Performance Research and the Epistemological Fracture

Mostrar todas las versiones(2)

The tendency to integrate artistic production into the body of academic research, although in different ways and with variable pertinence, has grown considerably. This has happened, in many cases, due to circumstantial factors conditioned by the “new” condition of artists as university teachers. The...

Descripción completa

Guardado en:
Detalles Bibliográficos
Autor principal: Salgado Correia, Jorge
Formato: Artículo publishedVersion
Lenguaje:Portugués
Publicado: Facultad de Filosofía y Letras, Universidad de Buenos Aires 2013
Materias:
investigación
performance musical
embodied meaning
conocimiento
validación
investigação
conhecimento
validação
research
musical performance
knowledge
validation
Acceso en línea:https://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/7076
https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=eloido&d=7076_oai
Aporte de:
Repositorio Digital de la Universidad de Buenos Aires (UBA) de Universidad de Buenos Aires
id I28-R145-7076_oai
record_format dspace
institution Universidad de Buenos Aires
institution_str I-28
repository_str R-145
collection Repositorio Digital de la Universidad de Buenos Aires (UBA)
language Portugués
orig_language_str_mv por
topic investigación
performance musical
embodied meaning
conocimiento
validación
investigação
performance musical
embodied meaning
conhecimento
validação
research
musical performance
embodied meaning
knowledge
validation
spellingShingle investigación
performance musical
embodied meaning
conocimiento
validación
investigação
performance musical
embodied meaning
conhecimento
validação
research
musical performance
embodied meaning
knowledge
validation
Salgado Correia, Jorge
Performance Research and the Epistemological Fracture
topic_facet investigación
performance musical
embodied meaning
conocimiento
validación
investigação
performance musical
embodied meaning
conhecimento
validação
research
musical performance
embodied meaning
knowledge
validation
description The tendency to integrate artistic production into the body of academic research, although in different ways and with variable pertinence, has grown considerably. This has happened, in many cases, due to circumstantial factors conditioned by the “new” condition of artists as university teachers. The artists/researchers now devote themselves to studying their own artistic work, that is: how they prepare themselves (at musical, technical and/or psychological level), how they rehearse, how they produce sense, how they create their emotional narratives, how they perform them, or how they are perceived and/or appreciated by the audiences. In this way, these studies contribute to the understanding of the creative processes and of the performance ritual and are classified within the framework of a sub discipline of musicology called “Performance Studies”. Some artists/researchers, however, when focusing on the inextricable aspects of the esthetic experience –poiesis, aesthesis, catharsis- assume a research in which the performance practice is an essential component both of the process and of the result of the research. This new paradigm, which we can denominate “Performance Research”, thus results from a fracture of the epistemological model of the “Performance Studies” and has great affinity with the equally emerging area of Artistic Research, obliging us to rethink such concepts as those of “knowledge”, “research” and “validation”. Within this theoretical framework, the notion of embodied meaning becomes crucial.
format Artículo
publishedVersion
author Salgado Correia, Jorge
author_facet Salgado Correia, Jorge
author_sort Salgado Correia, Jorge
title Performance Research and the Epistemological Fracture
title_short Performance Research and the Epistemological Fracture
title_full Performance Research and the Epistemological Fracture
title_fullStr Performance Research and the Epistemological Fracture
title_full_unstemmed Performance Research and the Epistemological Fracture
title_sort performance research and the epistemological fracture
publisher Facultad de Filosofía y Letras, Universidad de Buenos Aires
publishDate 2013
url https://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/7076
https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=eloido&d=7076_oai
work_keys_str_mv AT salgadocorreiajorge performanceresearchandtheepistemologicalfracture
AT salgadocorreiajorge lainvestigacionenperformanceylafracturaepistemologica
AT salgadocorreiajorge investigacaoemperformanceeafracturaepistemologica
_version_ 1851374396061515776
spelling I28-R145-7076_oai2025-11-17 Salgado Correia, Jorge 2013-08-05 The tendency to integrate artistic production into the body of academic research, although in different ways and with variable pertinence, has grown considerably. This has happened, in many cases, due to circumstantial factors conditioned by the “new” condition of artists as university teachers. The artists/researchers now devote themselves to studying their own artistic work, that is: how they prepare themselves (at musical, technical and/or psychological level), how they rehearse, how they produce sense, how they create their emotional narratives, how they perform them, or how they are perceived and/or appreciated by the audiences. In this way, these studies contribute to the understanding of the creative processes and of the performance ritual and are classified within the framework of a sub discipline of musicology called “Performance Studies”. Some artists/researchers, however, when focusing on the inextricable aspects of the esthetic experience –poiesis, aesthesis, catharsis- assume a research in which the performance practice is an essential component both of the process and of the result of the research. This new paradigm, which we can denominate “Performance Research”, thus results from a fracture of the epistemological model of the “Performance Studies” and has great affinity with the equally emerging area of Artistic Research, obliging us to rethink such concepts as those of “knowledge”, “research” and “validation”. Within this theoretical framework, the notion of embodied meaning becomes crucial. La tendencia a integrar la producción artística en el cuerpo de la investigación académica, aunque de diferentes modos y con pertinencia variable, ha crecido considerablemente. Esto ha sucedido, en muchos casos, por factores coyunturales en que los artistas –debido a su “nueva” condición de docentes universitarios– se dedican a estudiar su propio trabajo artístico, esto es: cómo se preparan (a nivel musical, técnico o psicológico), cómo ensayan, cómo producen sentido, cómo crean sus narrativas emocionales, cómo las ejecutan, o cómo son percibidos y/o apreciados por sus audiencias. De esta manera, estos estudios contribuyen a la comprensión de los procesos creativos y del ritual de la performance y se encuadran en el ámbito de una subdisciplina de la musicología denominada “Estudios en performance”. Algunos artistas, sin embargo, al focalizar en los inextricables aspectos de la experiencia estética –poiesis, aesthesis, catarsis– asumen una investigación en la cual la práctica performativa es un componente esencial tanto del proceso como del resultado de la investigación. Esta nueva realidad, que podemos denominar “Investigación en performance”, resulta así de una fractura del modelo epistemológico de los “Estudios en performance” y encuentra grandes afinidades con el área emergente de la Investigación artística, obligándonos a repensar conceptos tales como los de “conocimiento”, “investigación” y “validación”. En este marco teórico la noción de embodied meaning resulta crucial.   A tendência de integrar a produção artística no corpo da investigação académica, embora de diferentes modos e com variável pertinência, tem crescido consideravelmente. Isto tem acontecido, em muitos casos, por factores conjunturais em que artistas –devido à sua “nova” condição de docentes universitários– investigam sobretudo o seu trabalho artístico, isto é, como se preparam (a nível musical, técnico ou psicológico), como ensaiam, como produzem sentido, como criam as suas narrativas emocionais, como as executam, ou como são percebidos e/ou apreciados pelas suas audiências, contribuindo assim para a compreensão dos seus processos criativos e do ritual da performance. Enquadram-se assim no âmbito da subdisciplina da Musicologia denominada Estudos em Performance. Alguns porém, ao focalizarem-se nos inextricáveis aspectos da experiência estética: poiésis, aesthesis e/ou katarsis, assumem uma investigação em que a prática performativa é uma componente essencial tanto do processo como dos resultados de investigação. Esta nova realidade, que poderemos denominar Investigação em Performance resulta assim de uma fractura no modelo epistemológico dos Estudos em Performance e encontra grandes afinidades com a emergente área da Investigação Artística, obrigando-nos a repensar conceitos como “conhecimento”, “investigação” e “validação”. Neste quadro teórico a noção de embodied meaning é crucial. application/octet-stream https://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/7076 por Facultad de Filosofía y Letras, Universidad de Buenos Aires https://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/7076/6332 El oído pensante; Vol. 1 No. 2 (2013): Agosto 2013 - Enero 2014 El oído pensante; Vol. 1 Núm. 2 (2013): Agosto 2013 - Enero 2014 El oído pensante; v. 1 n. 2 (2013): Agosto 2013 - Enero 2014 2250-7116 investigación performance musical embodied meaning conocimiento validación investigação performance musical embodied meaning conhecimento validação research musical performance embodied meaning knowledge validation Performance Research and the Epistemological Fracture La Investigación en performance y la fractura epistemológica Investigação em Performance e a fractura epistemológica info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=eloido&d=7076_oai

Ejemplares similares