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Artistic Research. Theories, Methods, Practices.

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Sisyphus — Journal of Education, 2015

Although almost every debate about artistic research highlights its novelty in references to «uncertainty», »indefinability», and to its lack of identity whilst «bound to a tradition external to itself», this novelty has lasted for a few decades already. Many of the problems raised today are to be found back when research and art education began to relate within the academic context in the 1980s. So where is the speculative discussion on its uncertainty taking artistic research to? Is a solution intended to be found? Is there a problem to be solved? Through ‘productivitism’ this text argues that the aprioristic idea that artistic research is problematic has been securing its state of pendency and increasing its fragility. The final part of the article suggests a creative potential and a challenging dimension in the process of institutionalization, and ends by pointing out possible topics of work for a shared agenda with contemporary art.

Excerpt of the introduction: In the first part, I will dissect the term research, dipping into the everlasting dispute about art versus science, coming back to the initial term of artistic research and giving ideas of what it is and what it can contribute to scientific research. In the last part I will focus on the education reformation, elaborating detected challenges and chances it might bring. As literature, the essay draws – amongst others – from the book Artistic research published by philosopher, editor and curator Annette W. Balkema and philosopher, editor, curator and Professor for Artistic Research at the MaHKU, Utrecht Graduate School of Visual Art and Design Henk Slager, who is also leading the publication of the Journal of Artistic Research (JAR). It is a collection of essays and discussions from a two-day symposium on artistic research. Other sources are websites of art academies involved in the development of artistic research, different speeches on the topic and the Belgian philosopher, writer and critic Dieter Lesage’s text Who’s Afraid of Artistic Research? On measuring artistic research output (2009). As the evolution of artistic research is still ongoing, I found it important to include a variety of different opinions, in order to detect common tendencies.

English version of "Künstlerische Forschung", in Hans-Peter Schwarz (Hg.): Zeichen nach vorn. 125 Jahre Hochschule für Gestaltung und Kunst Zürich. Hochschule für Gestaltung und Kunst Zürich, Zürich, 2003

Knowledge in its current form is not identical to the knowledge of the sciences. Scientific knowledge is a specific kind of discourse that is set off from the discourse genres of other, non-scientific areas of competence. In concert, they all form a diversity of essentially equivalent and equally necessary systems. Nonetheless, the currently prevalent style of thinking is that cultivated by the sciences and the humanities. And it is primarily scientific technology that has proven to be the most efficient contributor to contemporary society's focus on innovation. Scholarship and the sciences also constitute the last bastion of a culture that exists exclusively as high culture. Scientific research is a curious mixture of ideology and practice, of realistic procedures and unreal demands. The need to resort to scientific support in order to reinforce the relevance or status of a given area of competence has become obsolete. In this paper I shall outline a few thoughts on the character of research in the fine arts. The concept of research is closely allied with the sciences. Even so, it is fruitful to apply this term to the pragmatic context of artistic endeavour although it is not possible to address the concepts of research and art in greater depth in this context.

Since its beginnings in the 1990s, “artistic research” has become established as a new format in the areas of educational and institutional policy, aesthetics, and art theory. It has now diffused into almost all artistic fields, from installation to experimental formats to contemporary music, literature, dance or performance art. But from its beginnings—under labels like “art and science” or “scienceart” or “artscience” that mention both disciplines in one breath—it has been in competition with academic research, without its own concept of research having been adequately clarified. This manifesto attempts to resolve the problem and to defend the term and the radical potentials of a researching art against those who toy all too carefully with university formats, wishing to ally them with scientific principles. Its aim is to emphasize the autonomy and particular intellectuality of artistic research, without seeking to justify its legitimacy or adopt alien standards.

Artistic Research: Charting a Field in Expansion, 2019

Artistic Research: Charting a Field in Expansion provides a multidisciplinary overview on different discourses and practices, exploring cutting-edge questions from the burgeoning field of artistic research. Intended as a primer on artistic research, it presents diverse perspectives, strategies, methodologies, and concrete examples of research projects situated at the crossroads of art and academia, exposing international work of significant projects from Europe, Asia, Australia, South and North America. The book includes chapters on diverse fields of thought and practice, addressing a common thread of questions and problematics. The comprehensive editors’ introduction offers a much-needed extensive overview of practice-based artistic research in general. This book is ideal for graduate students across philosophy, cultural studies, art, music, performance studies and more.

BEYOND INTERPRETATION Selected Online Proceedings from the 3rd Festival Conference of Music Performance and Artistic Research “Doctors in Performance”, 2021

Starting from the question whether the combination of non-artistic practices could be part of Artistic Research (AR), this paper goes back to an investigation on whether the approach of art & technology projects could be interpreted as AR. The idea draws on the way these projects sought to combine technological innovation and development with artistic production. 2 By seeing these aspects as essential parts of AR, a preliminary definition would be: It is … a) the examination of a defined object or problem (specificity), b) either a relation of the artist's work to (1), defined by other AR practices, or a trial series that shapes in and through the process (methodology), c) defined by an outcome considered as art; it may have features useful to other disciplines or be shaped according to other research interests (artistic & research output), d) a process that is essential to the outcome, which may be multidisciplinary (relation), e) comprehensible that the outcome is the result of the process, and lets others understand this process or continue from there (legibility & transferability). 3 For Leon Harmon's and Kenneth Knowlton's Computer Nude (Studies in Perception I) (silkscreen print, 87x183 cm, 1967) and the follow-up series, art historians suggest that its creation entailed the development of new methods of computation of images, namely the assertion of values of easily displayable signs to certain shades within the image (

English version of "Einsicht und Intensivierung - Überlegungen zur künstlerischen Forschung", in Elke Bippus (Hg.): Kunst des Forschens. Praxis eines ästhetischen Denkens. Diaphanes, Zürich/Berlin, 2009

What is it that distinguishes artistic research? Can one speak of a tradition of artistic problems? The tendency is to concentrate on trying to define the essential features of artistic research. This involves inquiry into not only how artistic research differs from but also how it resembles or is comparable to scientific research and philosophical work. As far the pragmatics of research are concerned, there is no fundamental difference between the systems of art and scholarship. And in both fields, it is often no easy task to distinguish substance, i.e. what is essential and intrinsic to the conditions and rules of the research process, from accident, i.e. what factors should be assigned to the external operations of research. One might inquire into whether artistic research works with special methods, whether it makes use of a specific set of tools, whether it typically addresses a specific subject of research, and whether it produces knowledge that is characteristic of art.

Eidos. A Journal for Philosophy of Culture, 2019

Concerning artistic research, the state of affairs is still one of delusions and confusions. The reason for this is the pluralization and dedifferentiation of rationality pushed forward by the postmodern period. The way out of it is the way of differentiations. Thus, it seems helpful, first, to remember what we already have in philosophical aesthetics, namely four basic models of art and knowledge. The question, then, is whether artistic research fits into (one of) these models. To my mind, it does-though in a new way. Secondly, it is helpful to have a short sober sociological look at the situation. Finally, we have to ask the question about the kind of research that is at stake in artistic research. Here, the meaning of non-propositional knowledge and Kant's idea of an as-if-knowledge is useful. All in all, artistic research still fails in giving a sufficient explanation of itself.

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Artistic Significance, Creativity, and Innovation Using Art as Research

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• First Online: 31 July 2019
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• Ross W. Prior 3  

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Art as research ; Art-based research ; Artistic research ; Imagination ; Inventiveness ; Practice as research ; Practice-based research

Introduction to Art as Research

In recent decades there has been considerable interest in research rooted in practice, which has begun to establish a range of new research paradigms that move away from scientific ways of investigating to approaches more useful to the creative practitioner where objectification, statistical analysis, and control groups may be of less usefulness. Unlike science, detachment, objectivity, controlled experimentation, random trials, and rationality do not reach the heart of artistic inquiry. In artistic research there are particular art-based considerations, which means that science or social science is not the mode of inquiry.

Approaches to research depend on epistemologies, which vary considerably across disciplines and even within specific disciplines. The range of new possibilities is complex, and this complexity is...

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Dewey, J. ([1934] 2005). Art as experience. New York: Penguin.

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Eisner, E., & Barone, T. (2012). Arts based research . Los Angeles: Sage.

McNiff, S. (1998). Art-based research . London: Jessica Kingsley Publishers.

McNiff, S. (2009). Integrating the arts in therapy: history, theory, and practice, Springfield: Charles C Thomas.

McNiff, S. (Ed.). (2013). Art as research . Bristol: Intellect.

Prior, R. W. (Ed.). (2018). Using art as research in learning and teaching: Multidisciplinary approaches across the arts . Bristol: Intellect.

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University of Wolverhampton, Wolverhampton, UK

Ross W. Prior

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WMIER, The University of Waikato WMIER, Hamilton, Waikato, New Zealand

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Department of Informatics and Computing, Zagreb University of Applied Sciences, Zagreb, Croatia

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Prior, R.W. (2019). Artistic Significance, Creativity, and Innovation Using Art as Research. In: Peters, M., Heraud, R. (eds) Encyclopedia of Educational Innovation. Springer, Singapore. https://doi.org/10.1007/978-981-13-2262-4_64-1

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DOI : https://doi.org/10.1007/978-981-13-2262-4_64-1

Received : 25 February 2019

Accepted : 25 February 2019

Published : 31 July 2019

Publisher Name : Springer, Singapore

Print ISBN : 978-981-13-2262-4

Online ISBN : 978-981-13-2262-4

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