"This is sometimes another stumbling block, particularly to the Romantic notion of the practitioner whose aim is the expression of the self. We need to differentiate between activities that are to do with the personal development of the practitioner and his or her creativity, and activities that are significant for others in the field. It is only an activity that is significant for others that can be regarded as research. Personal development does not make a contribution to the 'advancement of knowledge, understanding and insight', except in the most parochial sense, i.e. my advancement. To illustrate this let us consider the discipline of arts therapies. It is the purpose of arts therapies to improve the well-being of the client through an intervention involving the client doing some kind of arts activity such as painting, music or drama, etc. Whether the client produces art, in the sense of 'a work of art' mentioned above, is irrelevant to the process. The activity is aimed at the personal development and self knowledge of the individual and not at the advancement of knowledge, understanding and insight into some issue shared by others. Of course, the client's case may contribute to the advancement of knowledge in arts therapies, but this would be an outcome for the therapist and not for the client. In addition, the client's productions may subsequently achieve the status of 'works' but this would be incidental to their original function in connection with improved well-being. Thus I would distinguish between (1) art as therapy (for the individual), (2) art as cultural practice (the production of works of art), and (3) art as research (meeting certain criteria under discussion). It is my claim that (1) and (3), that is, art as therapy and art as research, are mutually exclusive. I should emphasise that this does not mean that I deny that there is such a discipline as arts therapies research!"
(Michael A. R. Biggs, 2003, Practice as Research in Performance)
"Youngsters Romeo, Ed, and Polly wait in two cars after dark while their parents are inside drinking. It's a situation many Kiwis would recognise: cars in loco parentis outside the bar or rugby club. Soon cross-car rivalry warms to budding friendship. Winning performances, and the tender mix of comedy and romance saw the tale of a Te Kaha pub carpark become an international hit."
(New Zealand on Screen)
Fig.1 writer/director: Taika Waititi (2003). "Two Cars, One Night".
"IDEO Method Cards is a collection of 51 cards representing diverse ways that design teams can understand the people they are designing for. They are used to make a number of different methods accessible to all members of a design team, to explain how and when the methods are best used, and to demonstrate how they have been applied to real design projects.
IDEO's human factors specialists conceived the deck as a design research tool for its staff and clients, to be used by researchers, designers, and engineers to evaluate and select the empathic research methods that best inform specific design initiatives. The tool can be used in various ways - sorted, browsed, searched, spread out, pinned up - as both information and inspiration to human-centered design teams and individuals at various stages to support planning and execution of design programs.
Inspired by playing cards, the cards are classified as four suits - Ask, Watch, Learn, Try - that define the types of activities involved in using each method. Each approach is illustrated by a real-life example of how the method was applied to a specific project. As new methods are developed all the time, the deck will grow and evolve over time.
In its first year, the Method Cards appeared to have unexpected relevance to groups that are not necessarily engaged in design initiatives. Clients report using the tool to explore new approaches to problem-solving, gain perspective, inspire a team, turn a corner, try new approaches, and to adapt and develop their own methods."
"The VADS Fine Art Project aims to bring together, through a distributed digitisation model, artworks from across Higher Education Institutes (HEIs) that can serve to exemplify the history and achievement of fine art education and practice in this country since its inception in the 1850s.
In the initial stages of the project, a survey was sent out to all the Higher Education Institutions in the UK that taught fine art, in order to elicit whether or not student and staff work had been kept or documented. From this survey it was found that many colleges failed or had ceased to collect artworks due to the cost implications of purchasing, storing and insuring the works, leading to the output of many art colleges remaining undocumented.
As the Fine Art Project progressed, protocols for the digital capture, documentation and copyright clearance of work were established. These were then used to collect works from around the country to be included in the National Fine Art Education Digital Collection. However, given their inherent useable and easily applicable nature, it was thought the same protocols could be just as useful to digitally capture, document and rights-clear works within HEIs as and when they were being produced. This would make it far easier and affordable for colleges to capture and maintain collections of their present and past work, as well as offering additional benefits such as making them widely available on the Internet or for other publishing requirements."
(Ed Bremner, 1 September 2003 [last modified: 28th March 2006], Institute for Learning and Research Technology)
"AHDS Visual Arts is based at the Farnham Campus of The University College for the Creative Arts, at Canterbury, Epsom, Farnham, Maidstone and Rochester and is one of five Centres, which together with an Executive, make up the Arts and Humanities Data Service (AHDS). The AHDS and AHDS Visual Arts are funded by the Arts and Humanities Research Council (AHRC) and the Joint Information Systems Committee (JISC).
Mission: AHDS Visual Arts mission is to support research, learning and teaching, by providing visual arts digital resources through robust systems for Internet access and long term preservation; and to encourage, support and facilitate engagement with visual arts digital resources, through collaborative and creative endeavour, primarily within UK Higher and Further Education."
(AHDS Visual Arts, 2003)