"This paper considers differing understandings about the role and praxis of practitioner-based research for the arts. Over more than a decade the nexus between theory and practice has been a point of debate within the contemporary arts school both in Australia and overseas. This paper attempts to reveal ways of approaching this issue from within and across the disciplines. Discussions with colleagues from the arts representing fields as diverse as music, visual arts, creative writing, women's studies, dance and theatre studies indicate that the research principles explored, albeit briefly, here have resonance for each of these disciplines. Consequently, in an attempt to be broadly relevant for these diverse fields I have chosen to position the model as practitioner-based. Within this widened context I will be exploring the different ways in which studio-based practitioners and academics conceptualise the processes and characteristics of research in the arts and professional practice. However, as this is still work in progress, my exemplars will largely reflect my own field of the visual arts. Further research will enable this model to expand.
Presented is a way to conceptualise and explain what we do as studio-based researchers in the arts. In so doing I am recognising that contemporary practices in the arts reflect a meridian era of evolution, which requires us to be articulate practitioners. This includes being able to analyse and write about our practice in sophisticated ways. I see practitioner-based research and the resultant exploration of personal praxis as a way to achieve this. What I propose is that as artists we open up a larger domain by recontextualizing and reinterpreting aspects of standard mainstream research processes, looking at the resemblances, the self-resemblances and the differences between traditional and practitioner-based research methods as a logic of necessity."
(Robyn Stewart, 2001)
TEXT Vol Vol 5 No 2 October 2001 [http://www.griffith.edu.au/school/art/text/]
By Marsha Vdovin and Ron MacLeod for Cycling '74.
"On Start the Week, Andrew Marr explores how Britain trains the artists and designers of the future. Christopher Frayling and Sarah Teasley celebrate the 175th anniversary of the Royal College of Art, the world's oldest art and design school. But one of its former teachers, the industrial designer Ron Arad argues for a broader arts education which doesn't split sculpture from painting, architecture from design. And the artist Antony Gormley redefines the limits of sculpture and building."
(Start the Week, 2012, BBC Radio 4)
BBC Radio 4: Start the Week, duration: 43 minutes, first broadcast: Monday 19 November 2012.
"The National Centre for Craft & Design sits at the heart of the market town of Sleaford in Lincolnshire in the beautiful riverside setting of Navigation Wharf. It is the largest venue in England entirely dedicated to the exhibition, celebration and promotion of contemporary and international craft and design.
We do not have a permanent collection, providing instead a seasonal programme of dynamic exhibitions ranging from international to innovative new work created by local and regional artists shown across our four diverse gallery spaces."
(The National Centre for Craft & Design, UK)
Fig.1 Claire Morgan (2011). "Gone To Seed", Exhibited at About Time, Hub: National Centre for Craft and Design, Lincolnshire, UK.
"The International Mobile Innovation Screening 2012 will showcase an international screening programme of mobile short films. Simultaniously the MINA [Mobile Innovation Network Aotearoa] Mobile Creativity and Innovation Symposium opening reception will take place at the New Zealand Film Archive in Wellington, Te Anakura Whitiahua, on the 23rd November 2012.
MINA reception (6.30pm) and mobile film screening (7pm-8pm)
The 2nd International Mobile Creativity and Mobile Innovation symposium hosted at Massey University Wellington, on 24th/25th November, will provide a platform for filmmakers, artists, researchers and industry professionals to debate the prospect of wireless, mobile and ubiquitous technologies in a changing art and design environment and the transforming creative industries."
(MINA, Aotearoa New Zealand)