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       PARIP 
        Symposium 
 WORKSHOP GROUP 3 TRANSCRIPT  Relating documentation, 
        research practice and the performing media: how do we re/present practice 
        AS research? How do we interrogate processes of documentation 
        vis a vis the production of research in both live and recorded 
        contexts? If videoptaping, a live performance is felt to be a form of 
        documentation then where does the documentation of film/video practices 
        lie? If the performance itself cannot stand on its own without 
        some other form of critical document, then can a film or video stand on 
        its own? If film-, video-, and television-making, like performance-making 
        practices, have complex ecologies, then can their recorded outputs serve 
        as documents of their own making? Rapporteur: Misri 
        Deitch Dey, York St John College We came up with five 
        points. 1) New paradigms for new PhDs should be developed to account for 
        the problems PhD students face with practice as research, examiners and 
        assessors. We would like new structures set up by which the work is talked 
        about. It occurs to us that although other people are dealing with staff 
        research, the PhD does remain a benchmark of academic research as its 
        at PhD level that we have to articulate how our practice as research stands 
        up against the fixed set of paradigms of traditional research. Also, perhaps 
        being among first wave of practice as research PhDs is like what the more 
        established academics experienced when they were the first wave of theatre/drama 
        students at degree level. Maybe there is some value in considering how 
        drama was first articulated as a valid subject within academy. 2) We also 
        questioned attitudes to documentation and memorialization: notions that 
        involve fragmentation. There has been a recurrent undercurrent of feelings 
        of loss and nostalgia with documentation as the memorialization of work. 
        Technology and plenitude make us think we can begin to get there, but 
        we all know that there is no end to what can be said about a single photograph. 
        Is not the potters wheel the best document of artistic process? 
        3) We need to develop modes/examples of documentation appropriate to practice 
        as research. PARIP could establish networks of people who are redefining 
        the boundaries. 4) We need to negotiate the status and function of the 
        document, that different kinds of document have different kinds of status 
        attached. 5) Finally, we wondered what the outcomes of this forum and 
        work of PARIP will be. No additional comments 
 Transcribed by Angela Piccini, 1 February 2002 
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