Practice-Based Research in the Creative Arts: Foundations and Futures from the Front Line

Candy, Linda; Edmonds, Ernest

doi:10.1162/leon_a_01471

Cited by 148 publications

(79 citation statements)

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“…These students also have transformative aesthetic experiences that redefine how they perceive natural and human-made phenomena (13)(14)(15)(16). Creative practitioners of today increasingly combine art, design, technology, science, engineering knowledge, and skill in practice-led research processes, known widely as "practice-based research" (17). Some creative practitioners make contributions to scientific and engineering research (18).…”

Section: Overview Of the Eventsmentioning

confidence: 99%

Creativity and collaboration: Revisiting cybernetic serendipity

Shneiderman

2019

Proc. Natl. Acad. Sci. U.S.A.

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Section: Overview Of the Eventsmentioning

confidence: 99%

Creativity and collaboration: Revisiting cybernetic serendipity

Shneiderman

2019

Proc. Natl. Acad. Sci. U.S.A.

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“…Both the scientific and creative fields use experimentation through practice-led processes to test assumptions; during this process new questions might emerge (Candy and Edmonds 2018), which can lead to knowledge production (Borgdorff 2012, 68). Evaluations and judgements are based on previous experience and expertise that grows over time.…”

Section: Experiential Knowledgementioning

confidence: 99%

Conditions for experiential knowledge exchange in collaborative research across the sciences and creative practice

et al. 2020

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Interdisciplinary research across the sciences and creative practice offers potential to explore new areas of knowledge previously hidden between disciplines. However, diverging epistemology and expectations make collaboration difficult. We interviewed 11 researchers working in projects that combined scientific and creative practice research, to investigate how they dealt with different epistemological approaches. In some cases, the discrepancies that were first experienced as hindrances turned into enablers, opening up new vistas for learning. Our findings show that the prerequisites for experiential knowledge transfer need to be built consciously by engaging in handson practices and shared cognitive activities that may extend beyond the personal comfort zone. Furthermore, the common goals and research questions need to be motivating for all involved. Although academic research funding agents encourage interdisciplinary research, funding alone is not sufficient to motivate people to work and truly learn together. By combining different types of knowledge in co-creation processes, participants are able to better share each other's views and construct a multifaceted understanding. An analysis of the interviews suggests how a conscious development of interdisciplinary practice helps educate thinkers and makers to feel comfortable in the unsettling zone between disciplinary boundaries, and thus contribute to innovative research.

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“…). Within art and design research, practitioners have identified challenges on claiming the validity of artefacts in research due, in part, to the ambiguity surrounding the definition, objective and value of ‘practice‐based research’ (Biggs ; Candy & Edmonds ), as well as what constitutes an ‘artefact’ (Candy & Edmonds ; Rust et al . ).…”

Section: Introductionmentioning

confidence: 99%

Modelling Experiential Knowledge Ethically: An Artefact‐Based Approach to Visually Documenting a Participatory Design Process with Young People

Mcara¹

2019

Int J Art Design Ed

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This article contributes to the growing debate within art and design education research about the role, legitimacy and accountability of artefacts in the creation and generation of knowledge. I present an artefact‐based approach to visually documenting and disseminating my doctoral practice‐based fieldwork that protected the anonymity of the participants whilst supporting my exploration of the situational, interactional and tacit dimensions of participation. Constructing a three‐dimensional scaled model of the fieldwork setting and using narratives from my field notes, I undertook a cyclical reflective process where I reconstructed critical moments that took place. This was used as both a tool for communicating my participatory design educational practice and for evaluating my findings with the participants. By sharing this sense‐making process, I offer an ethical means of visually documenting fieldwork when working in sensitive contexts and with vulnerable participants, setting out the dual role this design artefact played as both a producer and carrier of experiential knowledge.

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Practice-Based Research in the Creative Arts: Foundations and Futures from the Front Line

Cited by 148 publications

References 1 publication

Creativity and collaboration: Revisiting cybernetic serendipity

Creativity and collaboration: Revisiting cybernetic serendipity

Conditions for experiential knowledge exchange in collaborative research across the sciences and creative practice

Modelling Experiential Knowledge Ethically: An Artefact‐Based Approach to Visually Documenting a Participatory Design Process with Young People

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