The Intersection Point

Posted on November 18th, by Elise May in Research. No Comments

The Intersection Point I am also interested in methods of creation and documentation such as “re-working”, working with a series based approach, or “re-versioning”, a term used to describe a process whereby digital information may be copied from one platform to another without corrupting the original coded content. (Howkins, John (2001) The Creative Economy). These models invite interdisciplinary and collaborative approaches to dance-based work, but also focus on the empowerment of the artist or creative practitioner, whereby a choreographer can ‘up- skill’ and diversify their knowledge base in areas where dance & movement knowledge is transferable and is an asset, and can be used to develop an interdisciplinary vocabulary and expand the possible audiences, networks and contexts for their work.

best binary option trading system source url  The Authenticity Question

go I have long felt that there is an element within the contemporary dance form, of the self-indugent. In a reaction against this sensibility that I have witnessed both as audience member and also as performer/ choreographer, I am joining a long list of artists and researchers who have questioned and attempted to reveal the nature of ‘authenticity’. I believe there a few different perspectives of this question: Authenticity

watch Intersection Point:

In forming a research question I take these three areas of questioning from my practice, and identify the overlapping concerns. The tiny point of chartered knowledge is what I am referring to as the point of  intersection:


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This is where I anticipate that I will unearth valuable new perspectives resulting from the multiple lines of questioning triangulated with very individual findings investigated through practice-led enquiry. Furthering this quest for new knowledge, the unique perspectives that will arise from a collaborative relationship with fellow researcher and animator Paul VanOpdenbosch  will fuel the development of the research.

Graph with Animation

Copyright © Elise May 2012

source link Refferences:
Denzin, N & Lincoln Y (2OOO). The Handbook of Qualitative Research. Thousand Oaks, Calif
Gray,C & Malins J (2OO4). Visualising research: a guide to the research process in art & designAldershot, Hants, England: Ashgate
Lazaridis, F. (2O12) Between authenticity and artifice: push 2O12, vancouver realtime + onscreen, open city, Sydney rt1O8 pp12-13
Schon, D (1983). The reflective pratitioner: how professionals think in action. Basic Books, New York
Stock, C.,Philips, M & Vincs, K. (2OO9). Dancing the Thesis: Potential and Pitfalls in Practice-Led Research In Re-Searching Dance: International Conference on Dance Research, New Delhi. pp53-59.
Haseman B. and Mafe, D. (2OO9). Acquiring Know-How: Research Training for Practice-led Researchers. In Smith, H & R.T. Dean (Eds). Research-led practice and practice-led research Edinbururgh University

About Elise May

Elise May is an award winning dancer, choreographer and video/multimedia artist who has worked independently in Australia and is a member of Brisbane’s Expressions Dance Company (EDC).