Parallaxic Praxis: Multimodal Interdisciplinary Pedagogical Research Design

Pauline Sameshima, Lakehead University, Canada et al.

Winner of the '2020 Society of Professors of Education Outstanding Book Award' Parallaxic Praxis is a research framework utilized by interdisciplinary teams to collect, interpret, transmediate, analyze, and mobilize data generatively. The methodology leverages the researchers’ personal strengths and the collective expertise of the team including the participants and community when possible. Benefits include the use of multi-perspective analyses, multi-modal investigations, informal and directed dialogic conversations, innovative knowledge creation, and models of residual and reparative research. Relying on difference, dialogue, and creativity propulsion processes; and drawing on post-qualitative, new materiality, multiliteracies, and combinatorial, even juxtaposing theoretical frames; this model offers extensive research possibilities across disciplines and content areas to mobilize knowledge to broad audiences. This book explains methods, theories, and perspectives, and provides examples for developing creative research design in order to innovate new understandings. This model is especially useful for interdisciplinary partnerships or cross-sector collaborations. This book specifically addresses issues of research design, methodology, knowledge generation, knowledge mobilization, and dissemination for academics, students, and community partners. Examples include possibilities for scholars interested in doing projects in social justice, community engagement, teacher education, Indigenous research, and health and wellness.

The Centre as Margin: Eccentric Perspectives on Art

Edited by Joana Antunes, Group of Multidisciplinary Studies in Art, CEAACP/Faculty of Arts and Humanities of the University of Coimbra, Portugal et al.

The Centre as Margin. Eccentric Perspectives on Art is a multi-authored volume of collected essays that answer the challenge of thinking Art History, and the Arts in a broader sense, from a liminal point of view. Its main goal is thus to discuss the margin from the centre - drawing on its concomitance within study themes and subjects, ontological and epistemological positions, or research methodologies themselves. Marginality, eccentricity, liminality, and superfluity are all part of a dynamic relationship between centre and margin(s) that will be approached and discussed, from the point of view of disciplines as different and as close as art history, philosophy, literature and design, from medieval to contemporary art. Resulting from recent research developed from the privileged viewpoint offered by the margin, this volume brings together the contributions of young researchers along with the work of career scholars. Likewise, it does not obey a traditional or a rigid diachronic structure, being rather organized in three major parts that organically articulate the different essays. Within each of these parts in which the book is divided, papers are sometimes organized according to their timeframes, providing the reader with an encompassing (though not encyclopedic) overview of the common ground over which the various artistic disciplines build their methodological, theoretical, and thematic centers and margins. The intended eccentricity of this volume – and the original essays herein presented – should provide researchers, scholars, students, artists, curators, and the general reader interested in art with a refreshing approach to its various scientific strands.

Art, Theory and Practice in the Anthropocene

Edited by Julie Reiss, Christie’s Education, New York

Art, Theory and Practice in the Anthropocene contributes to the growing literature on artistic responses to global climate change and its consequences. Designed to include multiple perspectives, it contains essays by thirteen art historians, art critics, curators, artists and educators, and offers different frameworks for talking about visual representation and the current environmental crisis. The anthology models a range of methodological approaches drawn from different disciplines, and contributes to an understanding of how artists and those writing about art construct narratives around the environment. The book is illustrated with examples of art by nearly thirty different contemporary artists.

The Art of Cultural Exchange

Translation and Transformation between the UK and Brazil (2012-2016)

Edited by Paul Heritage, Queen Mary University of London, UK and Ilana Strozenberg, Federal University of Rio de Janeiro (UFRJ), Brazil

Can cultural exchange be understood as a mutual act of translation? Or are elements of a country’s cultural identity inevitably lost in the act of exchange? Brazil and Great Britain, although unlikely collaborators, have shared an artistic dialogue that can be traced back some 500 years. This publication, arising from the namesake research project funded by the United Kingdom’s Arts and Humanities Research Council, seeks to understand and raise awareness of the present practices of cultural exchange between Brazil and Great Britain in relation to their historical legacy. Presenting five case studies and eight position papers, this research-based project investigates how artists interpret, transmit and circulate ideas, ideologies and forms of knowledge with specific reference to the production of new ‘translations’ produced from and, where possible, between peripheral territories. Written in accessible language, the case studies describe the experience of artists, managers and cultural leaders dealing with important challenges in the creative sector regarding the translation of creative and learning arts methodologies. Projects investigated are at the forefront of social arts collaborative practice, representing internationally influential initiatives that have had a demonstrable impact not only in urban centres and peripheries but also in isolated areas of central Brazil and the north of England. The position papers commissioned by the research from Brazilian and British academics and cultural leaders provide a remarkable variety of social, political, anthropological, historic and artistic perspectives of cultural exchange projects offering valuable experiences for those working in research, policy and for creative practitioners.

Cosmopolitan Ambassadors: International exhibitions, cultural diplomacy and the polycentral museum

Lee Davidson, Victoria University of Wellington, New Zealand and Leticia Pérez-Castellanos, Instituto Nacional de Antropología e Historia, Mexico

Winner of the 2020 Miguel Covarrubias Prize to the best research work How are museums working internationally through exhibitions? What motivates this work? What are the benefits and challenges? What factors contribute to success? What impact does this work have for audiences and other stakeholders? What contributions are they making to cultural diplomacy, intercultural dialogue and understanding? Cosmopolitan Ambassadors first considers the current state of knowledge about international exhibitions and proposes an interdisciplinary analytical framework encompassing museum studies, visitor studies, cultural diplomacy and international cultural relations, cosmopolitanism and intercultural studies. It then presents a comprehensive empirical analysis of an exhibition exchange involving two exhibitions that crossed five countries and three continents, connecting six high profile cultural institutions and spanning almost a decade from initial conception to completion. A detailed comparison of both the intercultural production of international exhibitions by museum partnerships and by the interpretive acts and meaning-making of visitors, reveals the many complexities, challenges, tensions and rewards of international exhibitions and their intersection with cultural diplomacy. Key themes include the realities of international collaboration, its purposes, processes and challenges; the politics of cultural (self-)representation and Indigenous museology; implications for exhibition design, interpretation, and marketing; intercultural competency and museum practice; audience reception and meaning-making; cultural diplomacy in practice and perceptions of its value. This first-ever empirically-grounded, theoretical analysis provides the basis of a new model of museums as polycentral: as places that might produce a kaleidoscopic vision of multiple centres and help to dissolve cultural boundaries by encouraging dialogue, negotiation and the search for intercultural understandings. Guidelines for practice include recommendations for successful international museum partnerships, exhibition development and maximizing the potential of museum diplomacy.