Digestion and Regurgitation : Methods of Contestation in Artistic Research
- Submitting institution
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The University of Huddersfield
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 19
- Type
- E - Conference contribution
- DOI
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- Title of conference / published proceedings
- Proceedings of the 9th SAR - International Conference on Artistic Research
- First page
- 240
- Volume
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- Issue
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- ISSN
- -
- Open access status
- -
- Month of publication
- May
- Year of publication
- 2018
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- Responding to the conference theme that ‘artistic research will eat itself’, this paper presents a novel consideration of eating ‘disorders’ seen from a relational perspective and applied metaphorically to a discussion of traditional and non-traditional modes of research. It frames the debate concerning the legitimacy of practice-led, and artistic research through a discussion of the concept of orthorexic ‘purity’, which is operationalised as an obsession with only ingesting food that is ‘pure’. However, it is noted from the outset that what is considered ‘pure’ or ‘impure’, varies from person to person, and that an individual’s belief about what constitutes healthy food may lead them to exclude certain nutrients or entire food groups from their diet, resulting in a cannibalisation of their internal resources. Drawing on resources from Deleuzian philosophy, and its reputation as a philosophy of radical, relational affirmation, the paper goes on to position writing as a form of creative relational practice and to explore the potential in the context of artistic research, for the development of affective, non propositional modes of contestation, which enables a mode of critique. In this fashion it provides a well evidenced exploration of the debate concerning the legitimacy of artistic research, which is also highly innovative in its use of a Deleuzian framework to implement anon-propositional mode of critique. The paper claims firstly that Deleuze’s mode of criticism is relationally bulimic in character, secondly that his directive that we should strive to become ‘imperceptible’ can proceed only after he has first ‘virtualised’ or absorbed his opponents, and lastly, that it is through consideration of Deleuze’s virtualisation of others, that we might develop strategies of argumentation and creative contestation that are still noticeably lacking in the context of artistic research.
- Author contribution statement
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- Non-English
- No
- English abstract
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