Professional practice and scholarly research

Professor Judith Mottram, Nottingham Trent University

Addressing the question

Recent history

Characteristics

Definitions

Motivations

Is there a difference between an art question and a research question?

Some history…

1984 CNAA Statement of Research & Related Activities

1988 Matrix conference

1992 RAE and Incorporation of the new universities

1993 Research for, into and through art (Frayling)

1996 RAE definition…

1999 HEFCE: Importance of practice for research

2001 Art and Value (Dickie)

2003 AHRB criteria for research outcomes

2004 Applied research

2005 RAE definition…

Characteristics of the field – output types:

UoA64 UoA30 UoA33

Publication type outputs % outputs % outputs %

O: exhibition 3748 40.6 0 0 6 0.2

P: artefact 862 9.3 0 0 20 0.8

N: design 971 10.5 0 0 51 2.0

L: performance 144 1.6 0 0 1 0

M: composition 36 0.4 0 0 0 0

F: patent 41 0.4 13 0.3 5 0.2

5802 62.8 13 0.3 77 3.0

A: authored book 459 5.0 26 0.6 228 8.9

B: edited book 151 1.6 3 0.1 43 1.7

C: chapter in book 565 6.1 44 1.0 279 10.9

D: journal article 820 8.9 4039 92.8 1532 59.8

E: conference paper 600 6.5 207 4.8 320 12.0

2595 22.1 4319 99.2 2402 93.7

Total no. of outputs 9242 4353 2563

Art & Design Engineering Built Environment

RAE 2001

Art & Design text and practice outputs:

0

500

1000

1500

2000

2500

3000

3500

text outputs practice outputs

design

creative arts

Comparing fields by output types:

0

10

20

30

40

50

60

70

80

90

100

design

creative arts

Output types and art & design disciplines:

0.0010.0020.0030.0040.0050.0060.0070.0080.0090.00 exhibitions

designs

journal articles

books

confs

ed bks

chaps

RAE 2008 research definition

‘Research’ for the purpose of the RAE is to be understood as original investigation undertaken in order to gain knowledge and understanding. It includes work of direct relevance to the needs of commerce, industry, and to the public and voluntary sectors; scholarship*; the invention and generation of ideas, images, performances, artefacts including design, where these lead to new or substantially improved insights; and the use of existing knowledge in experimental development to produce new or substantially improved materials, devices, products and processes, including design and construction. It excludes routine testing and routine analysis of materials, components and processes such as for the maintenance of national standards, as distinct from the development of new analytical techniques. It also excludes the development of teaching materials that do not embody original research.

RAE 2008 quality measures

For outputs:Significance. The degree to which the work has enhanced, or is likely to

enhance, knowledge, thinking, understanding and/or practice in its field.Originality. The degree to which the work has developed new formulations

or data and/or initiated new methods and/or forms of expression.Rigour. The degree of intellectual precision, systematic method and/or

integrity embodied in the research.

For esteem:Recognition. The degree to which, individually and collectively, the work of

researchers has been recognised externally.Influence. The degree of influence and/or contribution made to research

practices and their debates in the wider context.Benefit. The degree to which researchers and the research environment

have benefited through the esteem in which the research is held.

AHRC definition of research section 52, p.13

Define research processes, rather than outputs Specify research questions or problems Define objectives for enhancing knowledge and understanding Specify research context for the questions or problems to be

addressed Specify why it is important that these particular questions are

addressedSpecify what other research is being or has been conducted in this area

Specify contribution project will make to advancement of creativity, insights, knowledge and understanding in the specific fieldSpecify the research methods for addressing and answering the research questions or problems Explain the rationale for your chosen research methods and why appropriate

AHRC distinction between research & practicesection 53, p.13

Creative output can be produced, or practice undertakenas an integral part of a research process

Practice must be accompanied by documentation of the research process, some form of textual analysis or explanation, demonstration of critical reflection

Creativity or practice involving no such processes isineligible for funding from the Council

Motivations matrix

Practice Research Course development

Its part of what art & design lecturers do

Its part of the job spec for uni lecturers

Its part of the job spec for uni lecturers

Its interesting Its interesting Its interesting

It is satisfying to make something Its satisfying to find something out Its satisfying to pass something on

People like what I make People like what I come up with People like my courses

I sell the things I make It gets research grants so I can do more

It helps attract students so my job feels secure

It is a part of my identity It is a part of my identity It is a part of my identity

There are things I want to try There are things I want to find out There are things students need to know

It contributes to the university art & design practice profile

It contributes to the university research profile

It contributes to the university teaching profile

Being involved in practice means I stay engaged with the professional world

Being involved in research keeps me focused on the forefront of knowledge in my field

Being involved in course development helps me ensure the course is kept up-to-date

Being involved in practice allows me to give students a realistic sense of the current state of play

Being involved in research gives me new understandings to feed into my teaching

Being involved in course development helps me ensure student satisfaction

… … …

Motivation scales

The researcher’s question ……….……..………. the artist’s intention

Contributing to understanding………...……... challenging orthodoxy

Precision ………………………………….……………….… ambiguity

Filling gaps in body of knowledge….… rejecting body of knowledge

Exact labels ………………………………..……….…expedient labels

Finding new questions …………………………finding new problems

Answering the question ……………………….….answering the brief

Using explicit methods ……………………....protecting your process

Justified true belief ………………………… accepting no fixed belief

Closing questions

Why do research?

Why differentiate between the artist/designer and the academic?

Who gets money for what?

Does the work speaks for itself?

Is visual evidence the same as visual knowledge?

What are the established means of deposit and exchange?

Which is most important, intentionality or ambiguity?

Can we raise the quality of evidence, records and archives?

‘art as a form of knowledge in which purposeful execution is guided by genuine understanding of the principle underlying that activity’(Harris, 2003, The Necessity of Artspeak)

‘the aim of academic research is the production of expert knowledge; the aim of art is the expression of understanding as an account of experience’ (Buchler, 2000, in The Artist as Researcher)

‘History would seem to indicate that artists have been consistently misguided about what they do’ (Elkins, 2001, Why Art Cannot be Taught)

Closing thoughts…