Illustrations

Jump to Content

Illustrations

In: Doing Rebellious Research

Editors:

Pamela Burnard

Pamela Burnard
Search for other papers by Pamela Burnard in
Current site
Google Scholar
PubMed

Elizabeth Mackinlay

Elizabeth Mackinlay
Search for other papers by Elizabeth Mackinlay in
Current site
Google Scholar
PubMed

David Rousell

David Rousell
Search for other papers by David Rousell in
Current site
Google Scholar
PubMed

, and

Tatjana Dragovic

Tatjana Dragovic
Search for other papers by Tatjana Dragovic in
Current site
Google Scholar
PubMed

Pages:: xi–xiii

Access via:

Dar Hadith al Hassania

Figures
1.1	Images of Leonardo da Vinci’s drawing ‘Water falling upon water’ (© RCT).	24
1.2	Artist Trisha McCrae’s creative exchange with da Vinci (© Pamela Burnard).	25
1.3	Artist Trisha McCrae’s visualisation of a disciplinary rooting of transdisciplinary research (© Pamela Burnard).	29
2.1	Be ….	38
3.1	Luuk Brantjes stands on a teeterboard looking up at a weight rigged on the theatre ceiling, which can drop onto the other end of the teeterboard (Photo: Joel Roxendal).	57
3.2	Saar Rombout physically explores a rope wall she has created with her knowledge of rigging design (Photo: Joakim Björklund).	60
4.1	From my front door.	71
4.2	Movements with(in) the transdisciplinary-scape.	72
4.3	Improvising together.	74
4.4	First encounters.	74
4.5	Becoming entangled.	74
4.6	Yes, and what if? A poem of emergence.	75
4.7	Tracing movements from Anya’s question.	77
4.8	Making with materials.	77
4.9	Displacing materials and bodies.	78
4.10	Displacing materials and bodies.	78
4.11	Frictional matters.	79
4.12	Frictional entangling.	80
4.13	Frictional entangling.	80
4.14	Frictional understandings.	80
4.15	Frictional touch.	80
4.16	From my front door again.	81
5.1	Veiling and unveiling.	90
5.2	Somewhere to begin ….	93
6.1	Excerpt from a transcription of King Crimson’s ‘Indiscipline’ (Riccio & Gunn, 2020, p. 55).	99
6.2	Excerpt from a transcription of King Crimson’s Discipline (Riccio & Gunn, 2020, p. 89).	111
7.1	Evolution of creativity forms.	117
7.2	The movement of emersivity creativity.	118
7.3	The different rebellions in dance.	118
7.4	Happening Tempête, choreography Boris Charmatz (© Antonella Poli).	119
7.5	Flyer with hand-drawn and coloured sketch for Anna Halprin’s Reorganisation Ritual. Anna Halprin Papers, Elyse Eng Dance Collection, Museum of Performance + Design.	121
7.6	Anna Halprin in intensive care, ‘Reflections on death and dying’. Anna Halprin Papers, Elyse Eng Dance Collection, Museum of Performance + Design (© English Irene).	121
7.7	The Rite of Spring, choreography Pina Bausch, Tanztheater Wuppertal 2018, T Tsai Wei and Ensemble (© Ursula Kaufmann, Essen, Germany).	123
7.8	Herse, choreography Boris Charmatz (© Jean-Michel Cima).	124
7.9	Gala, choreography Jérôme Bel.	126
7.10	Liam, 33rd Fixed Trapeze, 5 November 2019.	128
10.1	DRAWing – playing with and rearranging ideas, coming together creatively and critically (© Elizabeth Allotta).	171
10.2	‘Journey’ by Avisa Putri Agustina, 2021.	173
10.3	Exasperated with conventional research (© Emma Cooke).	174
10.4	The orienting map offered to readers of my thesis to help them navigate when the paths disappeared (© Eloise Doherty).	176
10.5	Hussaini village in the Hunza valley, Pakistan (© Muhammad Ali Musofer).	181
10.6	Lyn Tankersley with goats, Wairarapa New Zealand (Photo: Lyn’s husband, 2013).	182
10.7	She left the house to buy a carton of milk (©Elizabeth Mackinlay).	185
12.1	Star fragment 2: Email thread echoes.	211
12.2	Star fragment 5: Our thought provokers as both the barycentre of our twin stars’ orbit, but also the constellation that surrounds this chapter.	213
12.3	Star fragment 7: Portia’s Zoom screen by Kieran.	215
18.1	Raft and river design by Dayna McLeod.	341
18.2	This is not a conclusion.	342
19.1	Who am/are /I/you/we? (Painting © Rok Blenkus).	361
19.2	What are our values? Human-non-human entanglenment.	362
19.3	It is my life, too! More-than-human agency.	364
19.4	Hidden gems!.	366
19.5	Back to the future: root seeking.	366
20.1	Progression into messiness, radical trust and playfulness.	382
20.2	Academic playfulness. Nomadic web with Anne, Allan, Tatiana and Clive Holtman. AoMO 2016, Bled, Slovenia (Photo: Tatiana Chemi).	386
20.3	The elements of the places of open possibilities on stage (Photo: Tatiana Chemi).	386
21.1	Main entrance viewpoints, photo montage (© The Fitzwilliam Museum).	390
21.2	Main entrance textures, photo montage (© The Fitzwilliam Museum).	390
21.3	Main entrance landing, 1848, engraving (© The Fitzwilliam Museum).	392
21.4	Museum educator with school group in the ancient Greek gallery of The Fitzwilliam Museum, 2005 (© Martin Bond).	394
21.5	Drawing on the main entrance landing, 2020. Photograph from ‘It’s Our Museum Too’ research project (© The Fitzwilliam Museum).	396
21.6	Learning together in the Large Paintings Gallery, 2020. Photograph from ‘It’s Our Museum Too’ research project (© The Fitzwilliam Museum).	398
21.7	Gallery 3 ceiling, 2019 (© The Fitzwilliam Museum).	399
21.8	Children entangled, 2020. Photograph from ‘It’s Our Museum Too’ research project (© The Fitzwilliam Museum).	401
22.1	Tilt your head & follow the clockwise message illusion (© Academy of Magic & Science).	409
22.2	Hybrid text illusion (© Academy of Magic & Science).	416
23.1	Osmo Pekonen’s portrait in the role of Count Gustav Philip Creutz (Painting by Svetlana Ruoho, Portrait d’Osmo Pekonen en homme des Lumières, 2018).	424
23.2	Maupertuis (left: Osmo Pekonen) and Celsius’ (right: Johan Stén) experiences drew attention to the magical north (Photo: Axel Straschnoy, La Figure de la Terre, courtesy of Kolme Perunaa).	427
23.3	Maupertuis and Celsius’ results also included detailed information about the people living in the Tornio River Valley (Photo: Axel Straschnoy, La Figure de la Terre, courtesy of Kolme Perunaa).	428
23.4	Figures don’t lie (Photo: Axel Straschnoy, La Figure de la Terre, courtesy of Kolme Perunaa).	430
23.5	Johan Stén (left) and Osmo Pekonen (right) (Photo: courtesy of Kristóf Fenyvesi).	431
23.6	A faint breeze swept through the space. And then, all of a sudden, came the apparition (Photo: Axel Straschnoy, La Figure de la Terre, courtesy of Kolme Perunaa).	433
23.7	Enter Count Creutz, the poet, in a pensive mood (Photo: courtesy of Osmo Pekonen).	433
24.1	Think Big verse written by a Year 6 student, Salcombe Primary School.	441
24.2	Think Big verse written by Jonathon and Jacob, Year 6, Salcombe Primary School.	441
24.3	‘Me and my Mum’ verse written by Arda, Year 6, Salcombe Primary School.	442
Table
2.1	List of poems.	50

Citation Info

Save
Cite
Email this content

Share link with colleague or librarian

You can email a link to this page to a colleague or librarian:
Email this content
or copy the link directly:

https://brill.edhh.ma/display/book/9789004516069/front-9.xml
The link was not copied. Your current browser may not support copying via this button.

Link copied successfully

Collapse
Expand

Doing Rebellious Research

In and beyond the Academy

Series: Critical Issues in the Future of Learning and Teaching, Volume: 23

E-Book ISBN:: 9789004516069

Publisher:: Brill

Print Publication Date:: 27 Apr 2022

Subjects
- Education
  - Culture & Education
  - Research Methodology

Front Matter

A Visual Mapping of Topic Flows

Acknowledgements

Illustrations

Notes on Contributors

Prologue

Part 1 Rebellious Transdisciplinarity Researched Differently

Part 1 Guidance for Readers

Chapter 1 Critical Openings in Performing Transdisciplinary Research as/in Rebellion

Chapter 2 Ten Incitements to Rebellion

Chapter 3 Instructions on How to Research with Circus

Chapter 4 Walking with(in) Transdisciplinary-Scapes

Chapter 5 Paying Attention

Chapter 6 Academic (In)Discipline, Research (In)Sanity and the Conundrum of (Indigenous) Timescapes

Chapter 7 Performing Transdisciplinary Creativity by Emersiology with the Living Body

Part 1 Reflective Questions

Part 2 Rebellious Writings Written Differently: A Manifesto

Part 2 Guidance for Readers

Chapter 8 Departing Radically in Academic Writing

Chapter 9 The Zoom Room Rebels

Chapter 10 100 Words Exactly

Chapter 11 The Affect of Writing to It

Chapter 12 Twin Stars: Circling with the Trouble of ‘Co-diffraction’?

Chapter 13 Don’t Just Do Something … Stand There!

Part 2 Reflective Questions

Part 3 Rebellious Theories and Research Methodologies Performed Differently

Part 3 Guidance for Readers

Chapter 14 Performing Rebellious Theory and Methodology

Chapter 15 Animist Pedagogies and the Endings of Worlds

Chapter 16 The Heart of Research

Chapter 17 Surfacing the Image-inary: Exchanging Sensations of Time through Art, Media and Pedagogy

Chapter 18

dreams in the

margem

Part 3 Reflective Questions

Part 4 Rebellious Leadership Leading Differently

Part 4 Guidance for Readers

Chapter 19 Critical Openings in Leading Rebelliously

Chapter 20 Leading Rebellious Leaders/ship through Radical Trust and Playfulness

Chapter 21 ‘It’s Our Museum Too!’

Chapter 22 Enchanting Educational Settings

Chapter 23 Hallå STEAM!

Chapter 24 The Hip-Hopification of Education?

Part 4 Reflective Questions

Epilogue: What Happened Here

Back Matter

Glossary

Index

Metrics

	All Time	Past 365 days	Past 30 Days
Abstract Views	0	0	0
Full Text Views	46	14	3
PDF Views & Downloads	0	0	0

African Studies	Education	Media Studies
American Studies	History	Middle East and Islamic Studies
Ancient Near East and Egypt	Human Rights and Humanitarian Law	Musicology
Art History	International Law	Philosophy
Asian Studies	International Relations	Religious Studies
Biblical Studies	Jewish Studies	Slavic and Eurasian Studies
Biology	Languages and Linguistics	Social Sciences
Book History and Cartography	Life Sciences	Theology and World Christianity
Classical Studies	Literature and Cultural Studies

Subjects

Authors

Open Access

Product Information

Company

Contact

Illustrations

Citation Info

Share link with colleague or librarian

Doing Rebellious Research

In and beyond the Academy

Table of Contents

Metrics

Metrics