Suchergebnisse

"Doing Performative Social Science: Creativity in Doing Research and Reaching Communities focuses, as the title suggests, on the actual act of doing research and creating research outputs through a number of creative and arts-led approaches. Performative Social Science (PSS) embraces the use of tools from the arts (e.g., photography, dance, drama, filmmaking, poetry, fiction, etc.) by expanding - even replacing -more traditional methods of research and diffusion of academic efforts. Ideally, it can include forming collaborations with artists themselves and creating a professional research, learning and/or dissemination experience. These efforts then include the wider community that has a meaningful investment in their projects, their outputs and outcomes. In this insightful volume, Kip Jones brings together a wide range of examples of how contributing authors from diverse disciplines have used the arts-led principles of PSS and its philosophy based in Relational Aesthetics in real world projects. The Chapters outline the methods and theory bases underlying creative approaches; show the aesthetic and relational constructs of research through these approaches; and show the real and meaningful community engagement that can result from projects such as these. This book will be of interest to all scholars of qualitative and arts-led research in the social sciences, communication and performance studies, as well as artist-scholars and those engaging in community-based research"--

Purpose
By means of several auto-ethnographic stories (including a scene from a working script for a proposed film), the author interrogates numerous ideas and misconceptions about gay youth, both past and present. A "bargain of silence" sometimes following gay sexual encounters in youth is described. The paper aims to discuss these issues.


Design/methodology/approach
The author recounts a sexual experience with a male college student in his past. This dissonance catapulted the author to move from his small liberal arts college to the city and begin his education again at an art college.


Findings
The author then describes his personal attraction to a 16-year-old boy who lived near his lodgings during one summer's break from art college. This time, the relationship remained purely platonic, but that did not seem to matter where the boy's parents were concerned. The author's social position and pretence coupled with his romantic outlook convinced him that anything was possible, even this platonic love. The painful lesson learned that summer was that this was not the case, and never would be. The boy's parents threatened Jones, and he never saw the youth again. The author continues by discussing his award-winning research-based film, Rufus Stone, and the reactions and conversations following screenings, particularly with youth. This present generation seems to Jones to be a sexually ambivalent one, more comfortable with multiple choices or no choice at all. Nonetheless, these young people do identify with the complexity of feelings and insecurities presented by youth within the film.


Research limitations/implications
In a recent report on sexuality of American high school students by the Center for Disease Control, researchers found an ambivalence and "dissonance" amongst youth regarding sexuality and choice. The author acknowledges that there remains a contemporary problem of genuine acceptance by society, and that there still is work to be done. He also admits that present-day attitudes by youth regarding sexuality are one that he had previously assumed to be historical ones.


Originality/value
Being straight or being gay can be viewed within the wider culture's need to set up a sexual binary and force sexual "choice" decision-making for the benefit of the majority culture. Through the device of the fleeting moment, this essay hopes to interrogate the certainties and uncertainties of the "norms" of modernity by portraying sexuality in youth.

This paper reports on a two-day experimental workshop in arts-led interviewing technique using ephemera to illicit life stories and then reporting narrative accounts back using creative means of presentation. Academics and students from across Schools at Bournemouth University told each other stories from their pasts based in objects that they presented to each other as gifts. Each partner then reported the shared story to the group using arts-led presentation methods. Narrative research and the qualitative interview are discussed. The conclusion is drawn that academics yearn to express the more emotive connections generated by listening to the stories of strangers. The procedures followed for the two-day workshop are outlined in order that other academics may also organize their own experiments in eliciting story using personal objects and retelling stories creatively.

The paper argues that the systematic review of qualitative research is best served by reliance upon qualitative methods themselves. A case is made for strengthening the narrative literature review and using narrative itself as a method of review. A technique is proposed that builds upon recent developments in qualitative systematic review by the use of a narrative inductive method of analysis. The essence of qualitative work is described. The natural ability for issues of ethnicity and diversity to be investigated through a qualitative approach is elaborated. Recent developments in systematic review are delineated, including the Delphi and Signal and Noise techniques, inclusion of grey literature, scoping studies and meta-ethnography. A narrative inductive interpretive method to review qualitative research is proposed, using reflective teams to analyse documents. Narrative is suggested as a knowledge-generating method and its underlying hermeneutic approach is defended as providing validity and theoretical structure. Finally, qualities that distinguish qualitative research from more quantitative investigations are delineated. Starting points for reflecting on qualitative studies and their usefulness are listed.

A pioneer in Performative Social Science, Kip Jones makes a case for the potential of arts-based social science to reach audiences and engage communities. Jones contextualises both the use of the arts in Social Science, as well as the utility of Social Science in the Arts and Humanities. The discussion turns next to examples from his own work and what happens when Art talks to Social Science and Social Science responds to Art. The benefits of such interaction and interdisciplinarity are outlined in relation to a recently completed project using multi-methods, which resulted in the production of a professional short film. In conclusion, Performative Social Science is redefined in terms of synthesis that can break down old boundaries, open up channels of communication and empower communities through engagement.

Dieser Beitrag beschäftigt sich mit der zunehmenden Verwendung künstlerischer Ansätze für die Verbreitung sozialwissenschaftlicher Befunde. Dabei werden Orte des Wissenstransfers, die beispielsweise mit dem World Wide Web erwachsen, als mögliche Märkte einer performativen Sozialwissenschaft betrachtet. Zusätzliche behandele ich ethische Fragen und Fragen der Bewertung von Forschungsergebnissen, die mit einer performativen Sozialwissenschaft und der Nutzung neuer Technologien einhergehen. Zeitgenössische ästhetische Ansätze werden in ihrer Potenz, Fragen der Evaluation zu beantworten, erörtert. Die Nutzung des Internets wird für die kollektive Elaboration von Sinn innerhalb einer relationalen Ästhetik vorgeschlagen. Eine mögliche Lösung des ethischen Problems bei der Darstellung der Narrationen Dritter ist die Verwendung autoethnografischer Erzählungen durch die Schreibenden. Allerdings stelle ich die Tendenz vieler Autoethnografien, "traurige" Geschichten zu erzählen, in Frage und schlage stattdessen amüsante Erzählweisen vor, wie hier am Beispiel von "The One about Princess Margaret" (http://www.qualitative-research.net/fqs-texte/07-3-3-e_app.pdf) veranschaulicht. Ich komme zu dem Schluss, dass der freie und offene Charakter des Internets der üblichen Langeweile akademischer Veröffentlichungen entgegenwirken kann und dass er auch erlaubt, innovative Antworten auf Fragen nach der Ethik und Bewertbarkeit performativer Sozialwissenschaft zu geben.

The (re)presentation of biographic narrative research benefits greatly from embracing the art of its craft. This requires a renewed interest in an aesthetic of storytelling. Where do we find an aesthetic in which to base our new "performative" social science? The 20th Century was not kind to 18th Century notions of what truth and beauty mean. The terms need to be re-examined from a local, quotidian vantage point, with concepts such as "aesthetic judgment" located within community. Social Constructionism asks us to participate in alterior systems of belief and value. The principles of Nicolas Bourriaud's Relational Aesthetics offer one possible set of convictions for further exploration. Relational Art is located in human interactions and their social contexts. Central to it are inter-subjectivity, being-together, the encounter and the collective elaboration of meaning, based in models of sociability, meetings, events, collaborations, games, festivals and places of conviviality. Bourriaud believes that Art is made of the same material as social exchanges. If social exchanges are the same as Art, how can we portray them? One place to start is in our (re)presentations of narrative stories, through publications, presentations and performances. Arts-based (re)presentation in knowledge diffusion in the post-modern era is explored as one theoretical grounding for thinking across epistemologies and supporting inter-disciplinary efforts. An example from my own published narrative biography work is described, adding credence to the concept of the research report/presentation as a "dynamic vehicle", pointing to ways in which biographic sociology can benefit from work outside sociology and, in turn, identifying areas of possible collaboration with the narrator in producing "performances" within published texts themselves.

Mit der Entwicklung des Internet sind neue Herausforderungen für den Transfer von Wissen verbunden, da Wissen kontextuell und dialogisch generiert werden kann – als ausgehandeltes diskursives Konstrukt der an diesem Prozess beteiligten Personen. In diesem Editorial beschäftige ich mich mit auto-ethnographischem, "performativen" und kritischen Buchbesprechungen und deren Potenz hin zu einer eher dialogischen Exploration sich entwickelnden Wissens, das durch Buchbesprechungen – verstanden als soziale Diskurse – freigelegt werden kann. Buchbesprechungen sind in meinem Verständnis mehrstimmige Versuche des Umgangs mit kulturellen/relationalen/linguistischen Wirklichkeiten. Hieraus folgt, ein narratives Verständnis des Berichtens/Besprechens von Literatur zu ermutigen, das den Autoren und Autorinnen erlaubt, die eigene Bezogenheit während des Schreibens aufzudecken und zu reflektieren. In diesem phänomenologischer Ansatz ist die schreibende Person in gewisser Weise interessanter ist als der abstraktere Akt des Schreibens. Mittels kreativer Repräsentationen des besprochenen Buches können Reviewer(innen) ihre individuelle "Gestalt" oder Perspektive entwickeln entlang des besprochenen Buches. Diese Art des Berichts vermittelt zwischen Forschenden und Schreibenden, Reviewer(inne)n und Lesenden. Von hier aus entstehen Möglichkeiten, Buchbesprechungen performativ zu verstehen und zu verfassen. Schließlich werden die Reviewer(innen) explizit ermutigt, Dialoge sowohl in Richtung den Autor(inn)en des besprochenen Buches als auch mit den Lesern und Leserinnen zu eröffnen.

This paper reports a conversation between international pioneers in ArtsBased Research and Performative Social Science, Patricia Leavy and Kip Jones. They begin by delineating the differences between research and/or dissemination that use tools from the Arts in their production. Leavy turns to her fiction writing as an example, while Jones discusses the making of his research-based short film, Rufus Stone. The conversation then turns to how these novel approaches have changed the way in which they work and these efforts in relation to the academy. The concept of "audience" is raised. Both then give examples of taking alternative routes in their career paths and funding for this kind of work. Jones specifically talks about using creativity in all our approaches, including small-scale projects that rely on creativity rather than money. He suggests being creative in the ways in which we write for publication and present our work to other academics. Leavy ends the conversation by discussing taking risks and walking through fear. Jones recommends not working in silos, but letting all parts of our lives influence our outputs.

Im Rahmen eines Mail-Austausches und gemeinsam mit einem fiktiven Cyber-Moderator diskutieren Mary GERGEN und Kip JONES – beide an der Herausgabe der FQS-Schwerpunktausgabe "Perfomative Sozialwissenschaft" (PSS) beteiligt und PSS-Pionierin bzw. -Pionier – Themen wie Kreativität, Qualifikation und Fertigkeit, Output und Nutzen, Ästhetik, Publikum, Evaluation, Interpretation, Wissenschaft, Ambiguität, Reden und Handeln und interdisziplinäre Zusammenarbeit. Während GERGEN zu dem Schuss kommt, dass Handeln reich an Bedeutung und symbolischer Signifikanz ist, nimmt JONES, wie Norma DESMOND, an, PSS "is big; it's the pictures that got smaller".