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Artistic research suggests alternative methods for producing various kinds of knowledge, whether within or without the confines of academe. These methods may involve either the production of investigative artworks or the writing by the artist of a doctoral dissertation about his or her own work. For cultural researchers, the methods employed by artists engaged in these processes are both familiar and challenging, as conventional ethnography is mixed with more unpredictable experiments. This article presents several contemporary artworks, including sculpture, film, dance, installation and performance that explore various aspects of reality. What can be learnt from these works? And what could be achieved by an open exchange between artists and academic researchers? Four methodological approaches are highlighted as being of particular interest. The first relates to artists’ tendency to live experimentally, using themselves both as actors and as research objects. The second arises from the very tangible ways in which contemporary artworks approach the theme of materiality. The third relates to the emotional nature of much of contemporary art – even when it is categorised as conceptual – in its creation, forms of presentation, and influence on the spectator. Finally, many artists are gifted with the ability to find and communicate surprising meanings in ordinary life. How do they do this? Part of the answer seems to be that although artists are open to the implementation of “wild whims”, they exploit their spontaneity in a highly professional manner.

Between Contemporary Art and Cultural Analysis Artistic research is an alternative way of producing different kinds of knowledge, inside or outside of the Academy. This is accomplished either by producing investigative artworks or by writing a doctoral dissertation about your own work. For cultural researchers the artistic methods utilized in these processes are both familiar and challenging. Ordinary ethnography is mixed with more unpredictable experiments. This article presents several contemporary artworks, such as sculptures, films, dances, installations and performances that explore various aspects of reality. One question asks what is to be learnt from these works. Another question is what an open exchange between artists and academic researchers could attain. Especially four methodological devices are pointed out as interesting subjects for discussion. The first one is that a lot of artists are living experimentally; they make use of themselves both as actors and as research objects. Second, contemporary artworks are approaching the theme of materiality in very tangible ways. Third, much of contemporary art is emotional – even when it is called conceptual – when it comes to the creation, the forms of presentation, and the influence on the spectator. When the artists systematically implement wild whims they exploit their spontaneity professionally. Finally, many artists have the gift to find and show surprising meanings in ordinary life. How do they accomplish that?

Vad kan en paus vara och framförallt vad gör den med sociala situationer? Vi närmar oss den frågan genom att kontrastera två mycket olika pauser. Den efterlängtade rök- och kaffepausen ställs mot det pinsamma avbrottet eller den påtvingade väntan. Olika kulturanalytiska ingångar och skiftande empiriska material prövas i en diskussion om vad det till synes obetydliga säger om sociala relationer i olika kontexter. Med ett historiskt perspektiv följer vi formering och förändring av några paustraditioner där cigaretten och kaffekoppen spelar en central roll. I analysen av det provocerande avbrottet tar vi utgångspunkt i människors berättelser. Pauser upplevs på högst olika sätt och där finns en maktdimension som bör uppmärksammas.                                                                  

What can a break or a pause be about and above all what does it do to social situations? We approach this question by contrasting two very different kinds of breaks. The welcome smoke and coffee breaks are compared to the embarrassing pause or the enforced waiting. Different approaches in cultural analysis and a range of empirical materials are tested in a discussion of what the seemingly unimportant may say about social relations in shifting contexts. Through a historical perspective we follow the formation and changes in breaks organized by the cigarette or the coffee mug. In the analysis of provoked interruptions our starting point is individual narratives. Pauses are experienced very differently and often contain a power dimension that needs to be explored.

Autoethnography is a method for cultural research where you are using your own experiences, as a starting point or as examples of more general conditions. You are both the subject and the object of observation. Recently I tried this method in a Do-It-Yourself project, writing field-notes while working as a home fixer with hammer, screw driver and other tools. I found it to be rather tricky to describe manual work with regard to both body and mind. I also reflected on some differences and similarities between writing and DIY. The purpose of self-narrative experiments like this is to improve fieldwork and cultural analysis. By practicing autoethnography you may learn more about the research process and become more conscious of what is going on when you are doing observations and interpreting them.