Louis-Claude Paquin

projet cartographies de la recherche-création
recherches en cours

professeur à l'École des médias, UQÀM

KNOWLEDGE OF

of (external) reality (Williams 2001: 117ff).

Niedderer (2007c)

of a material’s expressivity through its physical qualities that affected not only the hand of the artist but also her expression exhibition and artworks functioned

Nimkulrat (2013)

of a more advanced kind

Schwab (2018)

of a new dance work

Smith Dean (2009)

of a professional field

Stock(2013)

of a professional field

Nelson (2013)

of a thing through the organ of sight instead of recognition

Schwab (2018)

of a type tied to the artworld context and to specfically artworld problems

Pakes (2004)

of a variety of approaches

Stewart(2003)

of alchemists

Schwab (2015)

of all three areas, and their related research expertise

Gray (2010)

of an improved articulated prosthesis (knowing that), but also provided experiential knowledge of how such a prosthesis might be constructed and work

Niedderer (2007 a)

of an independent reality is obtained through the objective observation by neutral researchers who infer general truths, or laws

Nelson (2013)

of and know-how are not set up in opposition; know-how incorporates both rational forms of categorical analysis and the situated forms of aesthetically inclined knowing."

EDNIE-BROWN (2012)

of anything

Niedderer (2007 a)

of art history

Elkins(2005)

of art to communicate.

Hernandez (2013)

of artistry

Borgdorff (2012)

of artists and designers.

Niedderer (2011)

of artists, architects, engineers and designers, writing—

Hughes (2006)

of arts practice

Blom (2011)

of both the self and the phenomenon

Schenstead (2012)

of causal connections, phronesis eschews generalisation, objective detachment and instrumentality

Pakes (2004)

of certain kinds has a high value in the book-selling stakes extreme environments

Smith Dean (2009)

of constructs such as imagination or visual cognition.

Sullivan (2006)

of context

Rocci(2003)

of counterpoint in music, of colour in painting, of editing in filmmaking, or of bodily techniques in dance

Borgdorff (2012)

of course exists between the extremes

Nelson (2013)

of creative actions and their results

Harper (2011)

of creative and aesthetic processes

Laurie (2011)

of creative artefacts

Harper (2011)

of critical theories

Arnold (2012)

of cultural context and contemporary practice

Smith Dean (2009)

of dance

Smith Dean (2009)

of Design

Niedderer (2007b)

of design and materials of the researchers

Metatla(2016)

of design resides in people

Makela (2007)

of different spheres of human activity: representation, language, life

Sligter (2007)

of education

Riddett-Moore Siegesmund (2012)

of existing instruments

Schwab (2013)

of existing practice (process or product), to develop new processes and skills, or to develop new objects (products

Niedderer (2007 a)

of existing resear ch methods

Wesseling (2011)

of expectations

Brook (2010)

of facts, acquaintance [things which are not facts], and knowledge how to do things’

Nelson (2006)

of facts, knowledge about the world, knowing that such and such is the case

Borgdorff (2012)

of facts’ and ‘know-how’.

Nelson (2006)

of gramma

Berbacle (2012)

of how different realities are constructed, about the way the different fields interact and penetrate each other implicitly

Schwab (2018)

of how something is made

Schwab (2013)

of how such a prosthesis might be constructed and work

Niedderer (2007 a)

of how the materials react with each other as well as with the machine

Hernandez (2013)

of how to make products and to consider their effect on the social world

Rocci(2003)

of human communication’.

Gray (2010)

of human creative practice or practices and the outcomes of human creative practices.

Harper (2011)

of humanity, culture and society, and the use of this stock of knowledge to devise new applications.

Smith Dean (2009)

of idiosyncratic properties and qualities, how they can be manipulated in order to emphasize the ideas and thoughts that arise from the action itself and artistic practice.

Hernandez (2013)

of its manifold histories and intricate technicalities

Schwab (2018)

of its position at any given time

Schwab (2018)

of its subject

Smith Dean (2009)

of kinds that are not found in ordinary artistic practice.

Frisk (2013)

of law before the jury representing society).

Nelson (2006)

of life itself

Combussen (2007)

of local context

Boydell (2015)

of man, culture and society, and the use of this stock of knowledge to devise new applications

Kroll (2008)

of many kinds in many forms over the past decade , it has contributed significantly to a shift in the language of knowledge

Nelson (2009)

of many research areas than other methods

Eglinton (2013)

of material expressivity

Nimkulrat (2013)

of mental things’ (1967: 27)

Nelson (2009)

of objects seen clearly from a distance might, by way of negative defini

Nelson (2013)

of one’s processes and style of inventiveness will lead to reflection and engagement with the processes and styles of others.

Colbert (2012)

of other musical cultures.

Sligter (2007)

of others

Donovan (2012)

of others, accessing meta-verbal ways of knowing that are particularly effective in evoking empathy and transformative understanding

Chilton Leavy (2015)

of others, stimulates one’s own awareness, enriches the imagination and gives meaning to personal experience

Hernandez (2013)

of others’ work in a particular unique

Paltridge (2012)

of our times

Piatti(2005)

of practice-led disciplines is experience-based and therefore difficult to communicate through conventional language-based means of research.

Niedderer (2007 a)

of prevailing theories and practices is well understood

Baxter (2008)

of publication procedures; and ‘anti-research’ work environments” "

Cruz (2001)

of reality, knowledge, was happening

Hernandez (2013)

of relevance to future practice

Schwab (2013)

of relevant physical vocabularies, media and aesthetic ideas.

Rowe(2013)

of research

Cruz (2001)

of research and practice.

Niedderer (2007c)

of research in the arts

Hernandez (2013)

of research methods

Cruz (2001)

of research methods

Cruz (2001)

of research methods as a significant barrier

Cruz (2001)

of research methods or insufficient confidence in abilities as barriers

Cruz (2001)

of science

Barrett Bolt (2014)

of science is a fact and a creative act itself.

Hernandez (2013)

of sensible realities

Manning (2008)

of something else

Eaves (2014)

of staging

Hernandez (2013)

of statistical methods

Cruz (2001)

of statistical methods

Cruz (2001)

of statistical methods as a barrier

Cruz (2001)

of statistics as a significant barrier

Cruz (2001)

of status economies

Brook (2010)

of structure, timbre and other technical elements. It is holistic with the human being as part of this site of knowledge – visceral, spiritual and sensory perception, involving emotions, social intelligence intelligence, life history, interac

Blom (2011)

of substantial new insights, it is necessary to know what has previously been established. Indeed, in a narrow and specific field of inquiry, it is assumed that everything previously published on the topic will be known by the researcher, and a thorough

Nelson (2013)

of supervisor training

Hamilton (2015)

of teaching and students?

Riddett-Moore Siegesmund (2012)

of technique

Brook (2010)

of the “possible” characterize arts-based research.

Jagodzinski Wallin (2013)

of the advanced practitioner, who in Michael Polanyi’s words ‘know more than they can tell’ (Polanyi 1967:

Smith Dean (2009)

of the art

Niedderer (2007c)

of the art history: an artworld’

Biron (2015)

of the art of the past is an invaluable tool for understand_ ing the art of the present

Wesseling (2011)

of the artistic field and its history,

CARPA_2(2011)

of the artists’ book as a genre

Hernandez (2013)

of the arts practice in order to understand and appreciate arts practice as a site of knowledge

Blom (2011)

of the being itself, the ontology of being , knowledge is necessarily transdisciplinary us.

Hernandez (2013)

of the body present an authenticity of experience that gives direct access to describe ontological aspects of the body and consciousness

CARPA_1(2010)

of the body that (at first) does not manifest itself on the level of thinking.

Combussen (2007)

of the breadth and intensity of work being done.

Beer (2015)

of the community that is laced with subjective (personal) experiences elicited within the identification of community assets

Hernandez (2013)

of the context of work undertaken to identify the “gap” in existing knowledge,

Nimkulrat ORiley (2009)

of the creation shareable

Nimkulrat (2013)

of the creative process

Nimkulrat (2013)

of the creative process

Nimkulrat (2013)

of the dancer

Stock(2007)

of the discipline of design

Glashan (2011)

of the domain and procedures but also knowledge implicit design thinking and studio practices

Rocci(2003)

of the emergence of a new dance approach knowledge can at best only be partially undertaken i

Nelson (2009)

of the existence of a certain category of design object.

Niedderer (2007 a)

of the field and a demonstrable aptitude based upon the practice of previously making such judgements

Nelson (2009)

of the field, nor artistic experience

Lilja (2015)

of the genre, of emerging organisational shapes, content and rhetorical patterns

Aitchison (2015)

of the history of ‘the academy’ reveals many changes and accommodations since the medieval university curriculum

Nelson (2013)

of the illness experience

Boydell (2015)

of the indispensable character of artistic education in nowadays controversial space-time.

Hernandez (2013)

of the interactive digital instrument building

Metatla(2016)

of the natural world; Humanities the purpose of advancing our understanding of the human experience; and Design the purpose of advancing our capacity for envisioning possible future realities that Art has as its is purpose the advanceme"

Scrivener Chapman (2004)

of the other sciences and is the ultimate level of wisdom” (Descartes 1985, 186)

Schwab (2013)

of the participants of the project is the main goal

Hernandez (2013)

of the parts

Schwab (2018)

of the past relies on the transmission of signals, which were sent in the there and then and are received in the here and now.

Schwab (2013)

of the personal has been enlarged and brought into language not only through reflection on self but within the context of the ideas and language of others.

Colbert (2012)

of the physical modelling of sound is a necessary role for such ‘theory’. On the other hand, practitioner theory may consist of an untested opinion (‘hypothesis’) that the artwork can elicit certain emotions or qualitie s of experience in an audience

Candy (2011)

of the possibility of an infrathin difference within documentary, that is, representational photography.

Schwab (2018)

of the potential for distress

Mykitiuk (2015)

of the practice is both prior to and distinct from, the written (symbolic) account afte r the event

Nelson (2009)

of the practitioner can be compared and positioned among the theories from the field that frame the actions of the people involved.

Barrett Bolt (2014)

of the prior work.

Smith Dean (2009)

of the protocols of academic research

Rowe(2013)

of the research area and makes clear new contributions, understandings and insights into it

Arnold (2012)

of the Russian formalist school. However, it suffices to pay attention to how Shklovsky uses his examples to see that in his view perception is coupled to cognition, that a new way of seeing things also implies a new way of understanding the matter at ha

Schwab (2018)

of the self when it is located in a social arena

Crouch (2007)

of the singula

Nelson (2013)

of the social world

Barstow (2017)

of the specific field of research

Lilja (2015)

of the subject

Niedderer (2007 a)

of the subject, the subject as a key by which know reality be your retina and individual experience the measure of all things, put as priority subjective variables in the processes of knowing

Hernandez (2013)

of the subject’s relation to the symbolic order

Schwab (2018)

of the underlying foundations of phenomena and observable facts

Borgdorff (2012)

of the validity of using practice as a method and means in research for making tacit knowledge available to the research process.

Niedderer (2007c)

of the viewer

Rust (2007)

of the way things were or are

Scrivener. (2002)

of the whole precedes knowledge of the parts

Schwab (2018)

of the wo rld through those data

Candy (2006)

of the world

Nelson (2013)

of the world improves asymptotically with “reality” being the unreachable limit

Hernandez (2013)

of the world is a reflection of the world as it is and not an elaborate (co)produc -tion.

Schwab (2012b)

of the world, and contextual knowledge established during previous discourse between speaker and hearer

Crouch (2007)

of their discipline

Wright(2010)

of their more experienced peers

Hamilton (2015)

of these disciplines is different

Niedderer (2007c)

of these new opportunities

Niedderer (2007 a)

of these things comes to me as new knowledge

Biggs (2007)

of things

Nelson (2013)

of things and situations.

Sullivan (2011)

of this art form and art practice

O Donoghue (2009)

of this critically important human and cultural construct

Sullivan (2011)

of this kind can never be fully communicated, because “we can know more than we can tell” (Polanyi, 1967, p. 4)

Niedderer (2011)

of this kind can still be shared, verified and criticised

Candy (2006)

of this kind is typically ar ticulated in a set of testable and falsifiable propositions

Nelson (2009)

of tools and methods that might have generic applicability.

Smith Dean (2009)

of transcendence

Paltridge (2012)

of transparencies and opacities

Hernandez (2013)

of truth and falsehood: the latter gives the sentiment of beauty and deformity, vice and virtue

Schwab (2013)

of truths as its source and ground

Nelson (2006)

of what are often called “sense data” (Swartz, 1965)

Candy (2006)

of what artworks mean,

Scrivener. (2002)

of what comics are and “work”, as well with a certain reliance upon cognitive, figurative and affective elements

Hernandez (2013)

of what has been shown to be possible

Scrivener Chapman (2004)

of what is or was the case, art making is concerned with providing ways of seeing and ways of being in relation to what is, was, or might be.

Scrivener. (2002)

of what makes a plot work, you cannot activate the mainspring of dramatic tension through a sequence of decided processes

Smith Dean (2009)

of when the process is complete and needs to stop

Schenstead (2012)

of when, how and why is subjective

Scrivener Chapman (2004)

of, and indeed the practice of, ones’ own professional practice

Berbacle (2012)

of, and/or insight

Nimkulrat (2013)

of, essentially juxtaposing aesthetic distance and connectedness

Jagodzinski Wallin (2013)

 

 

 


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