Educators practice performance pedagogy as the method where an educator/facilitator is seen as a performer or actor (Pineau 1994, p. 4). This paper presents an analysis of the historical roots of performance pedagogies in Fluxus pedagogies and performance pedagogy practices within participatory art events in Lithuania as exemplified by festivals AN88 (1988) and AN89 (1989). The case of my research rests on the contemporary implementation of performance pedagogy techniques during the course The Temporary Department of Time, Space, and Action for BA students at the Vilnius Academy of Arts in Lithuania. This research aims to define the concept theories within performance pedagogy in the art academy education, which developed behind the terms Human Semiotics (Andersen 2002), Hyper Performer,1 and InterMedia (Higgins 1984). This project was implemented using the strategy of critical utopian action research in the context of the Vilnius Academy of Arts. The empirical material was gathered during my employment as a guest lecturer and the implementation of my pedagogical internship at the Vilnius Academy of Arts.2These concept theories are defined through. a reflexive analysis of archive material on the historical origin of performance pedagogies, originating in Fluxus pedagogies, local Lithuanian participatory art, and data from the contemporary case of my project The Temporary Department of Time, Space and Action (2018), in the form of archive material, photographs, interviews, observations, notes, and my diary. The results of this research are the application of performance pedagogy concepts and terminology to the art and education projects and the definition of the key concept theories within this field. These results can be useful for artists and those practicing university pedagogy.

This study explores knotworks and networks within art, participatory performance design, the environment and education specialists and institutions within the case-project “Nomadic Radical Academy”, realised in 2019 and 2020. The novelty of the research lies in its investigation of how international collaborations impact the performance pedagogy project at the local level. The project bridged a wide spectrum of actors in order to design an interactive space and participatory infrastructure involving a diverse variety of stakeholders. The projects were created by the author of this paper and involved the art venue Gallery Meno Parkas in Kaunas, local Kaunas schools and environment-friendly local art initiatives, families in Kaunas, Kaunas Municipality, The Lithuanian Council for Culture, a performance designer and international artists from the Baltic-Nordic region. The author created the performative milieu in the gallery space with the intention of educating children and young people about the environment and climate change through performance pedagogy methods. The research question is as follows: How are the knotworks and networks created during the planning and realisation of the international performance pedagogy project, and how do they target the local community and influence projects locally in real-time? The study materials were collected by arts-based methods and analysed by utilising reflexive research. The data collected during the planning and implementation phases are the author’s notes and reflections, notes from feedback and discussions with the involved artists and photos and videos. This research can be valuable to educators, performance designers and artists interested in knotwork- and network-building. This research focused on the planning and realisation of the project by involving international performance professionals in site-specific projects designed for local communities.

This article presents arts-based action research on enhancing children’s creativity through affect within participatory performance art and performance pedagogy. The study hypothesis was that children’s creativity can be enhanced by affect experienced at a performance site. The purpose of the study was to investigate the impact of children’s involvement in artistic performance on their creativity at a performance site. The impact of interactions at the site, the co-participating children,and the involved artists were monitored on a daily basis to collect qualitative data, which were analyzed using a general inductive approach. Objective themes relating to the variables were retrieved from the collected data and assigned codes, concepts, and keywords extracted from photographs,video recordings, and observation notes. The case under investigation was the “Nomadic Radical Academy 2020: The Good, the Bad, and the Art”, which built on a pilot event held in 2019. This research concluded that performance art can have a social and creative impact during an art event through children’s participation and can be used by performance artists and educators.

Rigid structures and differences in the sociocultural contexts of art academies and universities across the world can limit cross-disciplinary collaboration and network building. Artistic and arts-based research has the potential to unfold a transition in art and design felds, merging them into a cross-disciplinary arena that summons radical innovation. Based on the concept of the pluriverse, this chapter explores speculative scenarios of envisioning the future of artistic research by analysing four case studies. These cases apply similar methods in engagement with diverse audiences to disseminate multiple themes or concerns (social, environmental and cultural) and to represent different medialities/medial situations and scales of collaboration, hence contributing to the concept of the pluriverse within arts-based research and artistic research projects. This chapter addresses the following four questions: For whose beneft is artistic research initiated? Who is doing artistic research? With and by whom is artistic research conducted? Why is artistic research conducted? Hence, the social aspects of artistic research are explored to better understand the relationship between collaborative practices and research. The 'social' in the scope of this chapter includes a wider group of agents, including nonhuman contributors. After an overview of theory behind the key themes-artistic research, arts-based research and the pluriverse-the authors proceed with autoethnographic analysis of the above-mentioned questions through the prism of their personal experiences and specifc case studies from their respective artistic research practices. Further application of these autoethnographies in discussing the pluriversal agenda results in an outline of the profle of a contemporary researcher and the social aspects of her research, both in and beyond institutional settings.

Summary This research analyzes performance art that uses biometric data, based on two concept perspectives – inhuman interconnections and transcorporeality – applied to examples of European performance art from Lithuania, Finland, Poland, and Denmark. The term performance art theoretically refers to all art that involves the human body, human biometric data, inhuman interconnections, transcorporeality, and liminal space. This study examines the differences between wide-scope interactive art and design and performance art involving biometric data created through the application of recent developments in consumer technology for live events. This research examined three case projects through the method of autoethnography. The data presented in the article was either collected during the author’s performance art events or at performances the author was attending as a visitor. The cases are analyzed by means of qualitative data analysis, utilizing terms representing human biometric data and interactivity adopted from research within the fields of interactive art and interactive design. The study examines the combination of biometric data and art to explain the phenomenon of humans meeting technology, revealed through data collected from a body and transmitted to an audience during a performance art event. The conclusion revisits the key terms – performance art, biometric data, inhuman interconnections and transcorporeality – as applied to artistic practices, where performance art and biometric data meet.