Research data-visual arts-presentation


Published on

Keynote: Research data - challenges for the visual arts - Kerstin Mey, Director of Research and Enterprise, University for the Creative Arts

Published in: Education
  • Be the first to comment

  • Be the first to like this

No Downloads
Total views
On SlideShare
From Embeds
Number of Embeds
Embeds 0
No embeds

No notes for slide
  • Focus for my presentation is provided by the framework of research in the Visual ArtsThe concept of creative research is itself a ‘proposition that reciprocally frames the ‘known unknowns as its deframes the experiencing of the unknow unknowns’ (Sher Doruff). It constructs a port of entry to matters of concern – As we use terms to qualify this re/search by preceding it with visual arts, art and design or creative or practice-based we invoke two things:The proximity / connectivity to scientific inquiry on the one hand and differences on the other, sometimes in an exclusive and at other times in a hospitable mannerCreative inquiry = approach to research (as in scientific research)Practice-based = methodology for inquiry: practice or aspects of it may raise and interrogate the research questions in relation to the context, respecting the unique constellation of values that each practitioner-researcher / designer researcher contributes to the knowledge-base of practice – Practice-based research highlights Art and Design as spaces for ‘higher order thinking’ in which original contributions to knowledge are made, the boundaries of existing knowledge are challenged or lost knowledge is being excavated – though being I emergence for not much more than three decade,this area of inquiry is still ‘young’This value proposition is closely connected to issues of research funding, the development of research degrees such as MPhils and PhDs as well as research career trajectoriesThe use of research in the context of Art and Design is also an expression of a relationship to established research paradigms and standards in the natural and social science and the humanities that sought to emphasise both the claim for equality in levels, scope, reach, quality and values of inquiry whilst at the, whilst at the same time pronouncing the methodological specificity of inquiry in this fieldThe term seeks to address the specific needs regarding the modes of interactions, the relationship between process and outputs (products, content, services, experiences, and [media] distribution models), quantitative and qualitative evaluation and thus to a complex and complicated range of data and data sets
  • In broad perceptual term we are often still caught up in an unjustified juxtaposition of scientific inquiry and artistic expression reaching back to C P Snow’s influential Rede Lecture of 1959 The Two Cultures, subsequently published as The Two Cultures and the Scientific Revolution
  • In correspondence to recent developments in contemporary arts, and altered cultural concerns that have moved from the re/presentation of life worlds – and the experience of them – to the re/presentation of Other – of communities and (their social inter/actions) notions of research in art and design have been shaped and re/formed. After a phase of heightened self-reflexivity during the culmination of postmodernism in the later 1980s and early 1990s, creative practices have increasingly become a zone of multi-, trans-, and interdisciplinary endeavour that bring together and intervene in other areas of knowledge production and organisational systems such as science, medicine, sociology, politics, corporate administration and so forth. More then ever since the advent of modernism, do the creative arts display a connectedness with other spheres of life. Institutional art and design currently promote their capacity as space for exchange and comparative analysis between different knowledge domains and epistemological practices if we think for instance of design management, design ethnography or curation. The digital age with its promotion of hypertextuality and intermedia has opened up new possibilities in terms of information distribution and gathering, business models such a sopen access to research publications, discourse and self/organisation. Furthermore, with a growing understanding that fundamental issues faced by societies and communities within a global context are too complex to be solved from single subject perspectives, creative investigation has attracted heightened attention for its capacity to move across, bring together and converge different knowledge domains including the natural and social sciences, the humanities, business processes and administration systems. Creativity and the artistic mind are increasingly valued in thinking about contemporary leadership, organisational, economic and human development. For instance, the immensity of our existential challenges demand a renewed focus on sensory perception and embodied experience, emotion and affect and highlights the importance of imagination, intuition, improvisation, and divergent, alternative thinking combined with continuous inquiry, reflection and reflex/ivity. Creative research calls to the fore and deals with lingering tensions between practice and theory, thinking and doing in their specific contemporary situatedness, historical evolution and disciplinary and institutional inflections as much as it demands an ongoing reconsideration of its own object of study, approaches, methods and instruments. This is reflected in current conceptualisations of research programmes in the art and design.
  • Examples taken from the UCA Research Code of Ethics – to illustrate the diversity of data
  • Behold: Visual Thesis – a chronological documentation using photographs of the evolution of drawing throughout the researchThe drawing experimented with the idea regarding creativity, thinking and practice that had issued from the investigation and explored current cross-disciplinary thoughts and concepts regarding the subject with other practitioners from the fields of social anthropology and philosophy. Documentation of thinking occurring during the works’ gestation was examined and interpreted as well as the work itself. The project was complex and consolidated emergent ideas throughout the research concerning the analogous nature of drawing and conversation and the place of writing. The research increased understanding of the influence of visual and cognitive elements on generating new knowledge by detailing non-verbal interactions between practice and thinking, and argued that practice is essential to elucidate and inform creative thought.
  • Kennispeki
  • Class
  • Selection of images from different aspects of research including ‘Nothing’
  • Existere
  • Research in the Visual Arts is dynamically emerging fieldResearch is connected to practices of making and material processes – to the whole of the human sensorium and embodied experienceIts communication is connected to incessant digitisation, developing media platforms, formats and forms and changing literacy practices – consequences to the way in which the outcome of creative research can be disseminated and experiencedCreation of tension to established research paradigms and academic and professional standardsRequirements of research funders in terms of transparence, robustness and significance of data, permanenceValidation of what research data are influenced by groups of experts/peers/users: practices and critical discourses
  • Research data-visual arts-presentation

    1. 1. Research data –challenges for the visual arts UCA Research and Enterprise Strategy UCA Research and Enterprise StrategyProf. Kerstin Mey, Director of Research + Enterprise
    2. 2. Research in the space of the Visual Arts• Creative inquiry = approach to research• ‘Practice-led’ = methodology for inquiry• Connected to practices of making (poiesis) and material processes• human sensorium and embodied experience Paul Vanouse, The Active Stimulation Feedback Platform, 2005
    3. 3. Arts ‘versus’ Science World / RealityScience ArtAuthoritative knowledge Beauty/aestheticsFactually true Expression of emotionsSystematic Imagination/expressivityMethodical CreativeObjective SubjectiveRigorous and clinically precise ‘Fuzzy’ / impreciseIntentionality IntuitionProposition/ deduction/ argument Artefact / artefictionHard subject Soft subject‘I think therefore I am’ ‘I feel therefore I am’Team Individual Consciousness
    4. 4. Research in the space of the Visual Arts• A ‘contact zone’ in which different perspectives, concerns, approaches and methods can ‘meet, grapple and clash’• Cross-disciplinarity• Notion of dialogue – motion – negotiation and exchange of values – approximation of truth• Creativity/ problem solving ≠ a homogenous process ‘folded and fluid’ if not at times ‘messy, fuzzy Ori Gersht, Willow Rose and tumultuous’ (Exploding Flowers), 2007
    5. 5. ‘Disciplinary’ Definition of Research Data‘Research data can be described asdata which arises out of, andevidences, research. This can beclassified as observational, including:sensor data; experimental; simulation;derived or compiled data for exampledatabases and 3D models; orreference or canonical for example, acollection of smaller datasetsgathered together (University ofEdinburgh 2011a).‘ Paul Vanouse, Latent Figure Protocol, 2007
    6. 6. ‘Disciplinary’ Definition of Research Data‘Examples of visual arts researchdata may include sketchbooks, logbooks, sets of images, videorecordings, trials, prototypes, ceramicglaze recipes, found objects, andcorrespondence. The[KAPTUR]project team found that thenature of visual arts research data Oron Katz @can be both: tangible and intangible; Symbiotica, University ofdigital and physical; heterogeneous Melbourneand infinite; and complex andcomplicated (Garrett et al. 2012).’
    7. 7. ‘Disciplinary’ Definition of Research Data• Documents (text, Word), spread sheets• Logs, field notebooks, diaries, workshop note books, sketch books• Questionnaires, surveys, interviews, transcripts, codebooks• Audiotapes, videotapes• Photographs, films• Test responses• Slides, artefacts, specimens, samples• Collection of digital objects acquired and generated during the process of research• Data files• Database contents (video, audio, text, images)• Models, algorithms, scripts• Contents of an application (input, output, log files for analysis software, simulation software, schemas)• Methodologies and workflows Janice Gordon@ Symbiotica, University• Standard operating procedures and protocols of Melbourne• Other emerging digital formats
    8. 8. Aileen Stackhouse: Trahere – the senseof unease in making a markThe practice of drawing and the practiceof thinking, 2005
    9. 9. Aileen Stackhouse: Trahere
    10. 10. Aileen Stackhouse: Trahere
    11. 11. Aileen Stackhouse: Trahere
    12. 12. Aileen Stackhouse: Trahere
    13. 13. Aileen Stackhouse: Trahere
    14. 14. Aileen Stackhouse: Trahere
    15. 15. Aileeen Stackhouse: Trahere
    16. 16. Mick O’Kelley: Urban Negotiations: Art andthe Production of Space as an EthicalEncounter• Self-determined inquiry in the area of social innovation• Favelas in Sao Paolo, Brasil• Documentation of material and social research processes through photography and two- dimensional, architectural models
    17. 17. Research Data in the Visual Arts I• Research in the Visual Arts is dynamically emerging, complex field• Connected to incessant digitisation, developing media platforms, formats and forms and changing literacy practices• In tension to established research paradigms and academic and professional standards• Requirements of research funders• Validation through groups of experts/peers/users: practices and Terike Haapoja, critical discourses Entropia, 2004
    18. 18. Research Data in the Visual Arts II• Breadth and variety of research practices and respective diversity and volume of data• Discipline specific approach, knowledge and understanding – definition of research data and awareness of researchers• Development of research design based on awareness of research data requirement practices and standards Leonardo da Vinci, Studies of a horse, 1482
    19. 19. Research Data in the Visual Arts III• Risks from physical and technical obsolescence• Data storage: institutional and individual - practices of and infrastructure, resources, policies and guidance for deposition, data preservation and conservation, future proofing• Versus practices that conceptualise ephemerality• Access to / re-interpretation of Helen and Kate Storey, Primitive Streak, 1997, Wellcome Trust data Sci/Art
    20. 20. Research Data in the Visual Arts IV• Perception of ownership and Intellectual Property Right for data generated in the context of research arising from ‘individual creative practice’ and ‘subjective expression’ and its documentation (log and sketch books, patterns and designs bozetti and models, samples and specimens) Joseph Beuys, Chair with fat, 1964
    21. 21. Research Data in the Visual Arts V• Expectation of risk taking in research that contest and rupture existing practices, paradigms and standards in order to provoke our senses and thoughts, educate and innovate• the ‘unknown unknowns’ may Tagny Duff, Viral Tattoo, produce unexpected, un- 2008 recognised ‘data’ for which there are not (yet) policies and protocols
    22. 22. Paul Carter: Material Thinking‘… creative knowledge cannotbe abstracted from the loomthat produced it. Inseparablefrom its process, it resemblesthe art of sending the woof-thread through the warp. Apattern made of holes, itsclarity is like air through abasket. Opportunistic, it opensroads.’
    23. 23. Thank you