BOOKINGS INFORMATION:
To book your free tickets for COLLISIONS, you will be able to visit the individual artist’s page, where you will find a booking link. Your ticket request will be confirmed within 24 hours.
ABOUT:
COLLISIONS 2017 takes place from Tuesday 26th to Thursday 28th September.
All events are free, however advance booking is recommended and can be done directly on each artists' event page,
PRACTICE RESEARCH PANEL:
Practice Research Beyond the Institution
Moderated by Dr. Tony Fisher
With panelists: Lois Keidan (Live Art Develpment Agency), Dr. Nando Messias, Ruth Little, Prof. David Harradine and Dr. Hannah Ballou
Featuring a commissioned extract of new work by Central alumnus Dr. Hannah Ballou
Thursday, September 29
4.00pm 'Moo: ma' by Dr. Hannah Ballou
4.30pm Coffee & Tea
4.45pm Panel discussion
Join us for an invigorating panel discussion as we look at Practice Research beyond the institution. Where once cutting edge research was more less exclusively limited to the confines of the academy, today we are beginning to see the emergence of practice research outside Higher Education institutions. Today, practitioner researchers can be found working within professional contexts such as the scientific, cultural and heritage industries. Whether through collaborative doctorates, Arts Council or Research Council funding, increasingly researchers working in the field of the arts now operate in collaboration with Higher Education institutions rather than within them. As recognition of research excellence located beyond the academy grows, we are likely to see a shift in funding policy, reflecting greater diversification in support of non-conventional areas of emergent research, and along with this, new opportunities opening up for PhDs.
This panel, then, seeks to interrogate these issues – confronted with an evolving and possibly uncertain future, we ask – what are the opportunities for presenting practice-research in the public realm? What creative possibilities emerge, when working at the edges of disciplines, or in partnership with both public and private bodies? Does practice research beyond the institutions open up new ways of working, emerging through a productive tension between thinking and doing? Does public funding of practice research alter the conditions of aesthetic practices – how does one preserve both the autonomy of art and research when working in collaboration with ‘stakeholders’? What is it like to be a practitioner researcher working ‘beyond’ the academy?