Investigação artística é criação
DOI:
https://doi.org/10.5335/hdtv.24n.2.16220Keywords:
Criação artística, Investigação artística, Fratura epistemológicaAbstract
Historically, artistic research has faced a series of complex issues that shape its development and integration in higher education institutions in music. The hegemonic logocentric tendency in academic circles has favored two approaches that establish a reductive relationship between artistic interventions and academic discourse. One of these approaches promotes conceptual and theoretical constructions, while the other promotes phenomenological analyses and auto-ethnographic descriptions. Both are reductive since they are based on the subject-object separation, neglecting or even completely eliminating the sensorial, empathic, tacit and symbolic dimensions that are essential in our aesthetic experiences. This article identifies a specific territory for artistic research that implies, upstream, an alternative epistemological option, which we call episteme creation. This episteme creation does not dispense with a clarifying discourse to support artistic intervention, but also in an alternative mode of discourse, which we call narrative. This chapter concludes with a discussion of methodological choices in artistic research that are often impoverishing, since some researchers seek security in scientific validation, resorting to methods from the social sciences, such as qualitative analysis, auto-ethnographies, etc. These choices are recognized here as “common deviations” and are discussed with examples.
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