Looking back, Looking through, Looking beneath

Abstract

This essay is based on a lecture given at the mdw -Universität für Musik und darstellende Kunst Wien within its series entitled Knowing in Performing.Those attending the lectures had the opportunity to ref lect in a variety of ways on what might constitute the nature of that knowing.For my contribution, I was interested in asking whether we might stretch out the 'knowing in performing' of the series title to include 'knowing through performing' and 'knowing as performing' -by analogy with Christopher Frayling's modelling of research in-and-through musical practice in his 1993 essay Research in Art and Design (Frayling 1993). 1 Within the sphere of music, I have considered these questions from many angles over many years; from the perspectives of my own performing, musicological work and artistic research supervision to the contributions I would like to think I have been able to make to the formation of the discipline of artistic research in music.In the present essay, I would like to focus on how my experiences relate to the practices of 'ref lection' , 'self-ref lexivity' and 'autoethnography' within artistic research.I shall do this by considering three issues: the reasons for regarding these practices as important to the field; the nature and limitations of their criticality; and some of the difficulties that can arise when we try to ref lect on our own processes within artistic research contexts.1 Frayling's categories of arts research work are: "research into art and design, research through art and design and research for art and design" (Frayling 1993, 5).This model remains highly influential for those involved in curriculum development associated with artistic research, perhaps because Frayling's classifications open up the possibility for a variety of discourses without displacing art-making from its primary role.

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