From Critical Practice Chelsea
Jump to: navigation, search

Welcome to Marsha Bradfield's research hub on the Critical Practice wiki.

This is a repository for my post-doc, which I undertook through Critical Practice Research Cluster at Chelsea College of Arts (2013 - 2015), University of the Arts London. Scroll down for a bit more about me. I look forward to updating this soon.

I'm keeping track of my various #TransActing-related commitments here
You can follow the timeline of my post-doc here.
I'm developing a post-doc project that's embedded in Critical Practice....
I'm working on several projects.
I'm tracking the project's evolution via some research notes.
I've started drafting The Official Value Brokers' Handbook
I'm doing the supervisor's course
I'm collaborating on some resource mapping.
I'm tracing CP's network.
I'm attending lots of meetings n workshops.
I tweet as Marsha Bradfield.
You can also follow my Flickr stream.
I'm trying to keep this practice transparent by sharing post-doc related docments n resources.
I'm looking at..., I'm watching, I'm reading..., I'm archiving... I'm researching, I've attended and I'm waiting for...
I'm elaborating a vocabulary in response to CP's research on evaluation.
I'm tracking CP's evolving vocabulary in general...
I'm developing, which is coming soon...
I'm collaborating with other groups.
I'm experimenting with keeping a log of hours.
I'm keeping my eye on CP's Open Budget 2013
I'm thinking about these questions...
I'm posting notices and opportunities of interest on our bulletin board
I'm thinking about the logic of my wiki practice My wiki practice.
Funding, funding, funding. Visit this page for news on my research and applications.
You can learn about my PhD research here.
I'm putting together a portfolio for here.

Return to Main Page * Marsha's Research Hub on the CP Wiki

My Post-doc Project: Valuing the Economy and Ecology of Collaborative Cultural Production

I am currently undertaking in a two-year post-doc fellowship at CCW, University of the Arts London. My project evolved from my practice-based PhD on dialogic art (discussed above/right) and my research as part of Critical Practice. Overlapping in time/space, these enquires composed each other through a common focus. Both explored the authorship of cultural production as always already collaborative and contingent, subject to both specific and systemic conditions and shot through with a polyphony of voices past, present and future. I am especially interested in the interdependence of cultural production, with this spread across:

  • (1) cultural outcomes (events, publications, etc.);
  • (2) cultures/processes of creative production (i.e. the self-organization of Critical Practice Research Cluster as embedded within the worlds of art and education and composed/composing the practices of those involved);
  • (3) the collaborators' subjectivities, with these understood as both relatively autonomous and relatively shared, forged through micro/macro politics and other aspects of the contexts in which these subjectivities take shape.

Feeding into Critical Practice's interest in evaluation (2012-2015), my current research 'evaluates' the Cluster's co-authorship through the dual lenses of economy and ecology.
'Economy' in this context refers to the production and circulation of goods and services within and around Critical Practice. 'Ecology' concerns the interpersonal interactions among those involved as they work together to socially reproduce the Cluster as a living organism. The advantage of both systems is that they do not presuppose a primacy (epistemic, ontological, methodological) of any one aspect. Priority is instead given to tracing the interactions of myriad aspects and energies as they enable the Cluster's cultural production to flow--or not.
I am enthusiastic about working with Critical Practice to develop mechanisms of evaluation that are attentive to the complex processes of defining what is of value(s) in cultural outcomes and cultures of production. Because 'evaluating' subjectivity as a form of cultural production is my specific concern, I aim to concentrate on this in my more independent research project. Critical Practice intends to generate a large-scale market-like event in the spring of 2015 and a publication shortly there after. Developing in parallel, I anticipate an exhibition and accompanying publication of my practice-based explorations. No doubt there will be significant and surprising overlap between both research enterprises.

My practice as an artist, researcher, educator, curator and writer unfolds through collaborative cultural production. I co-author events, exhibitions, publications and other projects to explore authorship in an expanded sense. No aspect of my practice operates in isolation: they're all part of a wider, complex network which includes genres, materials, processes, concepts, contexts, resources and relationships, to name some of the conditions explored in my practice-based research. And what compels this investigation? It's 'the work of art' in relation to the 'the art of work' with authorship bridging the gap between.

My recently completed PhD minds this gap by proposing a praxis of dialogic art. I define this as art brought into being through exchanges between people as they interact with information, objects, and/or each other. Dialogic art considers structures of cultural co-production (collectivity, collaboration, participation, etc.) to better understand the complex interactions through which culture is authored.

My practice-based research insists that in addition to co-creating artworks and cultures of collaboration, cultural producers also co-author their individual and shared subjectivities through working together. Elaborating an interdisciplinary framework for engaging the reciprocities among these three areas (work, culture, subjectivity) remains core to my research.

Dialogic art draws on Mikhail Bakhtin's philosophy of dialogue, John Law's and Bruno Latour's work on Actor Network Theory (ANT) and post-structuralist ideas about compound-complex subjectivities, viz. experience of self where individualization and collectivization get all messed up. Key terms include: the dialogic, reciprocal relations, methodological mess, hybrid authorship, politicised not knowing, the post-collaborative condition and self-portraiture of a process.

A long time ago I received a BA in History and Art History from the University of Victoria, Victoria, Canada and then a BFA from Emily Carr University of Art and Design, Vancouver, Canada. For several years I lived in Taipei Taiwan, where I studied Mandarin at National Taiwan Normal University (國立台灣師範大學國語教學中心) while working as a docent at The National Palace Museum.

At present I'm based London, UK but spend most of my time in other timezones and spaceslips working with My People online and around the world.

When I'm not developing my post-doc project (described below/left), I'm probably meeting with Critical Practice, Precarious Workers Brigade, Contemporary Marxist Collective or Pangaea Sculptors Centre.

Email me at marshabradfieldatgmaildotcomb