"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.D’s in industrial design". EKSIG 2009: Experiential Knowledge, Method & Methodology, Experiential Knowledge Special Interest Group.
"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/]
"What characterises creative arts research practice in universities that offer doctoral degrees is the requirement not only to undertake a substantial practical project, but also a reflective exegesis that contextualises the methodologies and significant contributions of the research. The specific components of the exegesis are defined by each institution and re-negotiated by each candidate according to differing emphases. Fortunately, and by design, the function of each candidate’s exegesis can be redefined in relation to the practice it seeks to elucidate. And whilst the requirement to also present a substantial written component can initially appear as a burdensome or daunting prospect for those unfamiliar with the processes of critical reflection - to those who recognise its reflexive possibilities - the exegesis in parallel with the creative work of the project can provide another arena of creative practice. In this respect, the outcomes of both a creative arts-based project and its exegesis can be presented as significant contributions to knowledge in the field. Moreover, a third creative space opens. By interchanging and integrating the practice with the exegesis, it may be possible to generate a combined and reflexive research praxis. This chapter examines aspects of the practice-exegesis relationship with reference to my experience of undertaking and completing my doctoral research at Deakin University. I am, therefore, speaking from a position of having confronted and struggled with the practice-exegesis relationship from inside the playing field."
(Stephen Goddard, 2007)
Goddard, S. (2007). Correspondence Between Practices. "Practice as Research: Approaches to Creative Arts Enquiry". E. Barrett and B. Bolt, I.B.Tauris & Co Ltd.
Eighth International Conference on the Arts in Society, Eötvös Loránd University, Budapest, Hungary, 24-26 June 2013
"The purpose of the annual Arts Conference is to create an intellectual platform for the arts and arts practices, and to create an interdisciplinary conversation on the role of the arts in society. It is intended as a place for critical engagement, examination and experimentation of ideas that connect the arts to their contexts in the world – on stage, in studios and theaters, in classrooms, in museums and galleries, on the streets and in communities.
Its scope is deliberately broad and ambitious. Our times demand nothing less than cross-disciplinary and holistic approaches. The breadth of the Conference and its accompanying Journal, however, are without prejudice to finely grained discussion of the specific, the local and the grounded practices.
The Conference provides a venue and a framework for the arts and art practices that are situated within the context of international art expositions, festivals and biennials engaged with the international production of art and its global distribution networks. This Conference aims to discover what values, instincts and common ground may exist within the arts and their practices and sites of reception around the world. Your participation shapes the Conference itself.
We are inviting proposals for paper presentations, workshops/interactive sessions, posters/exhibits, or colloquia (See Proposal Types). Virtual participation is available for those who are unable to attend the conference in person. Proposal ideas that extend beyond these thematic areas will also be considered.For more information about the ideas and themes underlying this community, see Our Focus."
"A passion for bringing together expertise in the arts, computing and technology is inspiring the University of Greenwich's new Professor of Digital Creativity.
Gregory Sporton, who joins in January  from Birmingham City University, has spent much of his academic career researching the impact of new technology on the visual and performing arts. He is a former professional dancer and has also researched the history of ballet in Soviet times.
He is excited about introducing a new and original focus on the arts to Greenwich. 'I aim to gather together the expertise we have in so many disciplines, such as creative arts, computing, visualisation and all the rest, and make something new and interesting,' Professor Sporton says.
'The arts and sciences are drawn more closely together by technology: there is less differentiation than people think, and at Greenwich I want to build a research environment to explore that."
(University of Greenwich News, 17 December 2012)