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Which clippings match 'Embody' keyword pg.1 of 1
04 NOVEMBER 2009

Research into, by, and for Design

"Rendering the tacit explicit is a crucial act of communication that shapes research and the research cultures we build in any field. Only by articulating what we know in some way do we enable others to take it in and adapt or adopt it as their own knowledge. The complaint of novice scholars in design research that we are 'privileging the text' in a way that somehow devalues design has it all wrong. Only through explicit communication do we help others to access our knowledge so that they may themselves transform what would otherwise be the raw data of artefact or experience into information on which they may act to create knowledge. (This involves a series of issues and distinctions I don't propose to elaborate here. I have discussed the nature of knowledge and the distinctions among data, information, and knowledge elsewhere, f.ex., in Friedman [1998] or Friedman and Olaisen [1999])."

(Ken Friedman 21 September 2008)

TAGS

art and designartefactartistic practiceChristopher Fraylingconceptualisationcreative practicedesigndiscoveryembodyenquiryexplicit knowledgeKen Friedmanknowledge • Nabble • PhD • PhD design • privileging the text • researchtacit knowledgetheory building

CONTRIBUTOR

Simon Perkins
22 SEPTEMBER 2006

The Reflective Practitioner: Choreography As Research In An Intercultural Context

"Nevertheless, research which may be vital to the making of a dance work manifests itself differently from conventional research, both in outcomes and intent. Even artists who regard research as central to their practice still tend to view, as their ultimate goal, the artistic product – be it a dance, theatre or musical or hybrid performance, live or via another medium.

Reflective practice, by which I mean artistic practice as research, on the other hand, consciously explores and analyses connections between perception and action, experience and cognition. Although other research can be argued to do likewise, it may be relationships – between the parts and the whole, between form and content, between events and objects, between space and time – which makes artistic practice as research distinctive. Artistic practice as research also involves the presence of researcher/artist and researched/artists in a mutual collaboration and thus its nature is not only relational but emergent, interactive and embodied."

(Cheryl Stock, Queensland University of Technology, Australia)

CONTRIBUTOR

Mia Thornton
12 SEPTEMBER 2006

Christopher Frayling: into, through and for art and design

"Research where the end product is an artefact–where the thinking is, so to speak, embodied in the artefact, where the goal is not primarily communicable knowledge in the sense of verbal communication, but in the sense of visual or iconic or imagistic communication."

(Christopher Frayling, 1994)

[Frayling's research categories (Frayling 1993/4) provide a useful interpretation of design research issues. He identifies research into art and design as one that is 'straightforward, because there are countless models – and archives – from which to derive its rules and procedures' (ibid.). He describes research through art and design is useful for understanding the value of developmental enquiry as a valid research strategy. And perhaps the more interesting approach to research that he identifies is one that he describes as research for art and design.]

Frayling, C. (1994) Research Papers, "Research in Art and Design", Royal College of Art, Vol. 1 no. 1, pp. 1–5.

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