and New York: Verso, 1993).
Robert Crease, The Play of Nature: Experimentation and Performance (Bloomington: Indiana University Press, 1993).
David Gooding, Trevor Pinch, and Simon Schaffer eds, The Uses of Experiment: Studies in the Natural Sciences (Cambridge and New York: Cambridge University Press, 1989).
Nagy Hesse-Biber and Patricia Leavy eds, Approaches to Qualitative Research: A Reader on Theory and Practice (New York and Oxford: Oxford University Press, 2004)
J. Gary Knowles and Ardra L. Cole, eds, Handbook of the Arts in Qualitative Research (Los Angeles: Sage Publications, 2008).
Stephen Wilson, Information Arts: Intersections of Art, Science, and Technology (Cambridge, MA, and London: MIT Press, 2002)
Steve Dixon, Digital Performance: A History of New Media in Theater, Dance, Performance Art, and Installation (Cambridge, MA: MIT Press, 2007).
Nelson Goodman, Languages of Art: An Approach to a Theory of Symbols (Indianapolis: Bobbs-Merrill, 1968), 102.
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© 2009 Arthur J. Sabatini
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Sabatini, A.J. (2009). Approaching Knowledge, Research, Performance and the Arts. In: Riley, S.R., Hunter, L. (eds) Mapping Landscapes for Performance as Research. Palgrave Macmillan, London. https://doi.org/10.1057/9780230244481_14
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DOI: https://doi.org/10.1057/9780230244481_14
Publisher Name: Palgrave Macmillan, London
Print ISBN: 978-1-349-30772-2
Online ISBN: 978-0-230-24448-1
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