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Abstract(s)
Partindo do exemplo de um processo de Pesquisa Baseada na Prática desenvolvido no âmbito de uma investigação de doutoramento em dança, este artigo faz uma reflexão que foca a natureza e mais valias do conhecimento gerado pela prática artística em contraponto com a natureza do modo de conhecimento tradicionalmente associado à produção académica.
Fundamentando-se em diversos autores do âmbito de estudos de Embodied Cognition, na análise dos conceitos de know-how e know-what de Gilbert Ryle (2009) e nas questões de linguagem e intersubjetividade de Daniel Stern (1985),o conhecimento desenvolvido pela prática artística é aqui exposto enquanto um conhecimento incorporado no qual se gera sentido através das perceções somáticas e sensoriomotoras, ao passo que o conhecimento académico é caracterizado
essencialmente enquanto um modo de conhecimento teórico, onde se concebe e formula sentido através da estrutura da linguagem verbal. Desse modo, deduz-se que, num processo de Pesquisa Baseada na Prática caracterizado pela interação entre a prática artística e a investigação teórica académica, torna-se fundamental desenvolver metodologias que consigam refletir estas diferenças (relativas ao modo de sentir e conceber sentido) e, simultaneamente, integrá-las. Além disso, considerando que a estrutura da linguagem verbal influencia a forma como pensamos, propõe-
-se que no âmbito de tais metodologias se questione e desafie o modo de usar a linguagem verbal. Partindo destas considerações, este artigo aponta uma proposta metodológica para a transferência entre modos de conhecimento intrínsecos á prática investigativa do âmbito da criação artística e os modos de conhecimento concebidos no domínio da investigação académica.
Defende-se ainda que o conhecimento incorporado, ao invés da tendência tradicional do conhecimento académico, predispõe-se a uma atitude ética de qualidades dinâmicas, adaptativas. Uma atitude que não aspira agarrar o mundo como algo estático e definitivo ou controlar o ambiente enquanto algo extrínseco mas sim experienciar o desafio de incorporar e navegar o ambiente.
ABSTRACT - Starting from the example of a Practice-Based Research process developed within the scope of a doctoral research in dance, this article makes a reflection that focuses on the nature and added value of knowledge generated by artistic practice in contrast to the nature of the mode of knowledge traditionally associated with academic production. Based on several authors from the field of Embodied Cognition studies, on the analysis of Gilbert Ryle’s (2009) concepts of know-how and know-what and on Daniel Stern’s (1985) theory of language and intersubjectivity, we approach knowledge developed by artistic practice as an embodied expertise in which meaning is generated through somatic and sensorimotor perceptions, whereas academic knowledge is characterized essentially as a mode of theoretical knowledge where meaning is conceived and formulated through the structure of verbal language. Thus, it can be deduced that, in a Practice-Based Research process, characterized by the interaction between artistic practice and academic theoretical research, it is essential to develop methodologies that are able to reflect these differences and simultaneously integrate them. Furthermore, considering that the structure of the verbal language influences the way we think, we also propose that within such methodologies it is necessary to challenge how we use verbal language. Based on these considerations, this article points out a methodological proposal for transferring modes of knowledge between investigative practice in the field of artistic creation and theoretical production in the field of academic research. It is also argued that, differently from the traditional tendency of academic knowledge, embodied knowledge is predisposed to an ethical attitude conveying dynamic, adaptive qualities. Rather than aspiring to grasp the world as something static and definitive or to control the environment as something extrinsic, embodied knowledge experiences the challenge of navigating within the environment and incorporating it.
ABSTRACT - Starting from the example of a Practice-Based Research process developed within the scope of a doctoral research in dance, this article makes a reflection that focuses on the nature and added value of knowledge generated by artistic practice in contrast to the nature of the mode of knowledge traditionally associated with academic production. Based on several authors from the field of Embodied Cognition studies, on the analysis of Gilbert Ryle’s (2009) concepts of know-how and know-what and on Daniel Stern’s (1985) theory of language and intersubjectivity, we approach knowledge developed by artistic practice as an embodied expertise in which meaning is generated through somatic and sensorimotor perceptions, whereas academic knowledge is characterized essentially as a mode of theoretical knowledge where meaning is conceived and formulated through the structure of verbal language. Thus, it can be deduced that, in a Practice-Based Research process, characterized by the interaction between artistic practice and academic theoretical research, it is essential to develop methodologies that are able to reflect these differences and simultaneously integrate them. Furthermore, considering that the structure of the verbal language influences the way we think, we also propose that within such methodologies it is necessary to challenge how we use verbal language. Based on these considerations, this article points out a methodological proposal for transferring modes of knowledge between investigative practice in the field of artistic creation and theoretical production in the field of academic research. It is also argued that, differently from the traditional tendency of academic knowledge, embodied knowledge is predisposed to an ethical attitude conveying dynamic, adaptive qualities. Rather than aspiring to grasp the world as something static and definitive or to control the environment as something extrinsic, embodied knowledge experiences the challenge of navigating within the environment and incorporating it.
Description
Keywords
Pesquisa baseada na prática Investigação académica Criação artística Cognição incorporada Linguagem verbal Practice-based research Academic research Artistic creation Embodied cognition
Citation
Lima, C. (2023). Retornos entre a criação artística e a pesquisa científica: Uma metodologia de transmutação entre a experiência artística e a escrita académica. (2023), 1-24
Publisher
RED - Revista Estud(i)os de Dança