This article outlines the activities of the research network 'Festival Performance as a State of Encounter', which was funded by the Arts and Humanities Research Council as part of the Beyond Text strategic programme. The network was formulated in 2008, and a range of different events were organized over the course of two years to explore the concept of relational performance within the context of popular music festivals. One of the central aims of the network was to bring into dialogue scholars from a range of disciplines within the performing arts and creative industries and industry professionals and practitioners working on the festival circuit. The network provided a meeting place for industry-academy collaboration that prompted genuine exchange and knowledge transfer across sectors and challenged assumptions about the role and value of expertise and experience in relation to research processes. The article examines the notion of encounter and co-creation not only as a method of practice in festival performance but also as a methodology for facilitating fruitful conversation and dynamic interaction between stakeholders with a shared interest in understanding the deep impact of embodied participation in festival spaces.

There is a perception in British universities and art colleges that art students are not very good at writing, that they don't want to write, and furthermore, that writing gets in the way of the real business of making art. These perceptions are reinforced in much of the literature that has been produced about, and in support of, undergraduate art education in the last few decades. This paper will examine the tensions, both historical and contemporary, between academic practices (such as the academic essay, the dissertation) and fine art studio practices. This translative gap both produces, and perpetuates, a set of binaries: visual/textual, art/literature, words/images, Studio/Art History, making/writing. The net result of which is a resistance to writing from many Art students in Higher Education. I will outline subject specific multidisciplinary strategies used with undergraduate and postgraduate students to harness, and develop, this resistance as both transformational and inventive.

No abstract

Keywords artistic research Ph.D. language practice research logobias rebeKKa Kill Leeds Metropolitan University Novel apprehensions and hybrid utterances: Practice, research, language abstractThis article explores current debates on the role of writing in artistic research. This discussion has been in train for several decades, and yet we are still not clear, as an academic community, in regards to a number of issues related to the status of, role and purpose writing in research by practice. In order to explore this I initially look at some of the discussion, and confusion, surrounding the regulations on, and support for, Ph.D.s in practice in universities in the United Kingdom. I will also explore disciplinary notions of research and then the final part of the article digs a little deeper into the effect of language and logobias in the university.This article explores current debates on the role of writing in artistic research; in particular the text that universities require in partial fulfilment of a Ph.D. by practice and its relationship to the practice. This discussion has been in train for several decades, and yet we are still not clear, as an academic community, in regards to a number of issues related to the status, role and purpose of writing in research by practice. I will use Borgdorff's 2012 definition of artistic research.

No abstract