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The Art of Research: Digital theses in the arts
The Art of Research: Digital theses in the arts
Wittgenstein (1915) once wrote that the limits of our language are the
Wittgenstein (1915) once wrote that the limits of our language are the
Kant (in Cassirer 1974: 145) distinguishes between the terms
Kant (in Cassirer 1974: 145) distinguishes between the terms
VALIDITY… It could be argued that the ability of the ‘reader’ to
VALIDITY… It could be argued that the ability of the ‘reader’ to
Kvale (1994) argues that trustworthiness of research is constructed
Kvale (1994) argues that trustworthiness of research is constructed
Value in digital theses is comprised of both merit and worth
Value in digital theses is comprised of both merit and worth
The merit of digital theses is dependent upon: The artistry of the
The merit of digital theses is dependent upon: The artistry of the
Worth, on the other hand is determined by the context of the research
Worth, on the other hand is determined by the context of the research
Form is the configuration, arrangement and style of the digital
Form is the configuration, arrangement and style of the digital
Authenticity In the digital thesis, reality is a product of sensory
Authenticity In the digital thesis, reality is a product of sensory
Performativity: representation, presentation and re-presentation
Performativity: representation, presentation and re-presentation

Презентация: «The Art of Research: Digital theses in the arts». Автор: UNESCO. Файл: «The Art of Research: Digital theses in the arts.ppt». Размер zip-архива: 4606 КБ.

The Art of Research: Digital theses in the arts

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1 The Art of Research: Digital theses in the arts

The Art of Research: Digital theses in the arts

Professor Anne Bamford Wimbledon School of Art, London abamford@wimbledon.ac.uk

2 Wittgenstein (1915) once wrote that the limits of our language are the

Wittgenstein (1915) once wrote that the limits of our language are the

limits of our world. If this is the case, expanding available research and communication languages, enables the expansion of the world as it exists in academic discourse.

3 Kant (in Cassirer 1974: 145) distinguishes between the terms

Kant (in Cassirer 1974: 145) distinguishes between the terms

“aesthetic universality” and “objective reality”. Objective reality involves the truthful depiction of an object or phenomenon Aesthetic universality concerns the communicability of contemplations of the object, rather than the object itself. Aesthetic appreciation involves enlarging understanding, through guiding the viewer to higher levels of contemplation. Electronic dissertations present ideas in ways that engages the viewer in higher order contemplation and promote deeper levels of aesthetic apprehension.

4 VALIDITY… It could be argued that the ability of the ‘reader’ to

VALIDITY… It could be argued that the ability of the ‘reader’ to

travel in multiple ways through a thesis and to interact in a dynamic way to engage with the structure of the thesis, may lead to greater catalytic validity. If a digital thesis can be said to possess catalytic validity, the thesis should engender engaging ‘conversations’ through the presentation of rich sensory description and challenging interpretations that promotes within the ‘reader’ space for imaginings.

5 Kvale (1994) argues that trustworthiness of research is constructed

Kvale (1994) argues that trustworthiness of research is constructed

through dialogue and negotiation. The dialogue in digital dissertation is often persuasive and aesthetic. Kvale (1994: 12) maintains that dialogic processes inherently ensure aesthetic quality: “The solidity of the craftsmanship during the production makes the accountant’s quality control of the final product less necessary. Second, to develop strong products that are so strong and convincing in their own right, that they so to say carry the validation with them, such as a strong piece of art… Appeals to external certification, or official stamps of approval, then become secondary. Valid research in this sense would be research which makes questions of validity superfluous.”

6 Value in digital theses is comprised of both merit and worth

Value in digital theses is comprised of both merit and worth

Merit is defined as the intrinsic beauty or artistry of the research Worth is defined in a more long term sense in relation to applicability, usefulness, contribution and desirability of the imaginings formulated as a result of this study. Merit remains relatively static and can largely be contained within the process and product of the research.

7 The merit of digital theses is dependent upon: The artistry of the

The merit of digital theses is dependent upon: The artistry of the

process and product; The beauty of design and the way the digital dissertation ‘works’; The recognition and presentation of new and interesting patterns of ideas; An articulation of the limitations and proficiencies inherent to the research; The explicitness of researcher position; The support and evidence for claims made; A strong ethical dimension, and; A balance between divergence and convergence.

8 Worth, on the other hand is determined by the context of the research

Worth, on the other hand is determined by the context of the research

Those people with knowledge of the values and context surrounding the study establish the worth of the piece of research. Worth may be greater when a research is particularly original or has a stronger intellectual thrust. The indicators of worth in digital research include: Accessibility; Demonstrable value to practice; Relevance to the community; Ability to push conversations and ideas beyond what is already known; Mobilisation of passion and energy; Emergence of new ideas and innovations, and; Longer term influence on research practices.

9 Form is the configuration, arrangement and style of the digital

Form is the configuration, arrangement and style of the digital

dissertation. It exists as an abstract ideal comprised of the entities combined with, but also beyond, the digital form. The term 'form' implies the manifestation that results from the fashioning of particular digital content into a holistic, creative shape. It involves the establishment of expressive frames that are visually, audibly and/or imaginatively perceivable. (Whether the form created is justifiably called ‘artistic’ research depends upon the desire of the maker to compose it into a form that expresses a nexus of feeling.) A postmodernist view of form applied to digital research argues that form exists as the result of interactions between makers and audience and is multi-layered, seriated and affective.

10 Authenticity In the digital thesis, reality is a product of sensory

Authenticity In the digital thesis, reality is a product of sensory

induction, personal conceptions, intuition, and imagined ideas. As Guba and Lincoln (1989: 8) identify, “constructions are inextricably linked to the particular physical, psychological, social, and cultural contexts within which they are formed and to which they refer.” There are numerous ways the realities in a digital thesis could be configured, both by the author/artist and by the ‘reader’. There is no final authority because the mere presence of the digital mediation distorts any reality that exists. In an interactive, hyperlinked thesis, plausibility is reliant upon the readers' interaction with the piece and the vicarious way they assimilate aspects of the work. Authenticity is challenged by the collaborative nature of digital production. (Digital research and presentation is almost inevitably undertaken by a team of people. )

11 Performativity: representation, presentation and re-presentation

Performativity: representation, presentation and re-presentation

Judith Butler argues that social reality is not a given but is continually created as an illusion through language, gesture, and all manner of symbolic social sign. Performative value of digital dissertations is the manner in which medium, message and viewer/reader are mutually co-dependent and expressive. Hypermedia provides a direct link between the scholarly intentions and the actions of the reader. Digital scholarship provides the potential for greater inclusion (and transparency) of the production process and greater levels of interactivity between producer and consumer (the reader/viewer). Digital research narrows the distinctions between form and content. The performative potential of digital dissertations encourages a greater awareness of the co-dependency of medium and message

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