ࡱ> 3RdO)۹ 2!PowerPoint Document(n:SummaryInformation(" DocumentSummaryInformation8  4#$%&'()*+,-./012}( / 00DTimes New Roman,H! z; ! DArialNew Roman,H! z; ! " DBook Antiquaan,H! z; ! 0DMonotype Sorts,H! z; !  a .  @n?" dd@  @@`` x8(      `1?@ uʚ;2Nʚ;g43d3d !4~;,ppp@ <4!d!dʚ<4ddddʚ<4BdBdʚph___PPT2001D<4X ? %zPARIP Provocation!What do WE know? How do we KNOW?B",,,,,Subject/ObjectFor at least a century in Western thought, philosophers (of science, mind etc) have recognised the imbrication of subjectivity within notionally  objective projects But a shift from positivism to reflexivity has made little impact on research, even in Performance,S   Arts Research$Some arts research more or less fits the traditional mould, but  practice as research and  practice-based research typically do not. My contention is that, if we are serious about these modes, we need as a community to promote a shift in the academy concerning  knowledge New Paradigms: Action Research Action Research offers one model for the  reflective practitioner the traditional theory-practice hierarchy is subverted work begins with the experience of process and moves outwards rather than applying a  grand narrative from without Performance ResearchRecently, performers have drawn upon their own processes of making and doing as a mode of research But, in advocating  practice as research , we must avoid simply reifying experience, the body or subjective consciousness ThinkingIn  What is called Thinking? , Heidegger famously suggested that thinking is  ... something like building a cabinet It is a thinking of the  embodied mind a mind in the body and the body in the mind   Reflexive Praxis4 Practice as research involves thinking in doing as in  building a cabinet  Practice-based research involves reflection upon the making-showing-reception processes of performance The second should not be a meta-commentary on the first, but a dialogic subject-object interaction PARIP ProvocationWhat do WE know? How do we KNOW? As a community of performance researchers, we can make a distinctive contribution to knowledge about knowledge ... but we still have work to do for it to be recognised in the academy^!yC,,,,, / P ` ` ̙33` 333MMM` ff3333f` f` f` 3>?" dd@,?uKd@ l uA@v`u n?" dd@   @@``PR    @ ` ` p>> $ (  68 x x~  N @1?TB  c $1?xTB  c $1?xTB  c $1?xTB  c $1?x   `(--xaxa1 ?P  T Click to edit Master title style! !@   Z--xaxa1 ?  RClick to edit Master text styles Second level Third level Fourth level Fifth level!     SB  s *޽h ? `gggaf  blackcc4 [S(  p  01 ?   A  ZD?xaxa1 ? @  SClick to edit Master notes styles Second Level Third Level Fourth Level Fifth Level"     TB  s *޽h ? a(  0(   B  s *޽h ? a( UP ,$ (     TH.-xaxa1 ?P      T2-xaxa1 ? <$ <  H  0޽h ? `gggaf UP ,$0(     Th2-xaxa1 ?P      T2-xaxa1 ? 0<$ <  H  0޽h ? `gggaf UP ,$@ (      T5-xaxa1 ?P      Th5-xaxa1 ? <$ <  H  0޽h ? `gggaf UP ,$P$(  $ $  T7-xaxa1 ?P    $  Th:?xaxa1 ? <$ <  H $ 0޽h ? `gggaf UP ,$`((  ( (  T;?xaxa1 ?P    (  TH