Interview relatives or friends who remember the Great Depression and ask them how that crisis relates to the current recession.
Under the umbrella term of 'arts-based research', his main efforts have involved developing tools
from the arts and humanities for use by social scientists in research and its impact on a wider
public or a Perfomative Social Science.
Jones is Reader in Performative Social Science and Director of the Centre for Qualitative Research
at Bournemouth University. Kip has produced films and written many articles for academic
journals and authored chapters for books on topics such as masculinity, ageing and rurality,
and older LGBT citizens. His ground-breaking use of qualitative methods, including
biography and auto-ethnography, and the use of tools from the arts in social science research and
dissemination are well-known.
Jones acted as Author and Executive Producer of
the award-winning short film,
RUFUS STONE, funded by Research Councils UK.
The film is now available for
free viewing on the Internet and has been
viewed by more than 11,000 people in 150
countries over the past year alone.
Areas of expertise
• Close relationships, culture and ethnicity
• Social psychology, sociology
• Ageing, self and identity
• Interpersonal processes, personality,
social networks, prejudice and stereotyping
• Sexuality and sexual orientation
• Creativity and the use of the
arts in Social Science
His work has been reported widely
in the media, including:
BBC Radio 4,BBC TV news,Times
Higher Education, Sunday New
York Times, International
Herald-Tribune and The Independent.
Saturday, 21 March 2009
I was wondering whether you would be interested in posting a controversy topic on a blog or as a part of a discussion group? The site is due to open to the public next week and having interesting topics might help to get more researchers with similar interests involved in discussion. Also a debate generated by you would contribute to raising the site’s academic profile.
Once again thank you for being involved!
My response follows:
Thanks for your invitation to controversy (I think). I am not one to seek controversy, but it does follow me from time to time.
A few questions that I have been pondering lately (arising from encounters, experiences, etc working with PSS):
- Are we willing to dwell in ‘not knowing’? Really dwell, and not jump to comfortable conclusions (or, heaven forbid, superimpose predetermined theoretical frameworks on all of human existence!)
- Are we able to accept several truths, even layers of truth? Is our take on 'the truth' more important than community and its needs and responses to us and our efforts?
- Is it possible to become a more ethical person, rather than more astute at defending our ethics?
- Are we secure enough in our own abilities to allow ourselves (and our work) to be influenced, even changed, by the thoughts and talents of others outside of our own comfort zone and discipline?
- If a film, or piece of music or dance or opera is able to move me and profoundly effect me, why shouldn't my research do the same for others? Is this possible? What are we waiting for, then?
- When was the last time we laughed at ourselves?
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Wednesday, 18 March 2009
Sunday, 15 March 2009
Saturday, 14 March 2009
My photographic adventure in New York was born from a mistake. I came to New York to live permanently two years ago. I was 30 and had spent most of my life in Paris. But I had seen and heard so much about New York that I felt overwhelmed even before setting foot in the city.
I didn’t know what I was doing when I was making those pictures, and I didn’t really think about it until I went into the darkroom and saw the messy but amazing results. All the images overlapped one onto the next, creating weird shapes and complex layers, and revealing more about my new neighborhood than a thousand words.
That was when I understood that this approach, results of which can be viewed at www.stephaniederouge.com, would become my way of communicating with the city.
My first project was to walk up Broadway all the way from Wall Street to the Bronx — a journey of nearly 15 miles that I made over three days — shooting pictures as I walked. Following this one strand of Manhattan, I understood that the city’s unique energy is fed from the many people of varied backgrounds who live here and mix in harmony, all pursuing their own dreams.The shooting experience was magical, the developing of the film even more. To this day, that camera is still my exclusive tool for photographing New York.
Friday, 13 March 2009
Richard Renaldi at Jackson Fine Art from Art Relish on Vimeo.
I discovered the photographs of Richard Renaldi on the Internet while creating a CD-ROM on lifelong learning for the Department for Education and Skills (UK). I invited Richard to include his photographs in our project because his pictures of individuals have a powerful ability to reach the viewer by visually representing the personality in front of the lens. Later, I discovered his Fall River Boys series on his website and was struck by the capacity of this body of black and white photographs to tell a story.
Saturday, 7 March 2009
Anthony Minghella put together a remarkable team for the Met's production of Madama Butterfly: set designer Michael Levine, costume designer Han Feng, puppeteers from London's Blind Summit Puppet Theatre, and Minghella's wife, choreographer Carolyn Choa. Most of them are newcomers to opera.