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Art and research. These two terms have become ever more entangled since the late 1990s: artists and curators now routinely describe their work as research or research-based. The resulting objects, whether material or immaterial, are examinations, case studies, explorations, surveys, investigations, enquiries or interrogations into particular phenomena or sets of questions – preferably with ‘critical’ added as a prefix. Aesthetic references to research are also common. Artworks and exhibitions often include objects that look like research
Seishin Seirigaku Kenkyūjo (Psychophysiology Research Institute, PRI) was a short-lived collective (1969–70) in Japan that aspired to create a network of experimentalism using mail art and reproductive technology. Its initial statement clearly articulated its scope and ambition
This article analyses the theological development of the eighteenth-century Church of England priest Augustus Montague Toplady through two manuscript collections. The first of these is a copy of John Wesley’s Explanatory Notes upon the New Testament that Toplady heavily annotated during his time as a university student in 1758. This book is held in the Methodist Archives and Research Centre at the John Rylands Library. Toplady’s handwritten notes total approximately 6,000 words and provide additional information regarding the development of his views of John Wesley and Methodism, ones which he would not put into print until 1769. Toplady’s notes demonstrate how he was significantly influenced by the works of certain Dutch, German and Swiss Reformed theologians. The second is a collection of Toplady’s papers held by Emory University in Atlanta, Georgia. Together, these sources enable Toplady’s own theology and his controversies with Methodists to be viewed from a new perspective. Moreover, these sources provide new insights into Toplady’s conceptualisation of ‘Calvinism’ and changes in the broader Anglican Reformed tradition during the eighteenth century.