Rediscovering the Haptic Sense through Crossroads of Art and Design Research

2012 ◽  
pp. 13-18 ◽  
Author(s):  
Sandra Coelho ◽  
Miguel V. Correia
Keyword(s):  
Design Research ◽  
Art And Design

Assessing the impact of library instruction on studio-based research: developing a qualitative model

2017 ◽  
Vol 42 (2) ◽  
pp. 80-85 ◽  
Author(s):  
Ellen Petraits
Keyword(s):  
Rhode Island ◽  
Design Research ◽  
Qualitative Assessment ◽  
Library Instruction ◽  
Qualitative Model ◽  
Art And Design ◽  
Library Research ◽  
Fostering Reflection ◽  
The Impact ◽  
The Coordinator

Throughout the year, research and instruction librarians at Rhode Island School of Design (RISD) instruct students in ways to use the library for studio-based research. At the end of each semester, librarians attend studio critiques for these classes to see the finished work and participate in the critique. These visits are opportunities to look for and reflect upon the presence of research and the impact of concepts taught during library research workshops on the finished presentations and artworks. The coordinator of graduate library instruction created a qualitative tool to assess the evidence of student learning within the studio critique. Its use is cultivating a culture of art and design research within the library and throughout campus by fostering reflection and discussion about the value of qualitative assessment.

scholarly journals Situating Creative Artifacts in Art and Design Research

2013 ◽  
Vol 6 (2) ◽  
Author(s):  
Nithikul Nimkulrat
Keyword(s):  
Design Research ◽  
Research Question ◽  
Research Problem ◽  
Research Process ◽  
Process Art ◽  
Art And Design ◽  
Doctoral Research ◽  
Starting Point ◽  
The Relationship ◽  
Knowledge Communication

This article aims to discuss the position of art and design artifacts, and their creation, in a practice-led research process.  Two creative productions and exhibitions featuring my textile artifacts were intentionally carried out in order to tackle a specific research problem, and these will be examined here as case studies.  These cases cover the production and exhibition of two sets of artworks, named Seeing Paper and Paper World, that were created as part of my completed doctoral research entitled Paperness: Expressive Material inTextile Art from an Artist’s Viewpoint. The study examined the relationship between a physical material and artistic expression in textile art and design.  Both cases exemplify the roles of creative productions and artifacts situated in the process of inquiry.  Throughout a practice-led research process, art and design artifacts can serve as inputs into knowledge production and as outputs for knowledge communication.  As inputs, both art productions and artifacts can be the starting point of a research project from which the research question is formulated.  They can also provide data for analysis from which knowledge is constructed.  Asoutputs, artifacts can indicate whether the research problem requires reformulation, demonstrate the experiential knowledge of the creative process, and strengthen the findings articulated in the written output.  Creative practice in a research context can contribute to generating or enhancing the knowledge which is embedded in the practice and embodied by the practitioner.  This knowledge or insight can be obtained from the artist creating the artifact, the artifact created, the process of making it, and the culture in which it is produced and viewed or used, all taking place at different stages of a research process.

New initiatives to solve old problems: collecting exhibition catalogues at the National Art Library

1999 ◽  
Vol 24 (2) ◽  
pp. 8-11 ◽  
Author(s):  
Christine Love Rodgers
Keyword(s):  
Design Research ◽  
British Library ◽  
Joint Project ◽  
Art And Design ◽  
The Uk

Exhibition catalogues are a key resource for art and design research, but smaller and more ephemeral catalogues are difficult for art librarians to collect. In the late 1980s and early 1990s a period of interest in the UK in the problems of collecting and cataloguing exhibition catalogues sparked off research into fresh approaches to the problem. In line with the resulting recommendations the National Art Library, at the Victoria & Albert Museum in London, has developed two key initiatives. These are the Exhibition Catalogues Programme and a joint project with the British Library to increase access to smaller exhibition catalogues. Both are showing clear benefits for national access to published exhibition documentation.

scholarly journals Design Learning for Tomorrow — Design Education from Kindergarten to PhD

2015 ◽  
Vol 8 (1) ◽  
Author(s):  
Liv Merete Nielsen ◽  
Karen Brænne ◽  
Ingvill Gjerdrum Maus
Keyword(s):  
Applied Sciences ◽  
Design Education ◽  
Design Research ◽  
International Association ◽  
Research Society ◽  
Decision Makers ◽  
Good Time ◽  
Art And Design ◽  
Design Learning ◽  
Traditional Songs

This issue of FORMakademisk is built upon papers from the DRS//CUMULUS Oslo 2013 con­fer­ence — 2nd International Conference for Design Education Researchers — at Oslo and Akershus University College of Applied Sciences (HIOA) 14-17 May 2013 in Oslo. The conference was a cooperative event between the Design Research Society (DRS) and the International Association of Universities and Schools of Design, Art and Media (CUMULUS), and hosted by the Faculty of Technology, Art and Design at HIOA. The theme for the conference was Design Learning for Tomorrow — Design Education from Kindergar­ten to PhD. The conference received an overwhelming response both ahead of the conference, with 225 admitted papers, and during the conference with 280 delegates from 43 countries listening to 165 presentations and having a good time in Oslo. The last day of the conference was the 17th of May, Norway National Day, with traditional songs and a children’s parade in the centre of Oslo.We see this positive response to the conference as a growing awareness of perceiving design in a broad interdisciplinary perspective in support for a better tomorrow. For years the Design Literacy Research Group, with a base at HIOA in Oslo, has promoted the idea that sustainable design solutions should include more than ‘professional’ designers; they should also include the general public as ‘conscious’ consumers and decision makers with responsi­bility for quality and longevity, as opposed to a ‘throw-away’ society.

scholarly journals Disclosing and Evaluating Artistic Research

2019 ◽  
Vol 4 (3) ◽  
pp. 35-54 ◽  
Author(s):  
Florian Vanlee ◽  
Walter Ysebaert
Keyword(s):  
Design Research ◽  
Research Output ◽  
Assessment System ◽  
Research Project ◽  
Art And Design ◽  
Assessment Culture ◽  
Traditional Research ◽  
Productive Potential ◽  
International Projects ◽  
Artistic Research

Abstract Purpose This study expands on the results of a stakeholder-driven research project on quality indicators and output assessment of art and design research in Flanders—the Northern, Dutch-speaking region of Belgium. Herein, it emphasizes the value of arts & design output registration as a modality to articulate the disciplinary demarcations of art and design research. Design/methodology/approach The particularity of art and design research in Flanders is first analyzed and compared to international examples. Hereafter, the results of the stakeholder-driven project on the creation of indicators for arts & design research output assessment are discussed. Findings The findings accentuate the importance of allowing an assessment culture to emerge from practitioners themselves, instead of imposing ill-suited methods borrowed from established scientific evaluation models (Biggs & Karlsson, 2011)—notwithstanding the practical difficulties it generates. They point to the potential of stakeholder-driven approaches for artistic research, which benefits from constructing a shared metadiscourse among its practitioners regarding the continuities and discontinuities between “artistic” and “traditional” research, and the communal goals and values that guide its knowledge production (Biggs & Karlsson, 2011; Hellström, 2010; Ysebaert & Martens, 2018). Research limitation The central limitation of the study is that it focuses exclusively on the “Architecture & Design” panel of the project, and does not account for intra-disciplinary complexities in output assessment. Practical implications The goal of the research project is to create a robust assessment system for arts & design research in Flanders, which may later guide similar international projects. Originality/value This study is currently the only one to consider the productive potential of (collaborative) PRFSs for artistic research.

scholarly journals Personal storytelling for wellbeing; form, content and process

2019 ◽  
Author(s):  
◽  
Julie Hathaway Walters
Keyword(s):  
Occupational Therapy ◽  
Digital Storytelling ◽  
Design Research ◽  
High Status ◽  
Story Telling ◽  
Occupational Science ◽  
Arts Based Research ◽  
Art And Design ◽  
Digital Story ◽  
Potential Impact

Nature and scope: This enquiry examines personal storytelling in the form of the practice of digital storytelling. Digital storytelling is seen as a craft, a creative making practice. The enquiry examines what impact engaging in this practice has on wellbeing. It is a practice based enquiry which draws on art and design research methods and considers the many facets that the author brings to the table, including her identity as a maker and occupational therapy educator and especially, the way her own engagement with making enabled personal, transformational learning and recovery from mental illness, shame and grief. The purpose of the enquiry is to bring these new insights back to occupational therapy and science. Contribution to knowledge: Knowing through making, as conceptualised through art and design research methodologies, has the potential to enable occupational therapy and occupational science to realise the original intensions of its founders. A study of the collaborative process of digital story telling has offered a worked example of this. Comparing and contrasting digital story telling with other collaborative making practices uncovered what digital story telling is and what it is not. Digital story telling is a high-status craft. The key to understanding its potential impact on wellbeing is to understand it as a craft – a making practice. Further, the potential impact on wellbeing is determined not by the process or properties of digital story telling itself, but by the care and attention to the detail of the experience and how connections between the people involved are made. A digital story telling workshop is a non-generalisable event, unique to that time and place and those people. What digital story telling is not, is an ideal method of co-production. Its uses as a participatory arts-based research methodology has been well documented, but I contend that the ideal collaboration is one where the team is assembled first. I propose The crystal model of transformational scholarship in human health and wellbeing which sets out how this may be accomplished.

scholarly journals Visual and Textual Interfaces in Design Research

IDEA JOURNAL ◽  
1969 ◽  
pp. 71-79
Author(s):  
Tiiu Poldma ◽  
Mary Stewart
Keyword(s):  
Data Analysis ◽  
Lived Experience ◽  
Interior Design ◽  
Concept Maps ◽  
Design Research ◽  
Art And Design ◽  
Collaborative Conversation ◽  
Phenomenological Perspective ◽  
Inquiry Method ◽  
Qualitative Methodologies

Art and design creative techniques are increasingly used in educational and social sciences research as means to complement narrative qualitative research methodologies. Less known is the means by which interior design and visual arts students may use collage, concept maps or other artful visual tools when analysing the narrative in research. This paper demonstrates how artful methods can be combined with more traditional qualitative methodologies to uncover meaning in research texts or during the data analysis process. The authors show how both the phenomenon used and the method applied to data analysis offers a creative way to allow for meaning to emerge, while situating the research firmly in a phenomenological perspective of lived experience of the researcher through a collaborative conversation. Two visual examples are presented to demonstrate the phenomenon, and the discussion situates the usefulness of this type of research inquiry method.

Don’t fence me in! Reconsidering the role of the librarian in a global age of art and design research

2009 ◽  
Vol 34 (2) ◽  
pp. 26-30 ◽  
Author(s):  
Heather Gendron
Keyword(s):  
Design Research ◽  
Global Society ◽  
Art And Design ◽  
Global Age ◽  
Society Today ◽  
Contemporary Artists

When we define society today as a ‘global society’ we are saying that we are, or at least we strive to be, an interconnected society, even more than if we were to say society is ‘worldwide’. In a global society, borders are crossed, and the phrase implies interaction, participation and inclusiveness. Artists and designers, as both a product of a global society and in response to the resulting all-inclusiveness, or ‘globality’, of their respective fields, are prompted to cross two kinds of border: physical and methodological. This paper focuses on the crossing of methodological boundaries and, in addition, recognizes the highly individualized nature of art and design research. This serves as a launch pad to explore the question of how librarians can shape their practice in order to respond better to the needs of contemporary artists and designers.

The connective role of improvisation in dealing with uncertainty during invention and design processes

2019 ◽  
Vol 1 (1) ◽  
Author(s):  
Satu MIETTINEN ◽  
Melanie SARANTOU
Keyword(s):  
Performing Arts ◽  
Participatory Design ◽  
Design Research ◽  
Design Thinking ◽  
Study Data ◽  
Design Problems ◽  
Design Processes ◽  
Art And Design ◽  
Design Activities

This paper explores the role of improvisation in design thinking for product design processes and design research methods. Improvisation is often at the core of practice-based and participatory design, permitting flexibility. The role of improvisation in the performing arts has received considerable academic attention, however its role in design processes has been neglected, because improvisation is often viewed as the second-best solution to design problems. This paper presents a framework for improvisation by surveying existing scholarship. Additionally, field study data collected between 2011 and 2016, primarily in Namibia and Australia, will be used to illustrate how improvisation is applied by practitioners during their art and design activities. The connective function of improvisation allows designers to negotiate, take risks, unmake and remake formations. This function enables the fluidity of design, to move from one moment in a process to the next, allowing designers to negotiate ways of work during uncertainty.

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