Professional practice and scholarly research Professor Judith Mottram, Nottingham Trent University.
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Transcript of Professional practice and scholarly research Professor Judith Mottram, Nottingham Trent University.
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…