Arts Practice Research: Scholarship, Pedagogy, and the Creative Process October 1-3 2015

full name / name of organization: 
Christopher J Smith / Texas Tech University Vernacular Music Center

REMINDER/EXTENDED DEADLINE: Arts Practice Research: Scholarship, Pedagogy, and the Creative Process October 1-3 2015

#TTUAPR2015
REMINDER/EXTENDED DEADLINE

On October 1-3 2015, the Texas Tech University College of Visual and Performing Arts, the TTU School of Music and Department of Theatre and Dance, the Roots Music Institute (501c3), and the TTU Vernacular Music Center present the conference Arts Practice Research: Scholarship, Pedagogy, and the Creative Process. The Conference will partner concurrently with the Texas Association of Schools of Art conference, sponsored by the TTU School of Art, the CVPA, and the Louise Hopkins Underwood Center for the Arts. We invite proposals for individual papers, themed paper sessions; individual presentations of works in process; round-table discussions; workshops in devised theater, contact partnering, dance, improvisational visual art. Our keynote speaker and featured guest will be the brilliant fabric sculptor, dancer, and performance artist Nick Cave (see http://en.wikipedia.org/wiki/Nick_Cave_(performance_artist)

The conference, held on the campus of Texas Tech University, will bring together students and teachers, creators and scholars, campus and community, vernacular and cultivated genres, "traditional" and "modern" perspectives—and will investigate and fruitfully complicate the dynamics between all. Students will participate at every stage and level, including planning, logistics, presentation, and assessment. Featured performances will include works "devised" through the process of arts practice via transdisciplinary collaboration.

In teaching the fine and performing arts, real-time and immersive learning engages students in "arts practice"—that is, in the processes, techniques, skills, data-sets, and critical perspectives whose combination in real time yields the art object or experience. Makers and learners can be engaged both creating this object or experience, and then reporting, in a critical and analytical fashion, upon the considerations that went into its creation, thereby "opening out" the collaborative process for investigation and dialogue. Transdisciplinary and multi-modal in both philosophy and practice, this synthesis of creativity activity and critical analysis, as "Arts Practice Research," is a fast-growing topic within university curricula, both here in North America and abroad (a brief sampling of institutions inaugurating the PhD in Arts Practice includes Tier-One universities in Ireland, England, Canada, Australia, and the USA).[1] Programs may differ in their language and definitions, but uniformly share a fundamental conviction that both the creation and the analysis of an arts object (physical or processual) can be constituent elements of the scholarly mission, uniting the creator and the critic as "practitioner".[2]

The deadline is February 15 2015, with final selections and notifications made by March 15 2015.

Additional information, local arrangements, schedule, transportation options, and the final program will be posted athttp://ttuartspractice.org ; inquires may be directed toinfo@ttuartspractice.org or Steering Committee chairchristopher.smith@ttu.edu

[1] Examples include the Universities of Limerick; Cork; Wollongong (Australia); London; Quebec; Southern California; the Orpheus Institute (Ghent), and other similar first-rank institutions.

[2] See Barbara Hawkins, "Transdisciplinary Approaches to Doctoral Arts Practice Research: Benefits and Challenges of Transdisciplinary Research," The International Journal of the Arts in Society: Annual Review 7, 1-11. Available at http://ijaar.cgpublisher.com/product/pub.288/prod.3 (Accessed 5/9/2014); also Graeme Sullivan, Art Practice as Research: Inquiry in Visual Arts (New York: Sage, 2009).

GUIDELINES FOR PROPOSALS
Proposals and inquiries should be emailed (.pdf or .docx format only) to christopher.smith@ttu.edu
Please read the guidelines carefully: proposals that do not conform will not be considered.

Proposals will be accepted according to the following categories:

(1) Individual proposals. Proposals should represent the presentation as fully as possible. A successful proposal typically articulates the main aspects of the argument or research findings clearly, positions the author's contribution with respect to previous scholarship, and suggests the paper's significance for the arts practice research community, in language that is accessible to scholars with a variety of specializations. Maximum length: 350 words.

(2) Proposals for poster sessions should follow the guidelines for submission of individual proposals, and include an explanation of the content and goals of the graphic presentation. Technical guidelines for posters will be distributed with acceptance information. Proposals will be evaluated anonymously and should contain no direct or indirect signal of authorship. Maximum length: 350 words.

(3) Proposals for themed formal sessions. An organizer representing several individuals may propose a Formal Session of three papers. For this proposal, organizers should prepare a rationale, explaining the importance of the topic and the proposed constituent papers, together with the names of the organizer, participants, respondent (if applicable), and a suggested chairperson. The organizer should also include a proposal for each paper, which conforms to the guidelines for individual proposals above. Formal Session proposals will be considered as a unit and accepted or rejected as a whole. The proposed session's consistency and coherence is an important part of the evaluation process. Paper abstracts included in a formal session proposal will not be considered for separate individual presentation. Maximum length: 350 words for the rationale, and 350 words for each constituent proposal.

Length of presentations: Thirty minutes are allotted for each individual proposal and constituent Formal Session proposal. The length of presentations is limited to twenty minutes in order to allow ample time for discussion.

Program Committee procedures: The Program Committee will evaluate and discuss individual paper and poster proposals); each proposal will be reviewed by at least three members of the Program Committee. Their individual scores are collated and averaged, and the proposals ordered accordingly. Proposals ranked in the top half are then evaluated by the entire committee. Authors for all submissions that are chosen will be invited to revise their proposals for the Program and Abstracts, distributed at the meeting; the version read by the Program Committee may remain confidential.

Application restrictions. No one may appear on the program more than twice. An individual may deliver a paper and appear one other time on the program, whether participating in an evening panel discussion or alternative-format session, functioning as a chair-organizer of a formal session, or serving as a respondent, but may not deliver a lecture-recital or workshop. Organizers of evening panel discussions or alternative-format sessions may not also present a formal paper, but participants may do so. Authors may not submit the same proposal to both the APR and TASA program committees. If an author submits different proposals to the APR or TASA and more than one is accepted, only one of the papers may be presented.

Submission procedure. Proposals must be received by 5 p.m. EST, 15 February 2015. Electronic proposal submission is encouraged. Please note that electronic proposal submission ceases precisely at the deadline. In order to avoid technical problems with submission of a proposal, it is strongly suggested that proposals be submitted at least twenty-four hours before the deadline. Due to the volume of proposals received, proposals received after the deadline cannot be considered. A FAQ on the proposal submission process is available at the web site, and those planning to submit proposals are encouraged to review the information posted there.