"Austin Kleon's talk 'Steal Like An Artist' is a creative manifesto based on 10 things he wish he'd heard when he was starting out. Austin is a writer and artist. He's the author of Newspaper Blackout, a best-selling book of poetry made by redacting newspaper articles with a permanent marker. Austin's talk was delivered as part of the TEDxKC presentation of TEDxChange. Austin's work (including his new book) 'Steal Like An Artist' has been featured on NPR's Morning Edition, PBS Newshour, and in The Wall Street Journal. He speaks about creativity, visual thinking, and being an artist online for organizations such as SXSW and The Economist."
(TEDx Talk, 2012, Kansas City)
"DESIGNERS ENJOY DESIGNING
The practicalities of the design-based Ph.D (or Ph.D's generally in the creative arts) often fails to recognise the wider needs of the researcher who would typically have bachelors and masters degrees in their field and where the structure of their degree programme(s) would have been practice-based i.e. they have considerable prior history of creative practice; they enjoy creative practice; and they may well miss the fulfilment of creative practice if none was undertaken during a three to five year full time Ph.D.
STUDENTS NEED TUTORS THAT CAN DESIGN
Practice-based learning at undergraduate and masters level requires a significant taught input by competent practitioners. It is all too common for academics to loose or fail to develop capability in practice as they move through an academic career that is based on teaching and research. The typical route by which full-time academics with a practitioner background acquire a Ph.D is through part-time study. In order to maintain competence as a practitioner for the benefit of students, there is a case to encourage the use of practice in staff Ph.D's.
RESEARCH OUTCOMES NEED DESIGNING
An unexpected outcome from the author's experience of Ph.D supervision in creative disciplines has been the scenario where professional practice was necessary for the progress of the research. 'Tools' are a popular and relevant outcome from design-based Ph.D's and situations arise where the tool itself must be designed in order to facilitate its validation. It is therefore necessary to consider the use of researcher-practice where practice is not a direct means of the data collection but a process by which research outcomes can progress to validation."
(Mark Evans, p.75, 2009)
Evans, M. (2009). "Creative professional practice in methods and methodology: case study examples from Ph.Dís in industrial design". EKSIG 2009: Experiential Knowledge, Method & Methodology, Experiential Knowledge Special Interest Group.
"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)
"The Roses Student Awards is a platform for students to get agencies attention! The awards recognise fresh and original work representative of the next design generation. Roses Student provides the opportunity to get undergraduate work infront a first class judging panel. Is there a diamond among the rough? 10 agencies, 10 judges, 10 chances. Who will make the cut!? ...
The Roses Student Awards deadline 15th Feb 2013. The work will be judged 14th March with the winners being revealed on the night in a networking party at Islington Mill, Salford."
(Roses Student Awards)
Fig.1 2012 winner Abigail Burch (Nottingham Trent University) Brief 1. "Alternative Therapy: Tayburn".
"Why waste time on expensive experiments when the right answer is obvious? The flaw in this thinking is that creativity is an iterative process in which you synthesize the final result from a variety of sources and thousands of potential solutions. It is not purely a deductive process with a single right answer.
When you fail to experiment broadly, you are building your solution from an anemic set of mental and technical resources. It is the equivalent of trying to design a bridge when the only material you've tested is paper. You can certainly build a bridge, but it will not be nearly as good compared to someone who experimented with a broad range of materials and construction techniques including steel or concrete."
(Daniel Cook, 16 August 2010)