Research - Heidegger by Ally McGinn

Martin Heidegger is considered one of the leading philosophers of the 20th century. Heidegger was a prolific writer, influential in many fields of study, whose main field of interest was ontology and the nature of being. (Bolt, 2011) This post offers a brief introduction to his work, theories and a few key points in relation to my practice.

This text began as a short overview but has gotten more complex as I've engaged with Heidegger's writings more.

Ally McGinn (2017)  Enframed . found objects, emulsion paint, gold frame and canvas, 250 x 120 x 50 cm approximately.

Ally McGinn (2017) Enframed. found objects, emulsion paint, gold frame and canvas, 250 x 120 x 50 cm approximately.

Daniel Parker sums up Heidegger's preoccupation as “from beginning to end, Heidegger’s thinking revolved around this one basic question of the meaning of being...When Heidegger investigates art he does not do so to determine its characteristics as a specific and isolated region of human experience, but as a possible clue to decipher the meaning of being” (Palmer, 1998)


In ‘Being and Time’ Heidegger referred to subjects and objects as ‘beings’. Heidegger defines many types of beings in our world, where humans are the only ones who care about the nature of their own being.

Heidegger saw this self-referential thinking as something that marked human beings as separate from the other beings, and as an attempted stand against the flow of time.

This text highlights the important factor of ‘being-in-the-world’ and ‘being-with-others’ (Bolt, 2011) which are both ways of describing an important fact of our being; that we exist in relationship with our surroundings and are formed and informed by those relationships.

This directly challenges the notion of ‘distance’ from theory, as the theory is so inexorably linked to the physical that it cannot be undone. Heidegger views this perspective as an unattainable objective, which would seem to fit with the poststructuralist perspective.

In trying to find an objective distance we are ignoring our ‘thrownness’ which Heidegger explains as a term describing our ‘real’ lives and the experience of living in the world. (Bolt, 2011)

Heidegger uses the term ‘Dasein’ translated as ‘there being’ (Bolt, 2011) and meaning both human beings and the state of being, which he saw as indistinguishable from one another.

Daseins are individual and yet interrelate with one another.

Dasein has a ‘throwness’, in which we are thrown into a world that is mostly uncontrollable, wholey so at first, and we are left to find our way. Our circumstances, especially in early life, but also later, can be described as chance, and the combination of these factors are what Heidegger termed, our ‘facticity’. (Bolt, 2011)

‘Throwness’ is a term that is related to experience with others, and being in these constant relating experiences with others can overtake our own sense of self until ‘I’ becomes ‘they’. (Bolt, 2011)

This sense of ‘they’ is important in understanding human nature and the societies we live in, which are based on assumptions and perspectives of ‘they’.

In art, we often respond to our ‘thrownness’ and we are certainly formed by the ‘facticity’ of our lives. When seen in this way the relationship of this deconstructed, interrelated, narrative to Derrida and Danto’s theories about the nature of the interiority and exteriority of art (that the artwork doesn't exist in separation from its context) seems obvious.

Daesin is an interesting term because of its tendency towards self-fulfilment. A term Heidegger refers to as ‘projection’ (Bolt, 2011) which I've taken as; the ways ‘beings’ (who are in daesin at all times) explore and react to the world around them through a process of ‘being’. Our ‘facticity’ ‘projects’ a daesin’s ‘being’ through in a process of continual ‘thrownness’.

Note - I could be wrong here, Heidegger is dense and subjective, but that's my interpretation of it.

Further note - ‘throwness’ can never be in the future, it is the nature of our present. (Bolt, 2011)

Heidegger saw a distinction between everyday daesin and daesin, which can be seen as the difference between being, and questioning that being. (Bolt, 2011) The act of being in everyday terms obstructs the ontological examination of being. Heidegger sees this as a form of inauthenticity, an objective term that is a fact of life as a being. An authentic experience of daesin is one of contemplation of self.


Heidegger and other philosophers have noted a distinction between human ‘beings’ and other ‘beings’ but many agree that objects have a ‘being’. This reminder serves to note that when Heidegger is speaking about ‘being’ and the reliance upon ‘being-in-the-world', those theories can be applied to other types of ‘being’ (with varying degrees of success) including artworks.

In ‘Being and Time’, Heidegger posits the relationship between caring and being. “I care, therefore I am” (Steiner, 1978: 101). Without a form of caring we wouldn't exist, if we experienced an encompassing apathy we would stop moving, interacting, being.

Descartes posited ‘I think therefore I am’ beginning a philosophical stance that pronounces the thought as the only truly ‘knowable’ fact.

Heidegger highlights the impossibility of this statement, we cannot detach ourselves from reality enough to make this distinction. We are in the world and therefore our experience of it, and thoughts about it, are inextricably linked to it, as are all other ‘beings’, artworks included. (Bolt, 2011) This is a stance that resonates deeply with me, and a perspective I have long had without necessarily being able to articulate it.

In ‘The Essence of Truth’ he proposed the idea of caring as a catalyst for truth. (Stanford, 2015) (the word caring, as above, is seen as an interest of some kind) To Heidegger, you must care about something before you can know the truth about it, another resonating thought. Our being exists in the universe, with numerous external influences happening constantly, our interest is drawn, which leads to the uncovering of truth.

Truth is rarely something easily seen and is more often read or interpreted. In this way caring can also be described as an effort, I think, in that we must first engage with something to comprehend the truth of it, which takes an effort of some kind.

The overwhelming amount of ‘things’ to care about, even in daily life, leads Heidegger to compare being alive “to be[ing] surrounded by the hidden.” (Stanford, 2015)

I like this perspective on truth, as it acknowledges an element of autonomy in truth, that it can objectively exist, to some extent, external to the human perceiving it, and it therefore re can be discovered in some way.

Heidegger wrote extensively on the notion of the hidden, and in relation to art - which he saw as a process of revealing the hidden. (Stanford, 2015)

In his essay ‘The Origin of the Work of Art’ published in 1950, Heidegger rejected earlier views of aesthetics, and art, as imitation or reflection, aligning it instead with ideas of truth and beauty. This essay shows once more Heidegger's view art objects can be seen as objectifications of truth, a way to reveal “that which is”. (Heidegger, 2008)

Heidegger describes the relationship between artist and artwork as a dynamic, which can be compared to Derrida’s description of the frame. "The artist is the origin of the work. The work is the origin of the artist. Neither is without the other. Nevertheless, neither is the sole support of the other." (Heidegger, 2008)

Art is separate from the two again, Heidegger saw art as the source for both artwork and artist. In this way, art becomes both the origin of and the goal for the artist and artwork, a cyclical dynamic relationship. A view I find particularly interesting, and something that has inspired a great deal of thinking.

This separation of artwork(object), artist(subject) and art(process) has been discussed further by the modern understanding of visual culture, and the semiotic interpretation of it. That meaning is external to the work as well as internal (or both as Derrida argued) is widely accepted, Heidegger seems to advocate the necessity of understanding the separation and the reliance of each upon the others.

Viewing art as both origin and goal leads to a confusing cyclical thought process about which came first, and how the relationship works exactly. Trying to find the essence of artwork and artist would seem to be a route to finding the essence of art. Heidegger chooses to try for the artwork first, as it is seemingly more concrete than their human counterparts. (Stanford, 2015)

According to Heidegger, and others, artworks can be defined through a set of traits but must be a ‘thing’ in themselves. The definition of a ‘thing’ seems to vary massively. (Stanford, 2015)

This appears to relate to Wittgenstein's ‘family resemblance’ theory.


Being an artist i am primarily interested in Heidegger's theories of aesthetics. Heidegger saw art as something with an inherent value, as an activity, in addition to the value found in the experience of art. He argued that art has a purpose in terms of history, and a form of marking ‘being’ and truth in culture. (Stanford, 2015)

In simple terms he saw the value of art as more than an appreciation of aesthetics, and that by reducing art to a form of sensory entertainment we are missing much of its true value, and purpose in the development of consciousness and understanding of beings.

Artworks are more than simple memesis, they are steps in the meaning of what it is to exist.

It could be described as; Art is the science of the senses. The -ology of the senses, using the senses.

“modern aesthetics is born of the aspiration to be “in the field of sensuousness what logic is in the domain of thinking” (Stanford, 2015)


Heidegger related art and philosophy to ‘movement’, as both a need to be aware of habitual behaviours and a deeper exploration of the ways beings create and interact with art and philosophy. (Bolt, 2011)

This is a thought I plan to return to as it is an exploration of these behaviours where I find my process sits.


In “The Age of the World Picture,” (1938) Heidegger postulates the possible implications of relegating art solely to aesthetic concerns. When “art gets pushed into the horizon of aesthetics,” he suggests that it pushes the artwork into an objectification of experience, which counts as an expression of human life. (Stanford, 2015)

I would argue that it also gives art a finite purpose, in the experience of the moment and for the gain of the subject, which, while often true is not always the case.

Ally McGinn (2017)  Plinth painting . Paintings. 40 x 40 x 60 cm.

Ally McGinn (2017) Plinth painting. Paintings. 40 x 40 x 60 cm.

One of the most critical terms I have come across while researching Heidegger is ‘poiesis’ which can be defined as the work existing in a place of balance between the poetic and the enframed.

The enframed comes from the word ‘Gestell’ meaning framing. (Bolt, 2011) Which, much like Derrida's ‘Parergon’, is a literal or metaphysical construct that shapes the way we view or experience something, in this case, an artwork. Bolt compares the ‘gestell’ to a window frame or skeleton, so as something that supports and underpins the ‘subject’ but remains distinct from it, or hidden in light of the true ‘subject’.

Many artists would consider this contextualising, however, it also includes elements of practice, emotion, location etc.

The poetic state of practice is the fluid and flowing creative status an artist reaches, while working, which allows the revealing of hidden truths in the work, or in its process, that potentially lead to the ‘final’ ‘artwork’.

To Heidegger, this state is what an artist is aiming for, and can be described as the pinnacle of artistic achievement. (Bolt, 2011)

The important factor is that art sits in the Venn space between the two and that the artists practice winds on a route between the two.

This is something that I've been edging around recently, it has come up in lectures, tutorials and studio practice, as the idea of what practice is.

This is a very important point for my practice and an articulate description of the way I work in the studio.


Without getting too bogged down by other concerns it's something to note that there is a great deal of controversy over his Nazi affiliations. Last year new evidence came to light that leaves no doubt that Heidegger was not only a sympathiser but a true believer. (Rothman, 2014) (Zielinski, 2016)

The debate about the impact of his anti-semitism on the validity of his philosophical works seems to be ongoing, and not something I'm going to discuss here, however, it is certainly something to bear in mind, especially given how affirming I have found reading his works to be. Personally, I like to think that the work someone does can exist, to an extent, in separation from the person they were/are.

The idea, and whether it resonates, is more important than the speaker.


Interesting term - ‘Praxial’

Comes from the word ‘praxis’ which is defined by Aristotle as process/practice distinguished from and yet intertwined with, theory.

The Cambridge dictionary defines it as “ the process of using a theory or something that you have learned in a practical way”.

An important term in art. Art, certainly in my practice, is an act of praxis.



Researching Heidegger has shown an interesting perspective on the production and interpretation of art. I began this research after hearing about the idea of the space between the enframed and poetic. However, the research has led to something more.

Heidegger not only explored ‘being’ but embraced the reality of it. His theories around ‘being’ rely and impress on us that we are already ‘being’. Practice and theory combined.

The main thing that this research, and the writing of this text, has shown me is that there is a lot more research to be done. Heidegger, and reading through the rest of ‘Heidegger Reframed’ forms part of my ongoing research plans.


Bolt, B (2011) Heidegger reframed. London: I.B. Tauris.

Heidegger, M; trans. David Farrell Krell (2008). "The Origin of the Work of Art". Martin Heidegger: The Basic Writings. New York: HarperCollins.

Palmer, D. (1998) ‘Heidegger and the ontological significance of the work of art’, British Journal of Aesthetics, vol. 38 no.4, pp. 394-412.

Rothman, J. (2014) Is Heidegger contaminated by nazism? [Online] The New Yorker. Available from: [Accessed - 21.11.17].

Stanford (2015) Heidegger’s Aesthetics. [Online] Stanford Encyclopedia of Philosophy. Available from : [Accessed - 02.11.17].

Steiner, G (1978) Martin Heidegger. Chicago: University of Chicago Press.

Stulberg, R (1973) Heidegger and the Origin of the Work of Art: An Explication, The Journal of Aesthetics and Art Criticism, Vol 32 no.2, pp, 257-265.

Zielinski, L (2016) In His Own Words [Online] The Paris Review. Avaliable from: [Accessed - 21.11.17].

Research Methodologies - Methodological Exercise - MA Open Studios by Ally McGinn

We had the MA open studio’s last night and it was the first time we have all shown work together, and for many the first time, we had seen each other's work. There are some extremely talented people on the course, and it was a very interesting evening.

Inspired by the immersion of other practices I realised that it could be an interesting methodological exercise to view my practice through the lens of other artists, whose practice I know in some way.
This exercise could highlight elements of methodology as well as new perspectives for my own work.

Please Note - All interpretations of the work of other artists are subjective. My interpretations are based on conversations with these artists and encounters with their work, but they are all subject to my bias and misunderstanding.

These are not explorations of the work of these brilliant artists. Where possible I have linked to their websites, I would definitely encourage having a look.

This list of artists is primarily the full-time students (whose work I know to a certain extent) and a few others who I have been able to chat to about their work.

Shirley Sharp -

Shirley’s work, for the purpose of this exercise, would make me view my work through the speech act, or act itself. I would think about the figure of the artist, and the relationship between viewer and artist in a more representational way.
* Pile of canvases that are shaped on one side to form the shape of a person. The other side is left as the natural forms of the pile.


Matthew Dibble -

Dibble’s work is involved with the haptic experience of materials. If I were to use his perspective to explore my subject and interests I would certainly create sculptures. I would likely focus on the pure materials of painting formed in new ways.
* A horizontal plane, with a vertical upright in the centre. On one side (or space - created in the intersection between the two) would be chaos, on the other, order. Representing the space of the work.
* A frame cut into pieces and reassembled to create a new form, on which to display the work.


Deborah Westmancoat -

I have only seen Deborah’s work as an almost scientific process of exploring materials and their effects, and so, I feel, that through this perspective I would explore the qualities of paint and other mark-making materials with the aim to create an archival installation that presents this exploration to the viewer.

Note - The archive was something I explored in the second year of my BA and it is something that has since been an element of influence.


James Glover -

Through James’s perspective, I would likely think about the processes of artists and ways to mechanise them. Many of the processes of artists are menial, or monotonous in some way, and these could be explored in many ways. Most likely in the form of a painting machine or drawing machine, but there are other options. (This is interestingly something I considered a few years ago, but I got distracted by another idea.)

Through studying the reality of artistic practice, rather than the assumptions we make, it is clear that there are activities outside the realm of ‘Art’ that artists undertake more than the ‘Art’ itself.


Jana Jonhardsdottir -

The thing taken from Jana’s current work, in this exercise, is the deconstruction and reconstruction of layers within her work.
My interest in accidents and incidents would come to the fore here, and I feel I would like to make a piece that layers incidental elements on top of one another. If I were to stick to the parameters of being inspired by another practice then these layers would be trapped in perspex.
Layering, without perspex, involves something being hidden, which is something my work has dealt with in more detail. The moment we stretch a canvas we are hiding the wall and the stretcher. Those things upon which the painting relies.


Julian Green -

Julian's work would encourage me to create a detailed representation of an overlooked object. Which is a very interesting idea, as it's not something I've ever considered for myself. The interesting thing is the reason why; I have always considered the ‘real’ object more powerful than its representation, but this is a bias.

This has come to being in the studio in the creation of the piece ‘Reflection’ (2017) which was placed a few weeks ago. I am now forced to wonder if the subconscious influence of Julian's detailed representations encouraged this work. It certainly wasn't a conscious link, but it remains an interesting one.


Scott Sandford -

Scott’s close-up abstractions would encourage me to view the individual elements of my work, expanding them where possible. The obvious route would be to take close-up photographs of things like canvas, wood, and paint. (which I began when working with a microscope in 2015) However, I now think the more subtle perspective i could take from Scott’s work would be to explore the close-up detail in a more material way. For example, enlarging the canvas in a sculptural form, reducing details so that a single element becomes the focus.
In a way, this links to my placement test for threads of canvas.


James Thornton -

James’s work is presented in a similar form to mine, and as we share a studio space this is a very exciting development. What I would probably take from his work, if I attempted to use what I know of it to explore my own, would be a focus on representing a single form, or focus, in various ways. Showing the reality of multiple perspectives on the same subject/object.
This comes into my practice in the use of canvas in alternative ways.


What this exercise has shown me is that there are elements of practice that are already linked through us all. Thinking through and articulating this process has led to some new connections or more appropriately the realisation of existing connections.
I can't currently say if this will have an impact on my work in the studio but I believe it will have an impact on my interactions with my fellow artists.

Research Methodologies - Lectures by Ally McGinn

As part of the Research Methodology module, we have been part of a lecture series. I have made extensive notes from each lecture, which have not, for the most part, formed pages on this blog. However that they have been influential is impossible to deny.

The most influential session was today's, and as a nod to the series as a whole, and this individual session, I'm going to summaries some of the most important points here.

Please note - the following writing comes from notes made in the lecture and my own summation and reflection post-lecture.

Andrew Southall

One of the staff at Bath Spa University, head of the MA in visual culture. Works with a primarily photographic practice, and is interested in the nature of representation in photography. (Southall, 2017)

Andrew Southall (2016)  Turned Timber.  Bromide Print. 50.17 x 58.42 cm.

Andrew Southall (2016) Turned Timber. Bromide Print. 50.17 x 58.42 cm.

Andrew described his practice through a series of works that have explored the making and creation of pieces of Shaker furniture. The exploration of these works is through a dynamic process of representation and presentation. He describes being driven by a sense of the thing itself and the fleeting nature of that representation.
(Southall, 2017) He enjoys the associations that come through the work, including the dynamic between truth and fiction, aesthetics and commercialism, function and purpose.

Andrew works with a knowledge of traditional conventions, to better understand ways those traditions shape the assumptions that come through adherence to those traditions. (Southall, 2017)

I think that Andrews talk, and particularly his interest in the play of truth and fiction for aesthetic purposes, seem to imply that aesthetics are for consumption. Given my growing interest in the impact of capitalism this is a question that I find very interesting.

Andrew describes his practice in terms of an interest in ‘calibration’. Calibrating our experience through imagery. He began to make works that explored the idea of calibration, and different forms of measuring things in life - often things that don’t need measuring.
(Southall, 2017)

This includes a wonderful piece that measures the weight of a stone (and arbitrary stone, that relates to the English unit of measurement) and defines the weight of that stone as ‘1’. This piece is visually and contextually arresting and reminds me of the subversive language of Amikam Toren.

Andrew finds the history of measurements quite fascinating, and admittedly, he has passed that interest onto me.

Other works have begun to explore the idea of representation in the present, creating artworks that I want to see in person. These works contain small ‘calibrated’ moments, often employing film and traditional photographic methods, with a unique twist.

An interesting point raised through the lecture was the nature of drawing. Andrew presented drawing as a representation of an initial idea (which it often is in the process of artists and makers). Which then shifts drawing as a representation of an original into an interesting dynamic. (Southall, 2017) In Andrew’s case, this is seen in the drawings that he uses as guides to make the pieces of furniture, but this notion has relevance for other uses of drawing. Especially considering my growing inclusion of drawing in my studio practice.

From this process, of recreating a piece of furniture from a drawing, Andrew has noted the prevalence of time, as a factor of the research, but also in the process itself. (Southall, 2017) This can be seen as another link, or response, to capitalism, in which we arguably take very little time in the making of things, and far more in the act of choosing them.

(Note added later - It's worth noting, and interrupting the flow to say, that I listened to the capitalism podcast in the morning and wrote a post on Marxism and capitalism throughout the day, so it's likely that I saw that link above others due to that thought occupying my mind. There are many other readings of this observation. For example, the link to the idea of the art object as unique due to the time taken, by a skilled individual, to make it. OR time as a reference to presence in the studio, which is a far more relevant association to my work.)

Once Andrew had finished building the wooden settee he took it to a forest, and photographed it in the landscape, which included the types of trees the wood in the chair came from. Represented in this way, in a picturesque landscape, shows the work in a new perspective. We are more used to thinking about the means of representation as the ‘thing’ that is contemplated, not the landscape itself. (Southall, 2017) This idea relates profoundly to my investigations of the studio and gallery, and the space of display.

This piece, and the relating series are planned as a form of ‘chain reaction’. Andrew has wonderful plans to take the pieces of furniture into various places, conducting interviews with various people. Documents of those interviews, and subjects of future interviews will form the backbone of the work. Andrew won't plan interviews beyond the first few, allowing suggestions for other interviewees coming from the interview themselves. (Southall, 2017)

With a focus on the lived experience Andrews process relies on a process of reproduction and representation, challenging normalised assumptions. We tell ourselves that something is real, and interact with it in ‘real’ ways, however the study of it, and the ‘truth’ of that reality is something far different.

Lydia Halcrow

Lydia is currently studying her PhD at Bath Spa. She came to speak to us about her practice, which is extremely interesting and i would highly recommend looking into.
Her PhD work is ‘An investigation of abandoned places through contemporary painting and mark making’. With more of a focus on mark making as things have progressed.
(Halcrow, 2017)

Lydia Halcrow (Unknown)  The Black Ground IV.  Ink, Graphite and Gesso on OS Map 139. Size unspecified.

Lydia Halcrow (Unknown) The Black Ground IV. Ink, Graphite and Gesso on OS Map 139. Size unspecified.

Lydia’s practice is based on the process of walking, through specific landscapes, and recording and responding to that landscape. During the walks she uses various processes to record marks, and map the walks. In the research she is exploring the history of the landscapes,academically and through personal experience, of herself and her grandmother. (Halcrow, 2017)

Dealing with the fleeting nature of memory and the materiality of place, Lydia’s work is creative and conceptually representational.

Lydia describes walking as a method of unpicking the reality of an unreliable, changeable, source. Investigating what's under the surface, in place and in memory.

Using painterly and drawing methods of mapping her work returns to the notion of the grid, in various ways. She makes small ‘things’ (metal scraped against her shoes and the floor, clay pressed against the hull of an abandoned ship) which form larger grids, growing as the work progresses. She also takes maps (of the location) on the walks. She creates rubbings, paintings, and drawings on top of these papers to create paintings that explore the reality of the landscape, and the act of walking, in different ways.(Halcrow, 2017)

She explores the experience of being in the location in line with an exploration of the context of the place. Lydia sometimes includes written records and observations of the walks she takes in layers of the work. Something she mentions wanting to explore in more detail as her PhD continues.
(Halcrow, 2017)

For me this re-iterates an idea i have had recently. To add reflections, and potentially some of these blog posts, into the work itself. Probably in pencil.

Lydia quotes the grids of John Virtue as a source of inspiration. These are amalgamations of small drawings and paintings that give a snapshot of an ongoing narrative.
While walking our attention is in a state of constant shift, this method of presentation works with those ideas. The viewer's eye is drawn around the space in varying ways, and for varying reasons. Like the experience of being in the place, each experience would be slightly different.

She also noted that when you repeat a walk you are then influenced by the previous walk. This is another important idea, the influence of repeated activity, that i would like to come back to in the future. (Halcrow, 2017)

Mapping is an important part of her practice, including notions of scale. Lydia notes that maps are seen as an accurate representation of information, but that information is tailored, and far from total. (Halcrow, 2017) It is also worth noting that the fact that maps are generally created by humans, or by machines made by humans, adds a layer of fallibility to them.

The ‘maps’ made by Lydia are no less important for the difference in information exchanged. Which maps are more accurate? An aerial view, or a more in depth exploration, as we see in her works. Why do we map certain things and not others. Why not map things 1:1.

Lydia mentioned a hidden layer in painting, the ghost layer. Which is something i must look into in more detail (Halcrow, 2017).

Lydia’s work deals with layers, scale, erasure and multiple viewpoints. Echoes of decay and entropy are evident in the output. She renders clear something that was unnavigable.

Her process developed through a walking methodology. Capturing visual motifs that are distinct to that place. It is a phenomenological practice. Exploring image and material. She spoke of the importance materiality is to the practice, the textures she is walking over and observing directly. Letting that point the direction the work takes. (Examples being the use of clay taken from the estuary and salt in Porlock) (Halcrow, 2017)

These are her own series of maps. Time spent in the place develops a familiarity with it. From that familiarity there comes an unfamiliarity, because you look again. In a similar way to the effect of a familiar word over and over again, changing the perceptions of it.

Working In the coast brings the issue of tidal changes, which washes away the immediate history. Bringing a sense of urgency to her practice. (Halcrow, 2017)

Lydia brought up an interesting point and one that fits with my current passions - presence. The more you are present the more you see.

She is certainly a processed led artist. Once you answer one question you find many more. Through presence and process, you find more and more, into a nearly endless process.

She describes not being fixated on the final object or output but instead allowing the process and materials to shape the nature of the work.


The reason I have included this lecture over others was the combination of two lectures describing practices that seemed to fit with the methodology of my own experimentation.

While the subject matter is vastly different, and these are not the only lecture we have had, there are the lectures about practice-led-research that have come after my recent shift in the studio and research. Therefore I believe I have found these two speakers particularly inspiring both because they are brilliantly questioning practices, and because I feel more confident in where I am and what I am doing, and so ready to see those practices more in-line with my own rather than something in the far distance that I hope to aspire to. (For my own sake I must clarify - this is not to say that I believe I have reached a similar ‘level’ if such a thing exists, but that I can see the potential for what I'm doing now. Which has altered the way I perceive these practices.)


Whiting, M. Southall, A. Halcrow, L. (2017) Research Methodology Lecture Series. Bath Spa University. 5th December 2017.

Research Methodologies - Intro lecture - Knowledge - Useful terms and ideas by Ally McGinn

Research Methodologies - a term encompassing the way we research, as well as what we research. The first written project of the MA is an explorative research module that encourages us to direct and expand that usually solitary activity.

This blog will record elements of my research beginning this year. 

This initial post will cover a brief introduction to the methods I might be following in the coming months, notes from an initial lecture yesterday, by Dr Michele Whiting at Bath Spa University.


Knowledge is more than just facts, it combines background assumption, arguments in the field, theories and informing ideas. Knowledge is information, or a set of understandings, organised into a meaningful whole.  Learning new information puts you at the edge of your knowledge which can be an uncomfortable place.

Everything we do in life is rooted in theory, whether we consciously explore it or not. Interestingly this idea relates strongly with my dissertation last year, and the experience and interpretation of art itself.

Understanding this complex web of context is a matter of asking questions, and understanding viewpoints. 

"The more connections and interconnections we ascertain, the more we know the object in question" - John Dewey 

When we ask questions of something we can begin to know its limitations and benefits. As researchers, understanding how we ask those questions (the position we take as researcher) is important. 

There are two types of knowledge; that which is tacit, which can be described as being difficult to put into words, knowledge that is intrinsically felt or embedded. Its mirror is explicit knowledge, that which is formal and codified, for example academic texts, specifications, instructions. Explicit knowledge can be readily transmitted to others. 

Some useful terminology

Epistemology - A theory of knowledge. Can be described as knowledge accrued by professionals.  Value, worth, literature.  From the Oxford dictionary - "The theory of knowledge, especially with regard to its methods, validity, and scope, and the distinction between justified belief and opinion."

Ontology - Can be described as the nature of being of the 'thing' in question. The real world questions of it. From the Oxford dictionary - " The branch of metaphysics dealing with the nature of being."

Theoretical perspective - This is the position of the person asking the questions. The stance or lens that informs the methodology.

Methodology - The study itself, what strategies, plans, processes or design inform the research. 

Haptic - a method of primary research involving touch and our physical experience. Relies upon a physical manifestation. 

Proprioception - the awareness of something in relation to your body. 

Heuristic - a method of research enabling someone to discover or learn something for themselves. Hands-on or interactive approach to learning. 

Phenomenology - Consciousness and the objects of direct experience. The study of things and the nature of being. Using object as a starting point, but then using the art practice to aesthetically express it beyond its basic expression. Our experience. Immersion. 

Semiotic - Communication through visual signs and symbols. Tacit and explicit. Making subconscious understanding explicit. The relationship between image and meaning. The interpretation of the image and meaning applied. The manipulation of the audience through semiotics. 

Objectivism - removing emotion from the situation. Everything becomes an object. Term coined by William Williams – emphasis placed on viewing the thing in a different way. Analysed in terms of its mechanical features, how it was constructed. A way of clarifying something we have trouble defining or is nebulous, so we can break it down to its core components, which can then be taken further. 

Quantitative - relating to, measuring, or measured by the quantity of something rather than its quality. Quantitive data.

Qualitative - relating to, measuring, or measured by the quality of something rather than its quantity. Thinking outside the box, the quality of the object rather than meaning.

Paradigm - The world view of what we are looking at. Can help tell us what lens we are looking through. The paradigm isn't the lens but knowing it can help understand what end it is. 


And a rather lovely quote by Rudyard Kipling "I have six honest serving men, they taught me all they knew, I call them what and where and when and how and why and who.” 


And so, to end this initial post with a beginning......

Keywords - Art, accident, subversion, found objects, viewer, space, process, authorship, experience, nomination, perspective.

Statement - I am a conceptual painter and installation artist interested in the nomination of the incidental and unwanted as ‘Art’ using a subversion of traditional media and found objects to form new conversations and relationships between materials, viewer and space. 
Representing the process of making, and re-presenting that process to the viewer.


The next post(s) will be a few mind maps and initial explorations into the themes of my practice and an unpinning of some of the theories and artists at the centre of its context.

Ally McGinn (2017)  A Question in Painting  [Installation detail]. Mixed media. Size varies.

Ally McGinn (2017) A Question in Painting [Installation detail]. Mixed media. Size varies.