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How to Make Art at the End of the World

Jul 18, 2024, 25 min read

by Natalie Loveless

Introduction: Art in the Expanded Field

In the pages that follow, I attend specifically to the ways that dialogic, socially oriented, and research-based art practices are remade within the university-as-site. (p 2)

… Lacan’s 1964 lectures on the gaze as objet petit a … (p 2)

Possibly referring to Lacan’s Seminar XI - The Four Fundamental Concepts of Psychoanalysis

I do this toward a vision of a university not in ruins … a university of creativity, experiment, and what I will frame in the pages to come as a mode of eros that is committed, cathected, and sustaining. (p 3)

It is for the insertion of voices and practices into the academic everyday that work to trouble disciplinary relays of knowledge / power, allowing for more creative, sensually attuned modes of inhabiting the university as a vibrant location of pedagogical mattering. (p 3)

“Practice-based research is an original investigation undertaken in order to gain new knowledge partly by means of practice and the outcomes of that practice.” (p 5)

… these are definitional debates that matter not to the making of research-based art in general, but rather to the use of artistic forms and methods as the rendering public (publishing) of research within a university context. (p 5)

In this context, it seems to me that, in very many ways, giving “art” the status of “research” does little more than echo early feminist interventions in to the canon that took the form of “add women and stir” - a tokenistic gesture of inclusion that does nothing to change the logics that structure these exclusions in the first place. (p 6)

Implicitly: what is the purpose of research-creation? Are we simply a marketing device?

… my focus is … on what research-creation does in, to, and as part of ongoing university discourse in the arts, humanities, and social sciences … (p 7)

Again, implicitly: why do research-creation? What is its role here at the university?

… I mobilise research-creation as a mode of resistance to individualist, careerist, and bibliometric university cultures. (p 8)

… when the dialogic and pedagogical start to be used as artistic material, the university becomes both a site of institutional critique and an exploratory playground. (p 9)

  • dialogism

  • pedagogy

  • artistic material

  • Bourriaud, Nicolas, relational aesthetics (Les Presses du réel, 2002)

  • Kester, Grant H., Conversation Pieces: Community and Communication in Modern Art (University of California Press, 2013)

  • Kwon, Miwon, One Place after Another: Site-Specific Art and Locational Identity (MIT Press, 2004)

Could we not say that distributed synthesis uses the internet as its artistic material? And is the internet not exemplary of “the dialogic and pedagogical”?

… research-creation is very much entwined with endogenous drives in contemporary art practice, theory, and history. (p 10)

Research-creation as a constructive collision of discourses.

This worry is set up as a structure in which the value of one term (research) will necessarily eclipse the other (art). (p 11)

The way that the arts have historically been devalued in the academy at large mimics the structural relation of art maker to art thinker in the discipline of art history itself, which too often presumes that artistic practice, while it can be seen as a vehicle for research or thinking with the capacity to seriously impact rather than only express or reflect social experiences and issues, still fails the benchmark of rigour and accountability to which academics hold themselves. (p 12)

It is in the context of such perspectives that research-creation programs can be seen as particularly potent locations from which to reassess and reconfigure how we, in the overlapping fields of art, art history, and visual culture, understand our subjects, objects, and methods of study and publication. (p 12)

Research-creation can reconfigure how we understand things, ie. what can be parsed / rendered intelligible. Ie. it acts on the set of implicitly held commitments necessary for concept / language use

… at the doctoral level, artistic production is no longer solely an object of scholarly inquiry but is itself legitimate form of research and dissemination, which in turn raises questions regarding the book-length monograph as the only legitimate product of a dissertation in the arts and humanities (p 12-13)

… pedagogical ideologies - regimes of truth - configure the parameters of legitimate research questions as well as what counts as rigour or excellence, for both student and teacher. (p 13)

… this first chapter offers stories of pedagogy, of art, of research, and of the intertwined pressures that we face in the neoliberal university today - pressures that affect not only our capacity to keep up with ever increasing service and administrative loads, but, linked to this, our very capacity to speculate, dream, and imagine otherwise. (p 14)

As Henry Giroux (2013) writes in his persuasive op-ed piece in Truthout, “Not only does neo-liberalism undermine both civic education and public values and confuse education with training, it also wages war on what might be called the radical imagination.” (p 113)

  • Giroux, Henry A., ‘Public Intellectuals Against the Neoliberal University’, Truthout, 2013 link

… chapter 3, “Polydisciplinamory”, offers the beginning of a theoretical framework fro the research-creational approach presented thus far. … by drawing on the affective literacies of theoretical polyamory. (p 14)

… psychoanalytic theory is my friend, helping me to theorise research-creation as a method attentive to cathexis and situated curiosity in ways that necessarily tumble out of the frame of the monodisciplinary. (p 15)

… the objet petit a, in this chapter, becomes a figuration that helps put desire and drive centre stage in the research-creational game. (p 15)

… the objet petit a … is what we are in the grip of when we find ourselves pushing our projects into disciplinary and formal directions that we don’t yet know how to justify. (p 15)

Ie. when we are using our feelings to navigate a network of implicit conceptual relations without the guidance of explicit propositional knowledge.

There is no longer any question that we are living in compromised times, within which the fantasy of an uncompromised self is isolationist, privileged, and dangerous (Shotwell 2016). (p 16)

  • Shotwell, Alexis, Against Purity: Living Ethically in Compromised Times (University of Minnesota Press, 2016)

Not only does the Vitruvian man not exist, but the illusion of rationality, independence, etc. implied therein actively shields our complicity from scrutiny.

The arts … offer modes of sensuous, aesthetic attunement, and work as a conduit to focus attention, elicit public discourse, and shape cultural imaginaries. “How might the world be organised differently?” is a question that matters urgently, and it is a question that art - particularly art attuned to human and more-than-human social justice - asks in generative and complex ways. (p 16)

… if we understand research-creation as an approach to bringing academic and artistic tools together in more-than-disciplinary ways that challenge the current hegemony of the book-length monograph as the only legitimate outcome of a PhD in the arts and humanities, then it does, indeed, need a critical discourse that exceeds the parameters of disciplinary legitimation. (p 17)

… it invites us to think beyond this form, to denaturalise it, and ask ourselves how we might, each, engage in remaking and reshaping our institutions by bringing artistic literacies, modes, and approaches to bear on the wicked problems that surround us … (p 18)

1: Haraway’s Dog

… stories are “wondrous things. And they are dangerous” (King 2003, 9; emphasis added).

  • ‘The Truth about Stories: A Native Narrative’, dir. by Thomas King, CBC Massey Lectures (CBC, 2003)

There is music in the telling of a story, a primeval sense of correctness that the audience must become complicit in if they are to “get” it.

  • In order to be powerful in this way, the story must imply prosody, even on the page.
  • What the story offers, as opposed to a mere argument, cannot be summarised or given in any less words.
    • Kundera, Milan, The Curtain: An Essay in Seven Parts, Reprint edition (Harper Perennial, 2007)

… King invites us to think about stories as material-semiotic events that impact - indeed, configure - worlds. (p 21)

King invites us to be attentive to which stories we are crafted out of as well as which we participate in crafting; which stories we teach, and which stories we are taught by. (p 21)

The role of storytelling in assigning to us the commitments that come to constitute our subjectivity.

  • As Kant, via Brandom, contributes: we are constituted by our commitments.

For King, the relation of storyteller to story-listener conditions which stories are whose to tell and when, producing stories not only as sites of knowledge but as ethical relations. … Both frame these intertwined sensorial relations as productive of stories that matter. (p 22)

The telling of a story entwines propositional knowledge and ethical relations (normative commitments), in a process of mattering.

What King and Haraway ask, each in their own way, by mobilising different stories in different ways, is that we seriously attend to and recognise the constitutive power of the stories through which we come to understand the world, and, when necessary, give our all to reorganise them. (p 22)

We must a) understand this relationship and b) try to fix things when there is a problem here.

Importantly, within both King and Haraway’s texts, it is curiosity that emerges as key to our capacity to make such changes. (p 22)

… Haraway suggests that to “find arguments and stories that matter to the worlds we might yet live in” (3) we must investigate, with the curiosity of she-who-does-not-already-know, the material-semiotic entanglements, the “worldliness” out of which each of us, at any given moment, emerges. (p 23)

  • Haraway, Donna Jeanne, The Companion Species Manifesto: Dogs, People, and Significant Otherness (Prickly Paradigm, 2003)
  • reminiscent of Ingold’s mycelial people
  • monism

… “contained within creation stories are relationships that help define the nature of the universe and how cultures understand the world in which they exist” (p 23)

One of the first of these stories os the story of Charm, who creates the world cooperatively with nonhuman others, almost, it seems, by accident. The story begins with Charm digging a hole so deep that she falls through it … (p 23)

In a similar vein, Melissa K. Nelson’s “Getting Dirty: The Eco Eroticism of Women in Indigenous Oral Literatures” (2017) tells stories of Star woman (241) and Sky woman (254) digging, both refusing cautions, and both embodying the driven power of erotic, feminist curiosity. (p 114)

  • Nelson, Melissa K., ‘7 Getting Dirty: The Eco-Eroticism of Women in Indigenous Oral Literatures’, in 7 Getting Dirty: The Eco-Eroticism of Women in Indigenous Oral Literatures (Duke University Press, 2017), pp. 229–60, doi:10.1515/9780822373162-008
  • creation story

… the driven version of curiosity that King ascribes to Charm takes over her very sense of self such that her actions are no longer volitional but are constitutive: she doesn’t make them; they make her. (p 23)

It is just such a curiosity that, taught by Haraway and King, I would like to claim as central to the approach to research-creation for which this book argues. (p 23)

Research-creation is a constitutive commitment to digging through the frame.

At the end of his book, echoing many a poststructuralist theorist, King draws on the words of poet and novelist Jeanette Winterson to assert that language is not something we speak; it speaks us (King 2003, 2). (p 24)

  • King, Thomas, The Truth about Stories: A Native Narrative, 3rd ed. edition (University of Minnesota Press, 2008)
  • Lacan says a similar thing about “language users” being used by language in Seminar XVII - The Other Side of Psychoanalysis

… the crafting of a research question is the crafting of a story that is also the crafting of an ethics. (p 24)

… research-creation as a methodology that, therefore, necessarily side-steps disciplinary allegiance. … rather than letting our research questions be conditioned by the structures of legibility and value … we must take seriously King’s call to tell stories differently and pair this with our own versions of the questions that Haraway asks herself: “Whom and what do I touch when I touch my dog?” and”How is ‘becoming with’ a practice of becoming worldly?” (2007, 3)(p 25)

  • In telling stories differently, are we summoning a kind of ironism? Ie. attending to the ways in which the vocabulary established by mono-disciplinarian creation stories trap us in a holding pattern?
  • What do I touch when I touch javascript?

“so … what is your dog?” (p 25)

Is javascript my dog? … distributed synthesis?

Together we discovered that to frame a research question in this way helped to unpin it from a primarily disciplinary orientation …

  • stay as close as you can to the material.

… it placed the curiosity-driven question first. What these texts modeled for us was an approach to research rooted in process, multiplicity, context specificity, and contingency - one that might even be called emergent.

This term - emergent - is peppered throughout Companion Species, and it is often paired with symbiogenesis. The terms rhyme conceptually. While symbiogenesis, forwarded by the evolutionary theorist Lynn Margulis (1967), speaks to the relational origin of organisms (an understanding of the contested distinction species as emerging through symbiosis rather than mutation), emergence describes an aggregate property of elements, none of which demonstrate that property inherently within them.

  • symbiogenesis
  • emergence
  • Sagan, L., ‘On the Origin of Mitosing Cells’, Journal of Theoretical Biology, 14.3 (1967), pp. 255–74
    • Sagan ^ may be Margulis’ married name?

Emergence is relevant to research-creation … because it refigures disciplinary research objects in ways that invite us to think interdisciplinarity-as-emergence: as productive of outputs that exceed what is demonstrably present in their constituent parts. (p 26)

… this complexity is not simply a failure that adequate perspective … might correct (what Haraway has called a God trick (1988, 582), the view of everything from nowhere), but rather that complexity is the name of the game, whether we are talking turtles (King 2003), elephants (Haraway 2003, 12) or metaplasm (54); it is “stories about stories, all the way down.” (p 26)

  • the unconscious is structured like a language
  • the Real comes to us already in conceptual form
  • Haraway, Donna Jeanne, The Companion Species Manifesto: Dogs, People, and Significant Otherness (Prickly Paradigm, 2003)
  • God-trick

… eros figures something that is conditional (in the sense of being situated) and that is both critically unknown and unknowable (in the sense of being emergent): ” … one cannot know the other or the self, but must ask in respect for all of time who and what are emerging in relationship, is the key” (50). (p 26)

  • Could we risk positing Eros, as a marker of situated-ness, to be a necessary condition for emergence?

… Haraway’s caring must be erotic in order for it to be ethical. (p 27)

  • Lorde, Audre, ‘The Uses of the Erotic: The Erotic as Power’, in Sister Outsider: Essays and Speeches (Crossing Press, 2007), pp. 53–59

… it is in allowing ourselves to be drawn by our loves, our intensive and extensive curiosities, attentive to what and whom we are driven to explore, and examining the complex web of relations that we inherit thereby, that we might inhabit research questions ethically. (p 27)

Agape, in its unconditionality, its lack of situated attention-to-the-conditions-that-are-the-case, fails “to fulfill the messy conditions of being in love” (Haraway 2003, 35) - a love that is both driven and non-innocent. (p 27)

The Aristotelian framework Haraway is drawing on here maps onto the psychoanalytic only if we read Haraway’s eros as aligned with the Freudian death drive and agape with the Freudian life drives. (p 116)

In other words, when in love-as-eros, the story is never told; it is always in the process of unfolding …

  • ironism: no final vocabulary
  • When you know someone with a capital K, you are, in a sense, ready to kill them.

True love (eros) leads, as Haraway models for us, to true curiosity - to truly driven curiosity. The kind of curiosity that lends itself well to the “drive” that psychoanalysis thinks with; the kind of curiosity that can get one into trouble, and that forces one to try and figure out how, in Haraway’s idiom, to stay with that trouble. (p 27)

… a research-creational approach insists that it is to our deepest, doggiest, most curious loves that we are beholden, and that it is love - eros - that must drive our research questions as well as our methodological toolkits. (p 28)

… an ethical structure of research cannot, if we understand the ethics at stake here to be something expressed in the form of Haraway’s love for her dog(s) or Charm in her digging, be given first and foremost by discipline. (p 28)

… research-creation, as a “problem-oriented” modality, puts situated curiosity - troubling and troublesome, erotic curiosity - at the helm. (p 29)

” … Interdisciplinary study consists of creating a new object, which belongs to no one” (72). (p31)

  • Barthes, Roland, Mythologies, trans. by Annette Lavers (Hill & Wang Pub, 1973)

A boundary object does things with disciplines, satisfying certain of their requirements, without, however, belonging properly to any one of them. (p 32)

In some ways, it is an in-coherent object. (p 33)

The mere presence of a boundary object agitates the primeval sense of correctness (that set of normative commitments which constitute its context, and which are responsible for rendering its intelligibility).

It promiscuously inhabits all of these spaces, speaking to each, resisting being fully claimed by any one disciplinary location while being nonetheless legible across all of them. (p 33)

( … research-creation as something that hovers ambivalently between “art and not-art: and “research and not-research”). (p 37)

… challenge the norms of those fields, producing boundary objects that insist on being undutiful. (p 37)

  • Gunkel, H., C. Nigianni, F. Soderback, and Kenneth A. Loparo, eds., Undutiful Daughters: New Directions in Feminist Thought and Practice, 2012th edition (Palgrave Macmillan, 2012)

… research-creation, thus figured insists that curiosity, in all its erotic pluripotency, be its guide, pushing us to tell new stories in the academy, stories that denaturalise singular disciplinary locations while nomadically claiming space within all of them; …

  • Braidotti, Rosi, Nomadic Subjects: Embodiment and Sexual Difference in Contemporary Feminist Theory, Second Edition (Columbia University Press, 2011), p. 352 Pages

2: Discipline(s)

… as Felman tells it, rather than functioning as a deterrent, the storekeeper’s prohibition (like Badger’s warning to Charm) works not to quash but to ignite her curiosity. (p 39)

  • Felman, Shoshana, Jacques Lacan and the Adventure of Insight: Psychoanalysis in Contemporary Culture (Harvard University Press, 1987)
  • prohibition
  • curiosity

… Felman asks us to shift our pedagogical habits from a practice of searching for the known or knowable, the manifest content of a reading practice, to a reading (and research) practice that is attentive to the aesthetic, excessive dimensions of knowledge. She invites us to cathect not only the content of (in this case) the Lacanian text, but its poetic, excessive, and difficult form. (p 39)

To work interdisciplinarily, on this reading, is to attend to who is producing knowledge and how that knowledge is being produced in ways that defamiliarise and reorient discipline from identity to act - to a thing one does rather than a thing one is (Foucault 1978) (p 40)

  • Foucault, Michel, The History of Sexuality. Volume 1, An Introduction (Allen Lane, 1979)

As Bill Readings suggests, in his prescient The University in Ruins: our job, here, is to orient ourselves toward “not a generalised interdisciplinary space but a certain rhythm of disciplinary attachment and detachment, which is designed so as not to let the question of disciplinarity disappear, sink into routine” (1997, 176; emphasis added). (p 41)

Research-creation, taken as critical interdisciplinary praxis, asks us to attend to how we habitually justify our research through disciplinary stories, those that we tell and those we have been told along the way. (p 41)

… it asks us to question whether writing, on a page, in an article or book format, is, indeed, the appropriate, most effective, persuasive, or interesting way to “write” our research. (p 41)

  • If (for example) the problem is that it has become impossible to point words at the right thing, would dance, with its ability to index, not be a more useful intervention?

… as long as all adjudicating members are willing to listen when a colleague from a neighbouring field explains why what may seem banal from the perspective of one field is, in fact, important, even innovative, to another. (p 41)

… art does not make conclusive, defensible arguments and therefore cannot be, strictly speaking, research; art … fails if it communicates too didactically, too clearly, and thus cannot function as scholarly research … (p 44)

  • propositional knowledge
  • Kundera makes a similar point about the art of the novel, in The Curtain
  • I don’t buy Natalie Loveless ’s argument here. I think she makes two mistakes:
    • she implicitly reinforces the notion that context independent propositional knowledge is not only possible, but the university’s raison d’etre
    • she undervalues the contribution art makes by implicitly impacting what can be rendered intelligible within a given context

… it is also to question our very understanding of the work of the university. (p 45)

… and legible (enough) to those doing the work of assessment to count. (p 45)

It is to tell new stories, in new ways, in the academy. (p 45)

The unheimlich, on the other hand, asserts (for Royle, as for Freud) the ego’s inability to inhabit a position of mastery within its “own home” (vis-à-vis the unconscious). (p 46)

It is that thing that erupts unpredictably into an otherwise unremarkable moment, defamiliarising it and rendering the presumed unclear. (p 46)

… to experience the uncanny is to always be, like a boundary object, within and without simultaneously. (p 46)

In the Freudian uncanny, the security of a single-point perspective - intellectual certainty: I see from here and I see that - is shattered and transported into a register in which perspectival certainty is impossible. (p 48)

Research-creation … is, at its most interesting, a decidedly uncanny practice. (p 47)

… the radical undecidability that constitutes the uncanny includes within it a drive toward knowledge; the uncanny instantiates a (curious) drive that hovers at the intersection of knowing and not knowing, belonging and not. (p 47)

Etymologically, curious has the same root as careful or curate: to care. (p 47)

… the uncanny asserts that feeling displaced (ignorant) at the moment one feels one should be at home (knowledgeable) is the condition of knowledge making at its best …

… it “is really the form of the narrative and not the theme in itself which plays the decisive role in the production of uncanny effects” (Kofman 1991; 137; emphasis added) (p 48)

  • Kofman, Sarah, Freud and Fiction (Polity Press, 1991)

… when I teach Brazilian pedagogical activist and theorist Paolo Freire’s work in my graduate courses I highlight the way that he draws our attention not only to conscious emotional economies (those moments when a reaction to a teacher or a text can be clearly articulated and accounted for in positive or negative terms) but also to affective economies - those moments when reactions and bodily instincts or drives run the pedagogical show (be it curiosity or anxiety or both in equal measure). (p 48)

Rather than nurturing an irrepressible, unruly, and situated curiosity, the banking model understands knowledge as information bits that are depositable, retrievable, and usable at some moment completely separate from the original scene of learning …

… unlike fear, anxiety is a structure without object, or, rather, without predictable object. (p 49)

  • Freud, Sigmund, Beyond the Pleasure Principle (Penguin UK, 2003)
  • anxiety

… one might see why anxiety is a condition that is often ascribed to the experience of working research-creationally, and why the uncanny is a useful structure to think with in unpacking research-creation as a site of both promise and threat.

… if, in so doing, art … is asked simply to accede to the reigning logics of the university without being allowed to remake the university through its presence, to render the university a site of potential uncanniness by rendering the familiar unfamiliar, then more is needed. (p 51)

… to find language that is capacious enough to speak to the variety of practices that their students and colleagues, and they themselves, are developing while also being narrow enough to offer some methodological traction for those seeking to work within the genre(s). (p 52)

  • generating vocabularies, as a process, seems central to the project of research-creation

Frayling’s short, yet influential, essay is mostly concerned with unpacking inherited caricatures that accrue to the figures of the artist (expressive), designer (experimental), and scientist (rational or mad) …

  • Frayling, Christopher, Research in Art and Design (Royal College of Art, 1993)

… research into art and design, research through art and design, and research for art and design (1993, 5). (p 52)

  • Read, Sir Herbert Edward, Education Through Art (Faber & Faber, 1943)
  • three categories of practice based research

Rightly or wrongly, we tend to feel that the goal here is the art rather than the knowledge or understanding … (p 52)

Research-for-creation names a practice in which research produces a final output that takes the form of a non-academically standard object, such as a website or exhibition, or rapid prototype (Chapman and Sawchuk 2012, 15-16).

  • Chapman, Owen, and Kim Sawchuk, ‘Creation-as-Research: Critical Making in Complex Environments’, RACAR, 40.1 (2015), pp. 49–52, doi:10.7202/1032753ar

Creative presentations of research, Chapman and Sawchuk’s third category, references … experimental academic practices … Here the distinction is writerly vocality, and the focus is on the imbrication of writerly form and content.

eg:

  • Derrida, Jacques, Glas (University of Nebraska Press, 1986)
  • Benjamin, Walter, On the Concept of History (Createspace, 2016)
  • McLuhan, Marshall, Counter Blast (Harcourt, Brace & World, 1969)
  • Haraway, Donna Jeanne, The Companion Species Manifesto: Dogs, People, and Significant Otherness (Prickly Paradigm, 2003)
  • Barthes, Roland, A Lover’s Discourse: Fragments, 1st edition (VINTAGE ARROW - MASS MARKET, 2018)

Creation-as-research, Chapman and Sawchuk’s final category … functions, in turn, as a kind of meta-category … Rather than being art, or anthropology, or theory, or criticism, or history, Becoming Sensor is all of the above, improperly, partially, and inter-connectedly. (p 55)

  • research that does not Know fully what it is
  • I suspect that it might be possible to clarify the pivotal role confusion plays in this schema
  • Myers, Natasha, ‘Becoming Sensor in Sentient Worlds: A More-than-Natural History of a Black Oak Savannah’, in Between Matter and Method, 1st edn (Routledge, 2017), pp. 73–96, doi:10.4324/9781003084792-5

… the sound art language of attunement .. (p 55)

  • attunement
  • ^ seems important - I should probably chase this

… it is their final category, creation-as-research … that speaks most powerfully to research-creation as a unique contribution to the contemporary university landscape. (p 56)

  • research-creation
  • Chapman, Owen, and Kim Sawchuk, ‘Creation-as-Research: Critical Making in Complex Environments’, RACAR, 40.1 (2015), pp. 49–52, doi:10.7202/1032753ar

Research-creation, on this reading, is designed to produce polymaths skilled at working in multiple modalities, not just vocalities. (p 56)

… that result in “offspring” that are often unthinkable, illegible within the current institutional frameworks of academia. It creates a chimera. (p 56)

This seems to me to be the schema which makes the most sense:

  • the creative output creates a context upon which the monograph relies in order to be rendered intelligible
  • the monograph then does the work of connecting back to disciplinary propositions

… it is productive of work that, more often than not, fails to fully register on either scholarly academic or art-world exhibition fronts. In doing so, in failing to fully belong, and allowing that non-belonging to denaturalise, emergently, its givens, research-creation tells other stories, uncanny stories, that (have the potential to) carry within them the other ethics that King invites us to attend to. (p 57)

Informed by the uncanny, this critical understanding insists that the question of where and when research-creation functions as noun … or verb … remains open. (p 57)

It requires that one cultivate a robust capacity to follow curiosity and sit with anxiety. And it requires that one navigate multiple pulls across disciplinary sites, methodological approaches, and formal requirements. (p 57)

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