Footnotes - researching youth arts

[1] “What is Digital Platform,” IGI Global Publisher, accessed May 10, 2021,
https://www.igi-global.com/dictionary/beusin/55829. A comment inspired by this source.
[2] Terry Wiedmer, “Digital Portfolios: Capturing and Demonstrating Skills and Levels of Performance,” Phi Delta Kappan, 79, no. 8 (April 1998): abstract, https://www.proquest.com/docview/62553652?accountid=12372. A comment inspired by this source.
[3] Reed W. Larson, “Toward a Psychology of Positive Youth Development,” American Psychologist 55, no. 1 (2000): 170, https://doi.apa.org/doiLanding?doi=10.1037%2F0003-066X.55.1.170.
[4] Jennifer Bott,  CEO’s forward to Education and the Arts Research Overview: A Summary Report Prepared for The Australia Council for the Arts, by Mary Ann Hunter (Canberra: Australia Council for the Arts, 2005), 4, https://www.ampag.com.au/wapap/Campaign/2-education-EducationAndTheArtsResearchOverview.pdf.
[5] Henry A. Giroux, “Teenage Sexuality, Body Politics, and the Pedagogy of Display,” Review of Education, Pedagogy, and Cultural Studies 18, no. 3 (1996): 307- 308, https://doi.org/10.1080/1071441960180307.
[6] Christine Griffin, “Imagining New Narratives of Youth, Childhood,” Childhood: A Journal of Global Child Research 8, no. 2 (2001): 148, https://doi.org/10.1177/0907568201008002002.
[7] Kelly Guyotte, “Encountering Bodies, Prosthetics, and Bleeding: A Rhizomatic Arts-Based Inquiry,” Reconceptualizing Educational Research Methodology, 8, no. 3 (2017): 55, https://doi.org/10.7577/rerm.2557.
[8] Erin Manning and Brain Massumi, Thought in The Act: Passages in The Ecology of Experience (Minneapolis: University of Minnesota Press, 2014), preface.
[9] Carole Gray and Julian Malins, Visualising Research: A Guide to the Research Process in Art and Design (Aldershot: Ashgate Publishing Limited, 2004), xi; Shaun McNiff, “Art-Based Research,” in Handbook of the Arts in Qualitative Research, eds. J. Gary Knowles and Andra L. Cole (California:  Sage Publications, 2008), 29; McNiff, “Opportunities and Challenges in Art-Based Research,” Journal of Applied Arts & Health 3, no. 1 (2012): 5 and 7-8, https://doi.org/10.1386/jaah.3.1.5_1.
[10] Barbara Bolt, “A Performative Paradigm for the Creative Arts?” Working Papers in Art and Design 5, School of Culture and Communication - Research Publications (2008), http://hdl.handle.net/11343/29737.
[11] Bolt, “A Non Standard Deviation: Handlability, Praxical Knowledge and Practice Led Research,” Speculation and Innovation: Applying Practice-Led Research in the Creative Industries, (2006): 12. https://www.academia.edu/939331/A_Non_Standard_Deviation_handlability_praxical_knowledge_and_practice_led_research. A comment inspired by this source.
[12] Thomas Barone and Elliot W. Eisner, Arts Based Research (California: Sage Publications, 2012).
[13] Robin Nelson, Practice as Research in the Arts: Principles, Protocols, Pedagogies, Resistances (London: Palgrave Macmillan, 2013).
[14] Linda Candy, Practice Based Research: A Guide, (Sydney: Creativity & Cognition Studios, University of Technology Sydney, CCS Report: VI.O November, 2006), 1-19, https://www.creativityandcognition.com/resources/PBR%20Guide-1.1-2006.pdf; Candy and Ernest Edmonds, Interacting: Art, Research and the Creative Practitioner (Oxfordshire: Libri Publishing, 2011); Gray and Malins, Visualizing Research.
[15] Brad Haseman and Daniel Mafe, “Acquiring Know-How: Research Training for Practice-Led Researchers,” in Practice-Led Research, Research-Led Practice in the Creative Arts, eds. Hazel Smith and Roger T. Dean (Edinburgh: Edinburgh University Press, 2009), 211-228; Estelle Barrett and Bolt, eds. Practice as Research: Approaches to Creative Arts Enquiry (London: I.B Tauris and Co Ltd., 2010); Smith and Dean, eds. Practice-Led Research, Research-Led Practice in the Creative Arts (Edinburgh: Edinburgh University Press, 2009).
[16] Kurt Lewin, “Action Research and Minority Problems,” Journal of Social Issues 2, no. 4 (November 1946): 34–46,  https://doi.org/10.1111/j.1540-4560.1946.tb02295.x.
[17] Timo Jokela, Mirja Hiltunen and Elina Härkönen, “Art-based Action Research – Participatory Art for the North,” International Journal of Education Through Art 11, no. 3 (2015): 433–448, https://doi.org/10.1386/eta.11.3.433_1; Jokela and Maria Huhmarniemi, “Arts-Based Action Research in the Development Work of Arts and Art Education,” in The Lure of Lapland - A Handbook of Arctic Art and Design, ed. Glen Coutts, Elina Härkönen, Maria Huhmarniemi and Timo Jokela (Finland: University of Lapland, 2018), 9-25, https://lauda.ulapland.fi/handle/10024/63653; Jokela, Huhmarniemi and Hiltunen, “Art-based Action Research: Participatory Art Education Research for the North,” in Provoking the Field: International Perspectives on Visual Arts PhDs in Education, ed. Anita Sinner, Rita L. Irwin & Jeff Adams (Bristol: Intellect Books, 2019), 45–56; Jokela, “Arts-based Action Research for Art Education in the North,” The International Journal of Art and Design Education, Special Issue: Visual Art-based Education Research 38, no. 3 (2019): 599-609, https://doi.org/10.1111/jade.12243; Jokela, “Arts-based Action Research in the North,” in The Oxford Encyclopedia of Qualitative Research Methods in Education, ed. George Noblit (New York: Oxford University Press, 2020).
[18] Natalie Loveless, How to Make Art and the End of the World: A Manifesto for Research-Creation (Durham: Duke University Press, 2019); Loveless, “Towards a Manifesto on Research-Creation,” Canadian Art Review 40, no.1 (2015): 52–54, www.jstor.org/stable/24327427; Owen Chapman and Kim Sawchuck, “Research-Creation: Intervention, Analysis and ‘Family Resemblances,’” Canadian Journal of Communication 37, no. 1 (2012): 5-26, https://www.cjc-online.ca/index.php/journal/article/view/2489/2298; Manning, “About,” SenseLab, accessed March 20, 2019, http://senselab.ca/wp2/about/; Stephanie Springgay and Sarah Truman, Walking Methodologies in a More-than-Human World: Walking Lab (London: Routledge 2018).
[19] Loveless, “Research-Creation and Social Justice,” Kule Research Cluster Project at the Thinking Communities: Celebration of Research in KIAS & Arts Event,” YouTube, March 1, 2016, video, 4:00, https://www.youtube.com/watch?v=nwfoAXjWCdo.
[20] Chapman and Sawchuk “Research-Creation,” 6.
[21] Manning, “Immediations,” Erin Manning, accessed March 20, 2019, http://erinmovement.com/immediations.
[22] Loveless, How to Make Art, 9-10; Springgay, “About,” The Pedagogical Impulse, accessed March 23, 2020, https://thepedagogicalimpulse.com/about-2/.
[23] Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia, trans. Brian Massumi (Minneapolis: University of Minnesota Press, 1987).
[24] Claire Bishop, ed. Participation: Documents of Contemporary Art (London: Whitechapel Gallery, 2006), 179.
[25] Stéphane Mallarmé, Divagations, trans. Barbara Johnson (Cambridge: Belknap Press, 2007).
[26] Roland Barthes, “The Death of the Author,” originally published, Aspen no. 5–6, (1967), 144. A comment Barthes made in relation to surrealism.
[27] Michel Foucault, “What is an Author,” first presented as a paper in the Bulletin de la Societe Francaise de Philosophie 63, no. 3 (1969): 126.  https://www.d.umn.edu/~cstroupe/handouts/8906/What_is_an_author_foucault%20.pdf. 
[28] Donald Schon, The Reflective Practitioner: How Professionals Think in Action (New York: Basic Books 2008).
[29] Kester describes dialogical art as a discursive aesthetic based on conversation, dialogical exchange and the social and relational experiences such exchange creates. Grant H Kester, “Dialogical Aesthetics: A Critical Framework for Littoral Art,” Variant 9 (1999/2000): 3, http://www.variant.org.uk/9texts/KesterSupplement.html; Also see, Kester, Conversation Pieces: Community and Communication in Modern Art (Berkeley: University of California Press, 2013); Kester, The One and the Many: Contemporary Collaborative Art in a Global Context (Durham: Duke University Press, 2011); Kester, “Conversation Pieces: The Role of Dialogue in Socially Engaged Art,” in Theory in Contemporary Art Since 1985, eds. Zoya Kocur and Simon Leung (New Jersey: Wiley-Blackwell, 2012), 153-165.
[30] “Exchange Values: Social Sculpture Research Unit,” Social Sculpture Research Unit at Oxford Brookes University, accessed June 10, 2019, http://exchange-values.org/shelley-sacksssru/ssru/.
[31] This in-practice knowledge and dialogical artwork has been in the public domain for years, without consequence.
[32] Underpinning tbC’s collaborative practice is an informed consent model, defined by tacit but conscious agreement negotiated through durational practice. Studio conversations and self-regulated governance are at the heart of this consent model. There has been no issue with this consent model during tbC’s thirteen years of practice.
[33] A pseudonym is a fictious name used by an author or artist wanting to obscure their real identity. See, Oxford English Dictionary, “Pseudonym,” Version 11.7. 712 (Oxford: Oxford University Press, 2020).