Within academia, the practical arts researcher endures an unstable status owing, in part, to the diverse research methodologies gathered underneath the umbrellas of Practice-[led/based/as/for]- Research. (P)Artistic Research is difficult to define, no less validate, in a result-oriented, data-driven, ‘performance’-measuring culture. The (P)Artistic Researcher embodies dissent in such contexts, as the nature of most artistic research is process-oriented, collaborative and solution-finding. In response to Berg and Seeber’s pleas for ‘slowness’ in The Slow Professor, this chapter reflects critically on the author’s habits and history as a (P)Artistic Researcher while moving through a ‘gap’ in employment, from a dramatic resignation at one institution to an acceptance of a new post at another institution, one year later. This writing is contaminated by aspects of the author’s ‘playwrighting’ practice, becoming a posthuman ‘playper’ in which forms of writing are intertwined, and structure, layout and grammatical positioning are used innovatively to produce new knowledge which is not ‘in-prism-ed’ by the narrow perspective of the corporate university. The content of the ‘playper’ offers a malleable frame with several pedagogical points of entry, including prompts, provocations and practical exercises which intend to slowly contaminate the classroom with a conscientious commitment to a posthuman understanding of the world.
|Title of host publication||Posthumanism and Higher Education|
|Subtitle of host publication||Reimagining Pedagogy, Practice and Research|
|Editors||Carol Taylor, Annouchka Bayley|
|Publisher||Palgrave Macmillan Ltd.|
|Number of pages||23|
|Publication status||Published - 17 Apr 2019|
- Higher Education