Not Signed-In
Which clippings match 'Art And Design Research' keyword pg.1 of 1
01 JULY 2014

The art object does not embody a form of knowledge

"In this paper, I start from the position that the proper goal of visual arts research is visual art. An alternative position is that the art making process yields knowledge that is independent of the actual art objects produced. However, this relegates the art object to that of a by–product of the knowledge acquisition process, and, in my view, places visual art making in the service of some other discipline. Notwithstanding the fact that valuable knowledge may be acquired in this way, from my standpoint it would be undesirable for this to become the dominant mode of arts research. Therefore, from my position the most interesting proposition to explore is the claim that the art object is a form of knowledge since it locates the art object as a central and fundamental component of the knowledge acquisition process.

Nevertheless, as you will see, in this paper I argue against this proposition. I will not claim that the visual art object cannot communicate knowledge–it can. Instead, I will argue that this knowledge is typically of a superficial nature and cannot account for the deep insights that art is usually thought to endow into emotions, human nature and relationships, and our place in the World, etc. In short, I aim to demonstrate that visual art is not, nor has it ever been, primarily a form of knowledge communication; nor is it a servant of the knowledge acquisition enterprise."

(Stephen Scrivener, 2002)

Scrivener, Stephen (2002) "The art object does not embody a form of knowledge". Working Papers in Art & Design – Vol 2.

1

CONTRIBUTOR

Liam Birtles
07 NOVEMBER 2012

Journal for Artistic Research: a focal point for diverse artistic voices

"Introducing a high–quality journal in the field allows an ever–increasing number of artistic researchers to partake in what for the sciences and humanities are standard academic publication procedures. Given that artistic research has become a worldwide movement with many local activities, JAR can serve as a focal point, bringing together diverse voices, facilitating the discourse and thus improving the artistic research community.

In the context of JAR, artistic research is doubly defined: insofar as it is research, it enhances knowledge and understanding; because it is artistic, however, the mode of presentation is essential. This definition excludes works of art that share modes of presentation with artistic research, but do not enhance understanding. It also excludes research that is not dependant on an artistic mode of presentation. Thus, the development of epistemological as well as artistic criteria for the exposure of artistic research is a key ambition of the Journal; part of JAR's mission is to re–negotiate art's relationship to academia and the role and function of research in artistic practice. Furthermore, JAR embraces research practices across disciplines, thereby emphasising the transdisciplinary character of much artistic research.

JAR's unique presentation of artistic research as 'weaves', instead of 'pages', facilitates multi–modal exposition, thereby meeting the desire of artistic researchers to have their work displayed and documented in a manner that demonstrates a respect for modes of presentation. By introducing, together with the RC, a standard for documentation, the Journal is responding to the international artistic and academic communities, which demand high quality referencing and documentation. Moreover, the Journal meets the need of art institutions such as museums, galleries and collections for artistic research to be more easily accessible."

(Michael Schwab)

Fig.1 Deborah Harty and Phil Sawdon (2010). "humhyphenhum: Still 5".

1

TAGS

academic journalart and design researchart exhibitionart galleriesart museum • artistic mode of presentation • artistic practiceartistic research • artistic research community • artistic researchersarts institutionsarts practitionerarts researcharts researcherepistemological criteriafine art collections • high quality referencing • high-quality informationJAR (journal)Journal for Artistic Researchknowledge and understanding • modes of presentation • multi-modal exposition • Research Catalogue (service) • research practices • research requirementsSociety for Artistic Research (SAR)transdisciplinary research • weaving metaphor • weaving together

CONTRIBUTOR

Simon Perkins
09 OCTOBER 2012

Royal College of Art Research Repository

"RCA Research Repository is designed to support the collection, archive and publication of the College's research practice, processes and outputs. ...

The repository is an open access academic resource, to which anyone at College has access, and to which all research staff are able to manage and publish their research, work–in–progress, bibliographic records and data to the World.

The repository platform is based on the open source EPrints standard digital repository and MEPrints extensions – developed by EPrints Services, University of Southampton, with visualisation extensions devised by KULTUR RCA has further adapted EPrints platform and interfaces for use by its own researchers and staff."

(RCA Research Repository)

1

TAGS

academic resourceart and design researchbibliographic information • bibliographic records • creative practice researchdigital repository • EPrints • EPrints platform • EPrints Services • KULTUR RCA • MEPrints • open accessopen access digital repository • open access repository • RCA • RCA Research Repository • repository platform • research archiveresearch collectionresearch outputsresearch practiceresearch processresearch processesresearch publicationresearch repositoryresearch resourcesresearch staffresearcherRoyal College of ArtscholarshipthesisUniversity of Southamptonwork-in-progress

CONTRIBUTOR

Simon Perkins
16 JUNE 2005

Coalescing in the act of interpretation

"A person who is trying to understand a text is always performing an act of projecting. He projects before himself a meaning for the text as a whole as soon as some initial meaning emerges in the text. Again, the latter emerges only because he is reading the text with particular expectations in regard to a certain meaning. The working of this fore–project, which is constantly revised in terms of what emerges as he penetrates into the meaning, is understanding what is there."
(Hans–Georg Gadamer)

2). Adrian Snodgrass and Richard Coyne (1997) 'Is Designing Hermeneutical?', Architectural Theory Review, Journal of the Department of Architecture, The University of Sydney, Vol. 1, No. 1, pp 65–97.

1

Sign-In

Sign-In to Folksonomy

Can't access your account?

New to Folksonomy?

Sign-Up or learn more.