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Abstract
In this article, the authors explore and contribute to producing a performative research paradigm where post-qualitative as well as artistic research might dwell and breathe. Entering a thread of discussion that started with Haseman’s A manifesto for performative research in 2006, and building on their own friction-led research processes at the edges of qualitative research, the authors plug in with performativity, non-representational theories and methodologies, post-qualitative inquiry and post approaches. A performative paradigm for post-qualitative inquiry is proposed, where knowledge is viewed as knowledge-in-becoming as the constant creation of difference through researcher entanglement with the research phenomenon and wider world. A performative paradigm produces a space for movement, (artistic) freedom, (post-qualitative) experimentation and inclusion. A performative research paradigm also offers provocations that shake long-established notions about what research is and should be. Within a performative research paradigm, learning/be(com)ing/knowing is always in-becoming – as is the performative paradigm itself.
Highlights
With a performative research paradigm, we mean that the following perspectives on research are at play: Research is understood as creation
We introduce our backgrounds and entries into a performative research paradigm and trace the performative paradigm in relation to its manifestation
We suggest that settling artistic research within a performative research paradigm would ease and facilitate the struggle, releasing the performative potential of artistic modes of enquiring
Summary
There has for a long time been rapid and explosive innovation in how to do qualitative and related strands of research differently Ideas about a performative paradigm seem to come more from artistic research, whereas ideas concerning post-qualitative research are based in a spectrum of post approaches (such as post-humanism, affect theories, feminist materialism and decolonialism) and seem more prominent in educational and social research. Both artistic research and post-qualitative research have grown out of friction with established qualitative methods, often with positivist leftovers in academia. We will elaborate further on some performative mo(ve)ments that affected our research processes in the doctoral dissertations We experienced these doctoral processes as being friction-led in a productive way, forcing us jointly as doctoral students and supervisor to shift over to performative research and post-qualitative inquiry
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