Research Ethics + Conduct

In recent years, the rise of research-creation - a scholarly activity that considers art practices as research methods in their own right - has emerged from the organic convergences of the arts and interdisciplinary humanities, and it has been fostered by universities wishing to enhance their public profiles. In 'How to Make Art at the End of the World' Natalie Loveless draws on diverse perspectives-from feminist science studies to psychoanalytic theory, as well as her own experience advising undergraduate and graduate students-to argue for research-creation as both a means to produce innovative scholarship and a way to transform pedagogy and research within the contemporary neoliberal university. Championing experimental, artistically driven methods of teaching, researching, and publication, research-creation works to render daily life in the academy more pedagogically, politically, and affectively sustainable, as well as more responsive to issues of social and ecological justice.

In 2010/11, a group of Vienna-based art practitioners (artists, art historians, and cultural theorists) embarked on a journey of experimental research, exploring the genealogical and political implications of the ways in which research rhetorics and policies are currently incorporated into the fields of contemporary art and art education. Troubling Research: Performing Knowledge in the Arts, a collection of “books” of essays and conversations, is the quirky and exhilarating outcome of this collaborative endeavor to render a “problematization” by interrogating the very conditions of the current upsurge of the art/research articulation.

It is not just one of the issues, it is the issue of current art schools and their politics: artistic research. But what is artistic research really about and what does it mean for contemporary art? All too often, weight is given to the academic aspect and the artistic part is overshadowed. The more interesting question is how art knows: how artistic thinking develops through artistic processes and takes shape in artworks. This is precisely the departure point of the artist, academic, and curator Lucy Cotter (*1973 in Ireland). In twenty conversations with leading artists, she maps out an epistemology of artistic creation today. She manifests a type of research that is dynamically engaged with other fields, but thinks beyond concepts into bodily and material knowledge that exceeds language, revolutionizing our perception of art from the ground up.0In 2017, Lucy Cotter (*1973, Ireland) curated the Dutch Pavilion at the 57th Venice Biennale, featuring artist Wendelien van Oldenborgh. Her writings on contemporary art have been published in Mousse, Flash Art and Frieze online, among other places. She was founding director of the Master Artistic Research at the Royal Academy of Art, The Hague.

"Practice-Based Design Research provides a companion to masters and PhD programs in design research through practice. The contributors address a range of models and approaches to practice-based research, consider relationships between industry and academia, researchers and designers, discuss initiatives to support students and faculty during the research process, and explore how students' experiences of undertaking practice-based research has impacted their future design and research practice. The text is illustrated throughout with case study examples by authors who have set up, taught or undertaken practice-based design research, in a range of national and institutional contexts"

"The Routledge Companion to Design Research offers a comprehensive examination of design research, celebrating the plurality of design research and the wide range of conceptual, methodological, technological and theoretical approaches evident in contemporary design research. This volume comprises 39 original and high quality design research chapters from contributors all over the world, with contributions from the vast array of disciplines in and around the modern design praxis, including areas such as industrial and product design, visual communication, interaction design, fashion design, hacktivism, and architecture. The Companion is divided into five distinct sections with chapters that examine the nature and process of design research, the purpose of design research, and how one might embark on design research. They also explore how leading design researchers conduct their design research through formulating and asking questions in novel ways, and the creative methods and tools they use to collect and analyse data. The Companion also includes a number of case studies that illustrate how one might best communicate and disseminate design research through contributions that offer techniques for writing and publicising your research. The Routledge Companion to Design Research will have wide appeal to researchers and educators in design and design-related disciplines such as engineering, business, marketing, computing, and will make an invaluable contribution to state-of-the-art design research at postgraduate, doctoral, and post-doctoral levels and teaching across a wide range of different disciplines"

The Routledge Companion to Research in the Arts is a major collection of new writings on research in the creative and performing arts by leading authorities from around the world. It provides theoretical and practical approaches to identifying, structuring and resolving some of the key issues in the debate about the nature of research in the arts which have surfaced during the establishment of this subject over the last decade. Contributions are located in the contemporary intellectual environment of research in the arts, and more widely in the universities, in the strategic and political environment of national research funding, and in the international environment of trans-national cooperation and communication. The book is divided into three principal sections – Foundations, Voices and Contexts – each with an introduction from the editors highlighting the main issues, agreements and debates in each section.

Ideal for courses in multiple disciplines, the third edition of this award-winning text has been revised and updated with new topics, examples, and guiding questions to introduce each chapter's sections. Patricia Leavy presents a practical guide to the full range of arts-based research (ABR) genres-narrative inquiry, fiction-based research, poetry, music, dance, theatre, film, and visual art. Each chapter is paired with an exemplary research article or online video link (at the companion website) that demonstrates the techniques in action. Following a consistent format, chapters review how each genre developed, explore its methodological variations and the kind of research questions it can address, and describe diverse sample studies. Checklists and practical advice help readers harness the power of these innovative techniques for their own studies or dissertations. Key words/ subject areas: advanced qualitative research, arts-based research methods, projects, autoethnography, feminist, feminism, performance, qualitative methods, doing public scholarship, critical research approaches, creative arts therapy, sociological fiction, textbooks, texts, interpretive inquiry Audience: Graduate students and instructors in education, sociology, psychology, communications, nursing, social work, and fine arts; qualitative researchers interested in using arts-based methods in their work.

Supervising Practices for Postgraduate Research in Art, Architecture and Design offers insights into supervisory practices in creative and design-based research by academics at Royal Melbourne Institute of Technology (RMIT) University, Australia. The book focuses on practices of supervising candidates who are undertaking postgraduate research in art, architecture, design and creative writing. It addresses a decisive shift in the academy towards an emphasis on applied practice-led research undertaken through project-based investigations. This model articulates an effective means to conduct research on knowledge both embodied in, and discovered through creative and design practices. Such knowledge can be understood in the context of broad socio-cultural changes in which creative and applied practice is defining and leading cultural, scientific, technological and creative economies. The contributors to this book investigate a range of supervisory strategies and wider concerns to do with knowledge and its formations. They focus on diverse pedagogical models and methodologies of supervising practices through applied practice-led research, exhibitions, ethics, writing, theory and practice, language and design. The authors are experienced supervisors of creative and practice-led research who have engaged in scholarly reflections on selective aspects of their supervisory practices with the aim of providing insight to others regarding what they do, and how and why they do it. The overall aim of this collection is to open up dialogue and debate around emerging modes of postgraduate research and supervisory practice in universities of the twenty-first century. This is a very astute and valuable contribution to the literature on supervision in the applied arena with a series of excellent discussions on creative practice-based research, pedagogical practices of supervision, creative writing and the creative work in process, 'generative praxis', distance supervision, doctoral exhibitions, supervision of designers, and a range of related issues and concerns. 'It is a path-breaking, path-finding book that will be of great assistance to all kinds of professionals and students across a wide range of disciplines and with important lessons for all doctoral supervision. It is an exciting and accessible book and a great achievement for a group of colleagues in a leading institution.' Michael A. Peters Emeritus Professor, University.