Research on and
from within Creative Practice
One view of art-making is that it is fundamentally a
research process. Each art object, performance or
realized concept is sometimes seen as an experiment
from which the artist learns and from which new ideas
and goals emerge. In some ways, then, it is possible to
see a compatibility among art, science and technology
practices. Obviously, much of the content of this journal has always consisted of reports on active collaborations across these areas. However, it is also clear that
the kind of evaluation or proof used in these three
areas can be quite different. In fact, there is much that
each can still learn from others.
In technological research, particularly in the area
of interaction design, there has been an increasing
interest inexperience, a concern in fact not unlike
some of the research questions of artists. In interactive
art, the artwork exists only in the context of the audience
behavior. We need to understand the experiences of
the audience in considering both their reflection on
the artwork and the interaction design that must be a
a key component of such work.
An important development in research methods
relevant to our field has been the emergence of
practice-based research. The first U.K. polytechnic
was formed in London in 1880. When the concept was
employed in the significant expansion of such institutions in the U.K. in 1968, the goal was to add a ser-
vice element to the mainstream of higher education.
The polytechnics were expected to teach and develop
knowledge with an emphasis on value in practice.
Higher education was no longer to be seen as the
center of new understanding, of knowledge that
described the world, but as the center of new ways
of doing things, of knowledge that improved our ability to act in the world. That emphasis encouraged a
a new look at research around making—for example,
the making of artwork—with less concern for traditional subject boundaries.
When the U.K.’s Council for National Academic
Awards (CNAA) drew up its regulations for the higher
degrees to be awarded from the new polytechnics,
they included a critical clause: “The written thesis may
be supplemented by material in other than written
form.” This enabled students to include artifacts, or
the records of artifacts, as integral parts of their Ph.D.
submissions. Practice-based Ph.D.s today are most
simply identified by the inclusion of such artifacts
within the submission.
The crucial point is that in certain disciplines,
knowledge can be advanced by means of practice. The
the idea has developed that research students, for example, could take as the subject of research the practice
of their own disciplines. The research program would
consist of a continual reflection upon that practice
and on the resulting informing of practice. The examination would be based upon both the results of the
practice and on a thesis presenting reflections upon
the process undertaken. Thus, artifacts would form
part of the candidate’s submission for the degree. The
practice-based Ph.D. can be understood within the
traditional context of the purely written Ph.D. without
any major revolution in education being required.
We need more universities to ensure that their rules
include statements such as the CNAA’s.
These developments have created a rich and exciting-
ing space in which more and more artists and collabo-
creative teams are conducting practice-based research,
particularly in the areas of interest to Leonardo. In
our new initiative, the Transactions section of the
journal, we are publishing refereed papers on a fast
track to the dissemination of key new results, ideas and
developments in practice. Of very special interest are
research reports that draw upon or develop these
newer research approaches. The first set of Transactions papers arose in the context of a symposium held
in Sydney in 2006: “Engage Interaction, Art and Audience Experience.” These papers come from a context
in which collaborative practice-based studies are the
norm. Art, science, and technology are informing one
another through this work in a way that matches the
very first aspirations of Leonardo, successfully employ-
ing methods from one discipline to enlighten another.
ERNEST EDMONDS
Creativity and Cognition Studios
University of Technology, Sydney
Australia
E-mail: <ernest@ernestedmonds.com>
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