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首页> 外文OA文献 >Informal peer learning between contemporary artists in Bristol and selected UK cities outside London.udHow do contemporary artists learn from their peers outside of formal education and what motivates them to do so?
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Informal peer learning between contemporary artists in Bristol and selected UK cities outside London.udHow do contemporary artists learn from their peers outside of formal education and what motivates them to do so?

机译：布里斯托尔的当代艺术家与伦敦以外的部分英国城市之间的非正式同peer学习。 ud当代艺术家如何从正规教育之外的同龄人那里学习，又是什么促使他们这样做呢？

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This research has been carried out as part of a collaborative doctoral award with partners Spike Island Art and Design Centre and University of the West of England. It employs a mixed methods approach, including participatory action research, reflexive practice and semi-structured interviews to explore artists’ peer learning in the context of literature from education theory, network theory, philosophy, art theory and sociology.udIt takes as research participants, artists from the Spike Associates Group, Spike Island, Bristol, and artists from self-organised groups and organisationally facilitated membership groups in several UK cities outside London.udIt found that peer interactions between artists are particularly significant in times of transition when peer learning pivots on mutual recognition, countering isolation, nurturing self-determination and accessing resources. The construction and reconstruction of practitioner subjectivities and practice identities is a significant peer learning process, often incorporating the initiation of spaces where practice identities can be temporarily suspended. udArtists engage with artist-led groups in subtly different ways to organisationally facilitated membership groups. Participation in the former enables experimentation with roles and competencies in a fluid environment where a sense of shared purpose and ownership prevails. The latter are utilised less as ‘communities’ and more as resources to be exploited and graduated through. udInformal conversation is a vital site of learning and a catalyst for practice and peer critique, although an important staging post against which to measure practice trajectories, is often problematic due to tensions arising from the need for challenge as well as support. Aspiration towards reciprocity, hospitality and generosity represents a common ethics of entanglement. However, this breaks down where there are conflicting beliefs about what constitutes exchanges of equivalent value. udVisibility is a highly valued commodity amongst artists and they look to their peers for strategies to make practice visible to appropriate parties and to gain a clearer overview of regional and national artistic networks and communities.udMuch previous research on informal learning has been conducted in the fields of work-based learning or community education. This thesis provides a much-needed microanalysis of learning processes that occur in temporary communities that are at the same time social and professional spaces. It makes valuable tacit processes visible in these situations, and the research findings can be used to initiate, adapt and inform learning programmes in arts centres, self-organised groups and other informal settings.
机译：这项研究是与斯派克岛艺术与设计中心和英格兰西部大学合作伙伴共同授予的博士学位的一部分。它采用混合方法方法，包括参与式行动研究，反思性实践和半结构化访谈，从教育理论，网络理论，哲学，艺术理论和社会学的角度探讨艺术家在文学背景下的同伴学习。 ud参与者，来自Spike Associates Group，Spike Island，Bristol的艺术家，以及来自伦敦以外英国多个城市的自组织组织和组织协助的会员组织的艺术家。 ud发现，在过渡时期，艺术家之间的同peer互动尤为重要同伴学习的重点是相互承认，反对孤立，培育自决和获取资源。从业者的主体性和实践身份的构建和重建是一个重要的同伴学习过程，通常会引入可以暂时中止实践身份的空间。 ud艺术家与艺术家领导的小组以各种不同的方式进行互动，以组织地促进会员团体的发展。参与前者可以在充满共同目标和主人翁感的流动环境中尝试角色和能力。后者被较少地用作“社区”，而更多地被作为要开发和利用的资源。非正式对话是学习的重要场所，是实践和同辈批评的催化剂，尽管衡量实践轨迹的重要切入点，但由于挑战和支持的需要而产生的紧张局势通常会带来问题。追求互惠，好客和慷慨代表着一种普遍的纠缠伦理。但是，在关于什么构成同等价值的交换存在相互矛盾的信念的情况下，这种做法就破裂了。 ud可见性是艺术家中极受重视的商品，他们寻求同行们的策略，以使适当的团体可见实践，并获得对地区和国家艺术网络和社区的更清晰的了解。 ud以前有关非正式学习的研究已经很多。在基于工作的学习或社区教育领域进行。本论文提供了在社会和专业空间同时存在的临时社区中发生的学习过程的急需的微观分析。在这些情况下，它可以使宝贵的默契过程可见，并且研究结果可用于在艺术中心，自组织团体和其他非正式场合中启动，调整和告知学习计划。

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    Wakefield M. L.;

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  • 年度 2013
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