This phase of the ‘On the Edge’ research programme focused on how the earlier phases had contributed to developing new forms of practice. It was characterised by artists who wanted to develop work based on the questions arising from earlier phases. This phase saw the development of conceptual frameworks, including improvisation and experiential ways of knowing. Research developed through four interrelated strands: two experimental projects, participation in an external project, a funded research fellowship and four PhD projects.

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Recent Submissions

  • Encounter in art. 

    Douglas, Anne (http://2014.fola.com.au/program/art-and-encounter/, 2014-03-15)
    DOUGLAS, A. 2014. Encounter in art. Presented at Art and encounter 2014: beyond audience develpment; why do artists engage publics in participation?, 14-30 March 2014, Melbourne, Australia. Melbourne: Arts House.
    This presentation explores how 'encounter' is different from 'event' and making this differentiation has important implications on how we imagine the relationship of art to audience. The author introduces some theoretical ...
  • Leading through art: exploring action and improvisation. 

    Douglas, Anne (University of Melbourne, 2014-03-04)
    DOUGLAS, A. 2014. Leading through art: exploring action and improvisation. Presented at the Macgeorge fellowship, Centre for creative partnerships, 4 March 2014, Melbourne, Australia. Melbourne: University of Melbourne.
    A keynote such as this raises the expectations of a new beginning to a discourse, of presenting another way of thinking about a shared set of issues. The process of arriving at the focus of the keynote has been collaborative ...
  • Venturing out on the thread of a tune: the artist as improvisor in public life. 

    Douglas, Anne
    DOUGLAS, A. [2016] Venturing out on the thread of a tune: the artist as improvisor in public life. In Oliver, J. (ed) Creative practice and the art of association, trajectories of practice as research. Melbourne: University of Melbourne Press, forthcoming.
    In discussing the work of Wassily Kandinsky of some hundred years ago, Will Grohmann, an art historian, focuses on Kandinsky's effort to develop a new grammar for the visual arts. Kandinsky, Grohmann argues, undertakes a ...
  • Your thought will find the contours. 

    Douglas, Anne; Ravetz, Amanda (IKKM, 2014-07-02)
    DOUGLAS, A. and RAVETZ, A. 2014. Your thought will find the contours. Presented at the sewing lines, growing surfaces, breathing atmospheres: towards an ontogeny of things workshop, 2-3 July 2014, Weimar, Germany.
    Our aim in this presentation is to report on research we have been doing around drawing and filming. As associates of Knowing from Inside, we are interested in discovering in what sense drawing and filming can be considered ...
  • The graphic line-'an event in its own material'. 

    Douglas, Anne; Ravetz, Amanda (University of Southern Denmark, 2014-11-19)
    DOUGLAS, A. and RAVETZ, A. 2014. The graphic line-'an event in its own material'. Presented at the making traces symposium, 19-22 November 2014, Odense, Denmark.
    Amanda Ravetz is a film maker and anthropologist. Anne Douglas is a visual artist with a background in sculpture. For the past couple of years, they have been collaborating together as associates in Tim Ingold's research ...
  • Does the world draw? 

    Ravetz, Amanda; Douglas, Anne (EASA http://www.nomadit.co.uk/easa/easa2014/panels.php5?PanelID=3243, 2014-07-31)
    RAVETZ, A. and DOUGLAS, A. 2014. Does the world draw? In Proceedings of the Tallin workshop, 1st August 2014, as part of the 13th European association of social anthropologists biennial conference of collaboration intemacy and revolution (EASA 2014): innovation and continuity in an interconnected world [online], 31st July-3rd August 2014, Tallinn, Estonia. Available from: http://www.nomadit.co.uk/easa/easa2014/panels.php5?PanelID=3243
    Drawing can be explained in at least two ways: exemplifying trace, an inherent capacity or collection of characteristics in an individual (Nancy 2013) e.g. Rembrandt's drawing versus Van Gogh's drawing, the drawing of a ...
  • Why drawing, now? 

    Douglas, Anne; Ravetz, Amanda; Genever, Kate; Siebers, Johan (Intellect https://doi.org/10.1386/jaac.6.2-3.119_1, 2014-09-01)
    DOUGLAS, A., RAVETZ, A., GENEVER, K. and SIEBERS, J. 2014. Why drawing, now? Journal of arts and communities [online], 6(2-3), pages 119-131. Available from: https://doi.org/10.1386/jaac.6.2-3.119_1
    This article takes the question 'why drawing, now?' as a speculative way to enter the debate on the relationship of art to different understandings of community. Drawing offers a paradox around the place of art in society. ...
  • Calendar variations. 

    Coessens, Kathleen; Douglas, Anne (Woodend Barn Publishing, 2011-12-31)
    COESSENS, K. and DOUGLAS, A. 2011. Calendar variations. Banchory: Woodend Barn.
    This small book offers a visual and verbal reflection on the process of artistic practice and the ephemeral traces left by these. It is part of the exhibition 'Calendar Variations', held at the woodend barn, Banchory, ...
  • Drawing paper 8. 

    Douglas, Anne; Genever, Kate; Ravetz, Amanda (MIKE'S STUDIO http://www.mikesstudio.co.uk/project/drawing-paper-8/, 2015-06-01)
    DOUGLAS, A., GENEVER, K. and RAVETZ, A. (eds.) 2015. Drawing paper 8. Liverpool: Mike's Studio [online]. Available from: http://www.mikesstudio.co.uk/project/drawing-paper-8/
    Drawing Paper, the free newspaper based gallery concerned with contemporary drawing practice returns. Our 8th issue was curated and produced in collaboration with Anne Douglas, Kate Genever and Amanda Ravetz.
  • Improvisation and embodied knowledge: three artistic projects between life, art and research. 

    Douglas, Anne; Coessens, Kathleen (Malmő Academy of Music, Lund University, 2013-12-31)
    DOUGLAS, A. and COESSENS, K. 2013. Improvisation and embodied knowledge: three artistic projects between life, art and research. In Frisk, H. and Östersjö, S. (eds.) (Re)thinking improvisation: artistic explorations and conceptual writing. Malmö: Malmö Academy of Music, Lund University, pages 29-41.
    In life there exists no script. The primacy of experience in the form of 'trying out' or improvisation, a moving from an indefinable and undifferentiated state to feeling our way by creating a direction. In art, improvisation ...
  • Understanding experimentation as improvisation in arts research. 

    Douglas, Anne; Gulari, Melehat Nil (Emerald https://dx.doi.org/10.1108/QRJ-06-2015-0035, 2015-12-01)
    DOUGLAS, A. and GULARI, M.N. 2015. Understanding experimentation as improvisation in arts research. Qualitative research journal [online], 15(4), pages 392-403. Available from: https://dx.doi.org/10.1108/QRJ-06-2015-0035
    Purpose - The purpose of this paper is to address the following questions: in what sense does experimentation as improvisation lead to methodological innovation? What are the implications of artistic experimentation as ...
  • Ethical design: a foundation for visual communication. 

    Buwert, Peter (Robert Gordon University Faculty of Design and Technology. Gray's School of Art., 2016-05)
    BUWERT, P. 2016. Ethical design: a foundation for visual communication. Robert Gordon University, PhD thesis.
    The central original contribution to knowledge proposed by this thesis is the setting forth of a conceptualisation of ethical theory specifically in relation to design, with a focus on visual communication design. Building ...
  • The discourse of cultural leadership. 

    Price, Jonathan (Robert Gordon University Faculty of Design and Technology. Gray's School of Art., 2016-02)
    PRICE, J.F.R. 2016. The discourse of cultural leadership. Robert Gordon University, PhD thesis.
    Cultural leadership has been a key concept in cultural policy and training since 2002. Most closely associated with the UK’s Clore Leadership Programme, it has been developed through various courses and initiatives ...
  • Artist as navigator: understanding how the social qualities of art influence organizational change; a methodology for art as a social practice. 

    Smith, Helen (Robert Gordon University Gray's School of Art, 2015-07)
    SMITH, H. 2015. Artist as navigator: understanding how the social qualities of art influence organizational change; a methodology for art as a social practice. Robert Gordon University, PhD thesis.
    • What insights can art reveal in the context of organizational change? • How do artistic practices influence the way communities address change? • In what ways can an individual artistic practice concerned with the role ...
  • Movement and moment: in-between discreteness and continuity. 

    Douglas, Anne; Coessens, Kathleen (Edinburgh University Press. http://dx.doi.org/10.3366/soma.2014.0117, 2014-03)
    DOUGLAS, A. and COESSENS, K. 2014. Movement and moment: in-between discreteness and continuity. Somatechnics [online], 4(1), pages 149-167. Available from: https://doi.org/10.3366/soma.2014.0117.
    This paper explores a paradox. We breathe in, and then out. We walk by making paces, alternating left and right feet. Walking and breathing are made up of discrete intervals of space and time, involuntary actions of the ...
  • Drawing and the score. 

    Douglas, Anne (Leuven University Press http://upers.kuleuven.be/en/book/9789058679765, 2013-10)
    DOUGLAS, A. 2013. Drawing and the score. In De Assis, P., Brooks, W. and Coessens, K. Sound and score: essays on sound, score and notation. Leuven: Leuven University Press [online], chapter 14, pages 206-217. Available from: http://upers.kuleuven.be/en/book/9789058679765
  • Altering a fixed identity: thinking through improvisation. 

    Douglas, Anne (University of Guelph https://doi.org/10.21083/csieci.v8i2.2122, 2012)
    DOUGLAS, A., 2012. Altering a fixed identity: thinking through improvisation. Critical Studies in Improvisation. [online] 8 (2). Available from: http://www.criticalimprov.com/issue/view/158 [Accessed 18 August 2014]
    "Replacing artist with player as if adopting an alias is a way of altering a fixed identity. And a changed identity is a principle of mobility, of going from one place to another…" (Kaprow, Essays on the Blurring of Art ...
  • Experiential knowledge and improvisation: variations on movement, motion, emotion. 

    Douglas, Anne; Coessens, Kathleen (Intellect. https://doi.org/10.1386/adch.10.2.179_1, 2012-10-26)
    DOUGLAS, A. and COESSENS, K. 2012. Experiential knowledge and improvisation: variations on movement, motion, emotion. Art, design and communication in higher education [online], 10(2), pages 179-198. Available from: https://doi.org/10.1386/adch.10.2.179_1
    In this paper we position improvisation as a way of knowing that is experiential, pivotal to the body’s movement and growth in the world. Improvisation allows us to manage the constraints and freedoms of a world rich in ...
  • The artistic turn: a manifesto. 

    Coessens, Kathleen; Crispin, Darla; Douglas, Anne (Leuven University Press. http://upers.kuleuven.be/en/book/9789490389000, 2009-09)
    COESSENS, K., CRISPIN, D. and DOUGLAS, A., 2009. The artistic turn: a manifesto. Leuven: Leuven University Press.
    Despite innovative developments in research in-and-through the arts in the past decade, the emergent field of artistic research remains controversial, and is accepted with varying degrees of enthusiasm in academic institutions. ...

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