Re-addressing practice-based research: funding and recognition

Research Methodologies talks series, Art Creativity Education and Culture Mphil Course, 2015

This session will focus on the recent contemporary art context characterised by a strong theorisation of practice defining a research practice of its own. The session will look at existing models of artistic (academic and independent) research, while introducing the dimension of participation in research and its impact. Within this paradigm we shall also consider: the ontology of the produced and/or embedded knowledge on the one hand, and the role of the artist as interface in society (and education) on the other.

EGGHEAD, a Journal of Art, Vol 2, No. 2, ISSN: 15965414, 2017

Art practice as research is known by various terms including Practice-based, Practice-led and Art-based research. This paper is an attempt at defining certain aspects of art practice that could be termed as research. It also aims at providing a critical discussion of the existing terminology, which denotes the use of practice within research, and relate it to the different roles that art practice can take within research. It provides possible basis for further debate on practice-based research, especially practice-based PhD programmes. What is art practice? In what ways can art practice be regarded as research? What kind of art practice constitutes this evolving paradigm? What is the future of this evolving paradigm in Nigerian Universities? These questions would underpin and construct the focus of this paper.

acuads.com.au

We find ourselves at an interesting intersection. As supervisors of practice-led research higher degree students in both art and design, we find ourselves consciously using different vocabularies when we teach our postgraduate students research methods. We encounter stark differences in project designs and we find ourselves switching hats as we alternate between draft exegeses and consider, for example, the poetic goals of an installation artist one day and the pragmatic aims of an interaction designer the next. The contrasts are quite apparent on the ground, yet when we turn to the literature on practice-led research, we find that the fields of art and design are largely undifferentiated. While considerable work has been undertaken to articulate the research paradigms of creative practice (Gray and Malins 1993; Sullivan 2005; Haseman 2005; Biggs and Büchler 2008), and to exemplify it through multidisciplinary case studies (Barrett and Bolt 2007; Bourke et al. 2005; Brien and Williamson 2009), much of the available literature does not distinguish between the approaches of art and design. Research processes, outcomes and knowledge contributions are often undifferentiated and are discussed through reference to incommon traits. At times they are bracketed together as a single term (art-anddesign) or treated as interchangeable terms (art/design) and discussed as if one domain encompasses the other. We can trace the conflation of art and design research back to the mid 1990s and early attempts at formulating practice-led research for the academy. For example, cultural capital' in Proceedings of Speculation and innovation (SPIN)

2016

Following the release of the 2015-16 ERA National Report which details a greater recognition of non-traditional research outputs coupled with a growing research cohort in the creative arts and design within Australian universities, there is a great opportunity to strategically rethink practice-led research models to increase the visibility and perceived value of creative practice as research, as well as the potential for ARC grant success. The proposed paper examines the current state of practice-led research within the academy and suggests ways of strengthening creative arts research by adopting research models and approaches from other disciplinary areas, as well as engaging in multi-disciplinary projects that highlight the unique contribution and significance of art and design research. Using interdisciplinary research models currently in development with the Tasmanian College of that Arts (TCotA) in partnership with the Creative Exchange Institute (CxI) at the University of Tasm...

Leonardo, 2017

This article explores the subject of practice-based research, its application in the creative arts and its role in generating new forms of knowledge in the context of the PhD. Our aim is to provide more clarity about the nature of practice-based research, the approach we advocate and how it contributes to new knowledge that can be shared and scrutinized in a form that is both accessible and rich in its representation of the full scope of creative arts research. We draw on examples spanning over 35 years of experience in supervising interdisciplinary PhD research programs in the arts, design and digital media.

Journal for Artistic Research, 2022

artistic research, artistic thinking, designer capitalism, art practice PhD, decolonised research, tacit knowledge, cruising utopia, cognitive-affective mapping, embodied knowledge, refusal to research

ACUADS 2009 Conference: …, 2009

The rise of the 'practice-led' research approach has given us a new way of understanding what creative practice in art, design and media can do in the academy and the world-it can materialise new ideas and forms into being as a form of experimental research. Yet, to date, attention around the world, and especially in Australia, has been chiefly directed at the postgraduate research degrees, most notably the PhD or doctoral equivalents. Recent mapping projects and surveys of practice-led research in Australia reveal much about the institutional conditions of higher degree researchers, supervisors, examiners and research training (Baker et al

International Journal of Art and Design Education, 2015

Art Education, 2018

DAT Journal, 2018

This special issue of DAT considers thinking in the South. It asks, ‘Where practice is constituted as inquiry, what might Southern voices look like in Art & Design research?’ In compiling this special issue of DAT, we asked 13 doctoral candidates in Brazil and New Zealand to consider these issues in relation to their current practice. The majority of the authors are currently pursuing research through two universities: Universidade Anhembi Morumbi in Sao Paulo, Brazil and AUT University in Auckland, New Zealand. In writing these articles, they adopted the position of first author and, supported by a supervisor/ mentor, they considered the question of practice-led inquiry in relation to a current research project. All of these researchers push at parameters to activate distinctive ways that practice might resource knowledge. They draw on cultural, geographical and ideological positions shaped by their locations in the South. Thus, in offering these considerations of practice-led research, we propose that we might learn ‘from’ rather ‘about’ emerging scholarship that generates knowledge beyond the emphases of the Global North. The collection proposes both convergences and divergences with established thinking. It emanates from an acknowledgment that the “peculiar histories that generate social and artistic practices, form dialogic encounters with voices on the peripheries of authority and loop back and forth in an iterative process to generate theory from the ground.” In so doing, DAT offers a collection of distinctive voices that speak from, and into, a renegotiating world. These voices question through practice, Connell’s ideas of a traditionally pure and authoritative Global North but, they also reassert the nature of practice-led research in Art & Design as something both culturally formed and self-responsible. Summary New Thinking & Emerging Thoughts: Practice As Research In Design, Art And Technology - Sérgio Nesteriuk, Welby Ings; Navigating artistic inquiry in a creative-production thesis: the narrative and illustrative potentials of realismo maravilhoso - Tatiana Tavares, Welby Ings; Interactive digital images: from simulacrum to immersion - Leonardo Lima, Gilbertto Prado; Mourning Songs: signing practice-led research in everyday life - Emily O’Hara, Maria O’Connor; Heuristics – A framework to clarify practice-led research - F. Derek Ventling; The artist’s book as a space for discourse - Cristiane Alcântara, Monica Tavares; Police, Criminal, Dog, Dentist: An Interactive Audiovisual Installation - Júlio Jackson Marinho, Suzete Venturelli; SEE BEYOND: contributions to the project-based practice of sighted and visually impaired students in the context of higher education in Design - Geraldo Coelho Lima Júnior, Rachel Zuanon; Undoing the Academic Self: Performing Critique and Uncertainty within Practice-led PhD - Rumen Rachev, Dr. Janine Randerson; Pūrākau: He Mahi Rangahau - Robert Pouwhare, Hinematau McNeill; Moana Nui Social Art Practices in Aotearoa - John Vea, Christopher Braddock; Rehearsing Practice as Research - Olivia Webb, Christopher Braddock; Challenges of Open Design: from theory to practice - Rodrigo Argenton Freire, Evandro Ziggiatti Monteiro, Claudio Lima Ferreira; Practice-led doctoral research and the nature of immersive methods - Marcos Steagall, Welby Ings.