Performing Interdisciplinarity

Performing Interdisciplinarity proposes new ways of engaging with performance as it crosses, collides with, integrates and/or disturbs other disciplinary concerns. From Activism and Political Philosophy to Cognitive Science and Forensics, each chapter explores the relationships between performance and another discipline. Including cross-chapter discussions which address the intersections between fields, Performing Interdisciplinarity truly examines the making of meaning across disciplinary conventions. This is a volume for performance practitioners and scholars who are living, learning, writing, teaching, making and thinking at the edges of their specialisms.

This book explores how everyday life within educational institutions changes in response to ideas of interdisciplinarity at policy level. It provides new insights into different configurations of interdisciplinarity, which traverses all levels of the Danish educational system. Offering a novel perspective to interdisciplinarity in terms of its configurations, the book discusses the Danish educational system and its current transformations, showing how progressive ideas are entangled with new forms of accountability and complex responsibilities. It identifies the concrete challenges that interdisciplinarity is expected to solve, and the organizational changes resulting from the solutions introduced, arguing that interdisciplinarity in education is neither a uniform or consistent process, nor are the kinds of disciplining it may yield. This book will appeal to academics, researchers, and post-graduate students in the fields of interdisciplinary education, pedagogy, comparative education and northern European educational and welfare systems.

This book offers a survey of the development of interdisciplinarity in religious studies within academia and offers ways for it to continue to progress in contemporary universities. It examines the use of the term ‘interdisciplinary’ in the context of the academic study of religion and how it shapes the way scholarly work in this field has developed. The text uses two main elements to discuss religious studies as a field. Firstly, it looks at the history of the development of religious studies in academia, as seen through an interdisciplinary critique of the university as an epistemological project. It then uses the same interdisciplinary critique to develop a foundation for a 21st-century hermeneutic, one which uses the classical concepts reprised by that interdisciplinary critique and retools the field for the 21st century. Setting out both the objects of religious studies as a subject and the techniques used to employ the study of those objects, this book offers an invaluable perspective on the progress of the field. It will, therefore, be of great use to scholars of research methods within religious studies.

This open access book illustrates how interdisciplinary research develops over the lifetime of a scholar: not in a single project, but as an attitude that trickles down, or spirals up, into research. This book presents how interdisciplinary work has inspired shifts in how the contributors read, value concepts, critically combine methods, cope with knowledge hierarchies, write in style, and collaborate. Drawing on extensive examples from the humanities and social sciences, the editors and chapter authors show how they started, tried to open up, dealt with inconsistencies, had to adapt, and ultimately learned and grew as researchers. The book offers valuable insights into the conditions and complexities present for interdisciplinary research to be successful in an academic setting. This is an open access book.

This international collection brings together scientists, scholars and artist-researchers to explore the cognition of memory through the performing arts and examine artistic strategies that target cognitive processes of memory. The strongly embodied and highly trained memory systems of performing artists render artistic practice a rich context for understanding how memory is formed, utilized and adapted through interaction with others, instruments and environments. Using experimental, interpretive and Practice-as-Research methods that bridge disciplines, the authors provide overview chapters and case studies of subjects such as: * collectively and environmentally distributed memory in the performing arts; * autobiographical memory triggers in performance creation and reception; * the journey from learning to memory in performance training; * the relationship between memory, awareness and creative spontaneity, and * memorization and embodied or structural analysis of scores and scripts. This volume provides an unprecedented resource for scientists, scholars, artists, teachers and students looking for insight into the cognition of memory in the arts, strategies of learning and performance, and interdisciplinary research methodology.

How can performing be transformed into cognition? Knowing in Performing describes dynamic processes of artistic knowledge production in music and the performing arts. Knowing refers to how processual, embodied, and tacit knowledge can be developed from performative practices in music, dance, theatre, and film. By exploring the field of artistic research as a constantly transforming space for participatory and experimental artistic practices, this anthology points the way forward for researchers, artists, and decision-makers inside and outside universities of the arts.

This volume centers on theories and methodologies for postgraduate feminist researchers engaged in interdisciplinary research. In the context of globalization, this book gives special attention to cutting-edge approaches at the borders between humanities and social sciences and specific discipline-transgressing fields, such as feminist technoscience studies.

Performing Architectures offers a coherent introduction to the fields of performance and contemporary architecture, exploring the significance of architecture for performance theory and theatre and performance practice. It maps the diverse relations that exist between these disciplines and demonstrates how their aims, concerns and practices overlap through shared interests in space, action and event. Through a wide range of international examples and contributions from scholars and practitioners, it offers readers an analytical survey of current practices and equips them with the tools for analyzing site-specific and immersive theatre and performance. The essays in this volume, contributed by leading theorists and practitioners from both disciplines, focus on three key sites of encounter: * Projects: examines recent trends in architecture for performance; * Practices: looks at cross-currents in artistic practice, including spatial dramaturgies, performance architectonics and performative architectures; and * Pedagogies: considers the uses of performance in architectural education and architecture in teaching performance. The volume provides an essential introduction to the ways in which performance and architecture, as socio-spatial processes and as things made or constructed, operate as generating, shaping and steering forces in understanding and performing the other.