Kip Jones

KIP JONES, an American by birth, has been studying and working in the UK for more than 19 years.
Under the umbrella term of 'arts-based research', his main efforts have involved developing tools
from the arts and humanities for use by social scientists in research and its impact on a wider
public or a Perfomative Social Science.

Jones is Reader in Performative Social Science and Director of the Centre for Qualitative Research
at Bournemouth University. Kip has produced films and written many articles for academic
journals and authored chapters for books on topics such as masculinity, ageing and rurality,
and older LGBT citizens. His ground-breaking use of qualitative methods, including
biography and auto-ethnography, and the use of tools from the arts in social science research and
dissemination are well-known.

Jones acted as Author and Executive Producer of
the award-winning short film,
RUFUS STONE, funded by Research Councils UK.
The film is now available for
free viewing on the Internet and has been
viewed by more than 13,000 people in 150
countries.

Areas of expertise
• Close relationships, culture and ethnicity
• Social psychology, sociology
• Ageing, self and identity
• Interpersonal processes, personality,
individual differences,
social networks, prejudice and stereotyping
• Sexuality and sexual orientation
• Creativity and the use of the
arts in Social Science

Media experience
His work has been reported widely
in the media, including:
BBC Radio 4,BBC TV news,Times
Higher Education, Sunday New
York Times, International
Herald-Tribune
and The Independent.

Friday, 19 June 2009

The one about Princess Margaret



Place: New York City Time: 1965

An auto-ethnography/auto-biography/auto-ephemera audio/visual production that describes its creator as a member of a culture at a specific time and place: being queer in 1965 on one night in New York City at a famous (straight) mod nightclub, “Arthur”.

Themes include being different, the celebration of being an outsider, seeing oneself from outside of the “norm”, and the interior conflicts of “coming out” within a continuum as a (gay) male in a straight world. These observations are set within the flux and instability of a period of great social change, but which are often viewed in retrospect as consistent and definable. Being straight or being gay can also be viewed in a similar way within the wider culture’s need to set up a sexual binary and force sexual “choice” decision-making for the benefit of the majority culture.

As auto-ephemera, it documents minor transient personal moments of everyday life: something transitory, lasting a day. Through the device of the fleeting moment, the story interrogates the certainties and uncertainties of the “norms” of modernity.

'The one about Princess Margaret'

The script for the video is available. An article about how the video came to be, "How Did I Get to Princess Margaret? (And How Did I Get Her to the World Wide Web?)" is also available. See also: Exploring Online Methods at Leicester University and Ethnography And The Internet: An Exploration

Thursday, 18 June 2009

The Alistair Stories...

Alistair. There’s a book in my Alistair stories to be told someday. He wasn’t famous, but yes, we admired the same famous people. Laurie Anderson was one of them.

I met Alistair in a Philadelphia gay disco standing next to a popcorn machine at a Sunday afternoon ‘tea dance’ sometime back in the early 80s. He was from New Zealand, travelling around the US on one of those one-price open tickets, had just been in NYC staying at the Chelsea Hotel (to soak up the atmosphere) and had come to my hometown of Philadelphia to visit its wonderful Museum of Art.

I didn’t know where NZ was exactly, but I thought it was near Japan. I gave him my Japan (David Sylvian) badge (a band I loved at the time).

After a lot of push/pull, a lot of doubt and angst and, only on his second night in Philadelphia, we slept together. I say angst, because he was the kind of “with it”, young beauty with just enough NZ exoticism to make him totally out of my league. So of course, I was immediately smitten and fell in love and went into my sick puppy act. He was leaving on the morning of the third day. How could he? I had just found him. My club friends were jealous so I knew that he must be a catch.

I wanted him back and had no money to follow him to Washington DC. Walking through a square in Philadelphia, tears streaming down my face, I reached into my pocket and found about $15. A florist's shop was just ahead of me and I walked in. I asked the person at the counter, "can you send flowers to DC?" "Yes. Of course. What would you like?" "Flowers like the one's in the film, 'Diva'." "What?" "Just call DC, they will know what I want." The person on the other end did know the film and even squealed, I think, when it was mentioned. The gay mafia. So the flowers were ordered and I was broke.

That Parisian bouquet did finally convince him to return a few days later. We spent almost a week together. A lot of art talk, a lot of fucking.

Then he left for the west coast, never to return.

I was devastated. I couldn’t think of anything else but getting him back to the east coast (and he had that open ticket too). I called him several times a day on the west coast until he stopped answering the phone.

I thought about the famous people he had mentioned to me. I got Divine’s autograph for him. I found some of the hair from disco diva Sylvester’s weave on the floor of my friend’s club and saved it for him.

Then I met Laurie Anderson. She had a one woman show at the Philadelphia Institute of Contemporary Art and so I took my broken heart along to see if viewing someone's work admired by Alistair would remind me of him. ( I told you that I was in bad shape) It was the opening night, so Laurie Anderson was there. The only art I remember was a little muslin doll in a rocking chair on the floor of a gallery with her image projected on it talking to gallery visitors. I thought it was quite funny. (Was I going off the deep end?)

I found Laurie. She was very friendly and we began to chat. Of course, all of my conversations at the time were about Alistair and how in love I was and how I would never see him again and how he was going to leave LA and fly to New Zealand (wherever that was) and how I would never see him again!

I guess I was quite convincing. Laurie responded (I did let her get a word or two into the conversation), “Get a poster or something and I will write him a message”. I grabbed one of her exhibition posters and a marker. She wrote in grand lettering: "Alistair, Come back! He loves you. Laurie Anderson”.

A day or two later I was phone-stalking Alistair in California again. Finally, he picked up.

“I think that you want me to come there, don’t you?"I asked.

“I thought you’d figure it out eventually” he chided. "Meet me in Los Angeles next Monday. I will be at LAX around noon waiting for you with a gelato. Don’t call again.”

I hung up the phone excited beyond belief. I had never even been on a plane before. I had no money. Fortunately, my brother, convinced by my sob story, bought the ticket. I was going to LA to be with Alistair for two weeks!

I took Laurie’s message with me and handed it to him shortly after I arrived. He acted quite laid-back (it was California after all and he had had a bit part in Merry Christmas, Mr Lawrence).

Underneath his slight smile or smirk, I guessed that Laurie had pleased him, even I had pleased him somewhat by coming to California.

The airport departure two weeks later is a story for another time. Suffice it to say that we believed that we would never see each other again.

A few years later, I went to Paris for the first time only because it was a place that Alistair had said that he wanted to visit (although I never admitted to this at the time). I sent him a sarcastic postcard soon after arrival. This postcard journey opened a whole phase in my life (again, a story for another time).

We did meet up again, years later in Philadelphia, when he was on a shoot for the BBC and then several more times when we were both living in London. I was involved with someone else at the time. He seemed more serious and not so light and carefree then. I missed that. We tried to be friends, tried to rekindle something, but it never was quite the same.

Laurie was right. He should have come back when she told him to.

[You can read a short piece of mine in the Journal of Nursing Research on emotion and art. The painting that I talk about in the article is of the beach where Alistair and I spent many days whilst in California. This was my second venture into autobiography 'by stealth' in academic journals. Now you have the back story to that paper too.]

Tuesday, 16 June 2009

Monday, 15 June 2009

This Simon Biggs!

Thanks to some detective work, we have found Prof Simon Biggs at Edinburgh College of Art.
He dug up the original online conversation, and has posted it on his website

He has a great deal in common with the efforts that we have been making in social science over the past few years.

Which Simon Biggs???

Twitter can be fun. And frustrating. This appeared recently:
"creativity and knowledge formation can be regarded as forms of social interaction rather than outcomes of activities ... Simon Biggs"

Great statement. Fits in with relational aesthetics and gets me excited.

But who is this Simon Biggs? [Turns out there are several Simon Biggs scattered around the globe in academia]

A mystery then. To be solved?