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Experimental Methods for Exploring Environmental Encounters

探索环境遭遇的实验方法

基本信息

批准号：
AH/L005034/1
负责人：
Harriet Hawkins
金额：
$ 4.07万
依托单位：
Royal Holloway University of London
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2013
资助国家：
英国
起止时间：
2013 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FL005034%2F1
关键词：
Experimental Methods Exploring Environmental Encounters

项目摘要

It is well recognized that a host of aesthetic strategies - from artistic practice to visual culture more broadly - respond to and even move for action in the face of current environmental change and ecological crises. A key question remains however; "how do the environmental encounters configured by critical art contribute to alternative ecological imaginaries and futures, and foster practices of environmental citizenship?" That this question remains largely unanswered is the result of i) the lack of research methods for exploring the environmental encounters configured by art, and ii) the need for a more sophisticated querying of the components of these cultural experiences, to ask, in short, how does art go to work in the world?The need to query the nature of art's audiencing and the environmental encounters it can catalyse -simply put the experiences of environmental art- has become a common refrain across communities concerned with the transformative possibilities of these arts practices. This includes diverse groups of artists, art theorists, geographers, environmental scientists, and museum professionals and arts and sciences institutions. Working alongside 2 partner organizations who develop art-science collaborations (Arts Catalyst, London, and Swiss artists-in-labs, Zurich) this RDA responds to these issues by way of a 3-phase project, guided by 2 key aims:1) To experiment with methods through which to explore the environmental encounters catalysed by art works and their accompanying programming2) To conceptualize these encounters and the 'components' of cultural experience that constitute themIn addressing these aims the proposed RDA extends the PI's previous work on the transformative effects of art, and responds to specific questions raised by 2 previous research grants on which she worked, exploring respectively, the 'Cultural Geographies of Landscape Art' and 'Art-Science Collaborations: Bodies and Environments.' The latter, an AHRC-NSF funded project, was an international multi-sited ethnography of 6 art-science projects, including the 2 partner organizations. It explored how these projects transformed the subjectivities, knowledge and practices of artists and scientists involved. Emerging during this study, but beyond its scope, was a set of further questions concerning how art-science collaborations go to work on their audiences. As well as having an intellectual force regarding conceptualizing the experiencing and 'work' of art, such questions are highly relevant at a time when multiple stake-holders across the arts and sciences are looking to justify funding, and enhance the benefits of their projects, especially with respect to questions of science communication and engagement. Further, and as with the arts sector more broadly, there is a need to substantiate the often anecdotal evidence upon which claims of environmental arts' impacts rest, as well as, interestingly, a desire to critically reflect on the very ideas of 'evidence' and 'evaluation' that circulate in current funding and policy contexts. The hope across the sector is for the evolution of ideas that are more responsive to the particular aesthetic, social, institutional and political conditions of these projects and organizational ways of working. In response to these issues the RDA unfolds in 3 phases:Phase 1 Organisational ConsultationEthnographic work with partner organisations exploring ideas of evaluation, evidence, environmental encounter, and the existing methods used to examine audience engagement. Phase 2 Methodological ExperimentationDeveloping and testing an assemblage of methods to explore the environmental encounters constituted by art, including ethnographic, visual and participatory techniques, and the use of social media. Phase 3 Conceptual Reflections: Drawing together results with theoretical ideas of art and transformation, and disseminating findings to academic and non-academic audiences.

人们普遍认识到，从艺术实践到更广泛的视觉文化，许多美学策略都在应对当前的环境变化和生态危机，甚至采取行动。然而，一个关键的问题仍然存在;“如何通过批评艺术配置的环境遭遇有助于替代生态学和未来，并促进环境公民的实践？“这个问题在很大程度上仍然没有答案，这是由于i）缺乏探索艺术所配置的环境遭遇的研究方法，ii）需要对这些文化体验的组成部分进行更复杂的查询，简而言之，艺术如何在世界上发挥作用？质疑艺术的听众的性质及其所能催化的环境遭遇--简单地说，就是环境艺术的体验--已经成为关注这些艺术实践的变革可能性的社区的一个共同话题。这包括艺术家，艺术理论家，地理学家，环境科学家，博物馆专业人员和艺术和科学机构的各种群体。与2个发展艺术与科学合作的伙伴组织合作（艺术催化剂，伦敦，和瑞士艺术家在实验室，苏黎世）这个RDA回应这些问题的方式，一个3阶段的项目，由两个关键目标的指导：1）尝试各种方法，通过这些方法探索艺术作品及其伴随的节目所催化的环境遭遇2）为了概念化这些遭遇和构成它们的文化经验的“组成部分”，为了解决这些目标，拟议的RDA扩展了PI以前关于变革效应的工作艺术，并回答了她工作的两个先前的研究赠款提出的具体问题，分别探索“景观艺术的文化地理”和“艺术科学合作：身体和环境。后者是AHRC-NSF资助的一个项目，是一个由6个艺术科学项目组成的国际多地点民族志，其中包括2个伙伴组织。它探讨了这些项目如何改变了参与其中的艺术家和科学家的主观性、知识和实践。在这项研究中出现了一系列关于艺术与科学的合作如何对观众产生影响的问题，但这些问题超出了研究的范围。除了在艺术体验和“作品”的概念化方面拥有知识力量外，当艺术和科学领域的多个知识产权持有人正在寻求证明资助的合理性并提高其项目的效益时，这些问题具有高度相关性，特别是在科学传播和参与的问题方面。此外，与更广泛的艺术部门一样，有必要证实环境艺术影响的索赔所依赖的轶事证据，以及有趣的是，希望批判性地反思在当前资金和政策背景下传播的“证据”和“评估”的想法。整个行业的希望是发展出更能适应这些项目的特定美学、社会、制度和政治条件以及组织工作方式的想法。针对这些问题，RDA分三个阶段展开：第一阶段组织咨询与合作伙伴组织的民族志工作，探索评估，证据，环境接触的想法，以及用于检查观众参与的现有方法。第二阶段方法学实验开发和测试一系列方法来探索艺术所构成的环境遭遇，包括人种学，视觉和参与性技术，以及社交媒体的使用。第三阶段概念反思：将结果与艺术和转型的理论思想结合起来，并将研究结果传播给学术和非学术受众。