By Mary M Gergen
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Additional resources for Playing with Purpose: Adventures in Performative Social Science
Are poetic, transgressive, unfinalizable, and transformative” (quoted in Kamberelis and Dimitriadis 2005, 44). In this vein, Denzin and Lincoln have encouraged researchers to become bricoleurs, working with whatever materials are handy and useful for their inquiry, and to “take on multiple and gendered images: scientist, naturalist, fieldworker, journalist, social critic, artist, performer, jazz musician, filmmaker, quilt maker, essayist” (Denzin and Lincoln 2000, 4). It is thus that their Handbook of Qualitative Research (2005) has devoted chapters to performance ethnography, street performance, visual methods, autoethnography, arts-based inquiry, cultural poesis, and investigative poetry.
When asked to respond to the piece, Ken choked with tears in recalling Riegel, whose premature death left an unutterable void. More ebullient was Kip’s later video piece Thoroughly Postmodern Mary, a “biographic narrative interview,” as Kip called it. The piece did rely on collaboration, as it reflected Mary’s responses to Kip’s interviewing her about her life. The video ultimately included visual designs, photographs, text, and music. Perhaps his crowning achievement is the movie Rufus Stone. This professionally directed and acted film is based on Kip’s research on the oppression experienced by older homosexuals living in rural England.
Each will speak to a different audience, thus bringing science and society into mutual orbit. Many artists have shown how their craft can be used to build a different future. German expressionist paintings formed a telling critique of the rise of bellicose fascism; socialist realist paintings and photographs pricked public consciousness in their depictions of the poor; and the work of feminist artists fostered solidarity among women, to cite but a few examples. Today it is perhaps the world’s youth who lead the way in using artistic forms for purposes of social change.