Positioning the Arts in the Research Process: Perspectives from Higher Education (original) (raw)
2020, Springer Series on Cultural Computing
Research in the visual arts has contributed to the creation of environments that involve cross-disciplinary, multidisciplinary and interdisciplinary or transdisciplinary projects in departments within and across universities. An overview is provided of the historical context of doctoral awards in the arts with a definition of the terms practice-based, practice-led, and practice as research discussed. It articulates the challenges when acquiring explicit and exact knowledge alongside more subjective approaches that utilize tacit knowledge from artistic practice in research projects. Drawing on examples from art practice and doctoral students work, it analyzes objective, subjective, empirical, and hermeneutic paradigms, as described by Pierre Bourdieu, which can combine empirical approaches and individual understandings to re-enforce our understandings of the world. Keywords Practice-based research • Practice-led research • Practice as research (PaR) creative arts Ph.D. • Collaboration • New technologies • Cross-disciplinary • Interdisciplinary 2.1 Introduction Most researchers are aware of the need to position themselves in relation to other fields or disciplines in order to reveal the particular characteristics of their research findings. At the start of the research process, usually in writing the proposal, it can be challenging for artists when "oneself" often plays a significant role in the object of an enquiry. Research in the arts can be largely hermeneutic; that is the understanding and interpreting of it exposes the subjective limits of the artists' ways of doing and seeing. It is this epistemological method of socially constructing meaning that gives the arts authority within a process of enquiry. However, it is all too easy for knowledge gained tacitly to be "overlooked because it is subsumed into the rational logic of discursive accounts of artistic production" [1]. The articulation of possibilities of artists for shaping consciousness and providing cultural capital can be difficult even
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