Black gold: trustworthiness in artistic research (seen from the sidelines of arts and health)
- Submitting institution
-
Manchester Metropolitan University
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 239181
- Type
- D - Journal article
- DOI
-
10.1080/03080188.2018.1533669
- Title of journal
- Interdisciplinary Science Reviews
- Article number
- -
- First page
- 348
- Volume
- 43
- Issue
- 3-4
- ISSN
- 0308-0188
- Open access status
- Compliant
- Month of publication
- October
- Year of publication
- 2018
- URL
-
https://e-space.mmu.ac.uk/622083/
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
1
- Research group(s)
-
B - Art & Performance
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This research argues that the term rigour (and its etymological connotations of hardness and severity) are being applied to artistic research without sufficient critical thought. Taking the form of a 'creative journal output', the essay speaks from the side-lines of arts and health where biomedicine dominates, to suggest that the precision expected of artistic research should affiliate less to rigour’s etymological associations of rigidity and paralysis, than to live/lived qualities of experience, feeling and movement. Responding to an essay on art and science by anthropologist Tim Ingold published in the same volume, the essay dialogically juxtaposes accounts of the author’s research collaborations with people in recovery from substance misuse, with her experiences of growing up with an alcoholic parent. Using narrative and discursive reasoning, and image and text experimentation, it analyses, debates and tests what rigour means for artistic knowledge production, modelling qualities of liveness, felt knowledge and the ubiquitous experiential that it also suggests are central to recovery from addiction and artistic research. An argument is made that the failure in arts and health to grasp art’s diverse ways of being and knowing is hindering the recognition of new artistic knowledge, whilst disenfranchising artistic researchers and artists working across interdisciplinary cultures and environments. Where the ‘gold standard’ for rigorous evidence-based research in the sciences is classically held to be the randomised controlled trial, the metaphor of ‘black gold’ (aka compost) is used in the research to capture the digestive multiplicity that is the proper measure of artistic precision, thoroughness and trustworthiness. The output intervenes in conventional forms of academic journal publication, adjusting elements of the journal’s style guide to communicate the forms of artistic precision it advocates. Ravetz wrote and illustrated the essay and artist Helena Gregory ‘composited’ the content, taking ‘black gold’ as a guiding design principle.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -