Method: Session 2

Art and Design Research Methods: Section 2

< ADM training

Section 1

Section 2 >

Section 3

Outline of Section 2:
Preface.
Some examples of PhDs (by students)
What is the 'shape' of a research process?
Some issues for researchers
Summary
References

.

Preface

Following on from the previous section, this section looks at some more detailed examples of method, in relation to the student's own research.

^ to top

Some examples of PhDs

Each student to briefly describe an example of doctoral research not covered so far. Also very briefly describe how they think their approach/methodology might compare. 5-10 mins each. Discuss.

Examples chosen previously have included Tim Long (UWIC), Irene Leake (Gray's, Aberdeen), Franki Austen (Exeter School of Art), Kristoffer Gansing (Malmo Uni), Sara Diamond (Uni of East London) see Section 1

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What is the 'shape' of a research process?

The overall 'shape' of a PhD research process (which may encompass several methods) may help to give students a broad grasp of the bigger picture. In most of these, the time scale starts at the left .

Phillips and Pugh (2000, p.88) use a ‘wedge’ to represent the PhD programme of work against a time line as a 'progressive reduction of uncertainty' (!). They map out the development of the thesis from background theory through focal theory to data theory. A useful (if optimistic) suggestion for a division of time.

Gray, Douglas, Leake and Malins (1995, p.9) use a similar but more organic shape to describe the research process as a 'journey' through the headings of: Assumptions, Synthesis, Contextualisation, Data Gathering, Evaluation/Analysis, Conclusion.

Jan Hogarth's (1999. p.xx) 'linear smear' shows an analysis of how the content and working methods of her series of seven artworks moved from Romantic to Environmental approaches. They do not exactly form a geometrical line (an unlikely occurrence in art-practice-making), but a definite pattern emerged, which formed the thrust of her development.

Anne Douglas' diagram (from Gray and Pirie, 1995, p.8) of her practice-led sculpture PhD (1992) shows a process moving from positivistic to hermeneutic methods (see definitions of these in Session 1). It also shows that some lines of inquiry and method turned out to be 'dead-ends'. These possible dead-ends should be seen as a valuable part of the research process, from which many things can be learned. Experimental science PhDs frequently feature experiments which fail to find the desired results, or conclusions which prove the original hypothesis wrong. There can be good research without a 'good end product'. For further debate see discussion of 'the right to fail'.

Beryl Graham's (1997, p.17) diagram maps a hybrid approach where conventional case studies run alongside the making of artworks and the curating of an exhibition. Each informs the other, converging on a key question, and also informing the creation of a taxonomy.

Design cycles for product design often involve a series of: Brainstorming/Materials Research, followed by Prototyping, then User Testing/Feedback. Depending on the feedback the cycle may be repeated until an acceptable result if obtained. This 'iterative' approach

Katie Bunnell’s (1998, p.93) diagram adapts a kind of design cycle to a more complex series of 'artist-maker' ceramic projects. She divides each spiral into Immersion, Acquisition and Realisation. A design cycle may or may not be equivalent to a methodology. The whole area of 'making' as a research methodology is still open to debate.

Katie Bunnell's (1998, p.88) diagram concerning "naturalistic inquiry" highlights the fact that the shapes so far have been broadly linear. This flower-shaped image refers to a research process which may have a radial form (radiating from a common centre). It may be more difficult to retain clarity within this structure, but there are not many examples to judge from. For more on Katie Bunnell's thesis, see the module Writing a Thesis: Media Options.

--

So, quite often, practice-led research comprises a series of projects with some kind of reflection between them so that a 'development' occurrs. However, the series might be linked in linear, non-linear, radial or iterative ways, and you will need to be speciific about what you mean by 'reflection'.

Task: Students to sketch a 'shape' for their chosen example of a PhD, and/or for their own research. Discuss.

.^ to top

Methodologies across disciplines

The overall shape of a research process may include several different methods: positivist sections which may be applied to creative work; formal case studies and informal interviews; public questionnaires or peer evaluation. These methods need to be planned in advance. Each method demands substantial specialist knowledge (questionnaires, for example, are deceptively complex and problematic things), so beware of trying to span too many areas of knowledge. Make sure that you speak to an expert in that method before thinking about using a method from another field.

Last training session, art practice-led research was described as "... using predominantly methodologies and specific methods familiar to us as practitioners in the visual arts and design." (CRIAD, 2000). With this is mind, different methods might be more familiar to different practices within art and design (Biggs and Karlsson, 2011; McNiff, 2013; Smith and Dean 2009).

For design, for example, the 'design cycle' above would be more familiar than in fine art, and this idea of the 'protoype' was discussed in relation to art at Nomadic Salon 3. If the feedback is from people, then the use of ethnographic methods has been under hot debate: Bill Gaver's (2006) 'cultural probes' for example, involves simple giving artefacts without instructions to people in their homes, and seeing how they use it, which caused debate cocerning previous more positivist Design methods. See also Laurel (2003), Adamson (2007), Rodgers and Yee (2014).

Live art and performance fields, for example, have useful methodologies concerning value systems of document in relation to work (Barrat and Bolt, 2007).

Curatorial practice-led PhDs have fewer established methods, but some have made parallels between the 'arranging' and taxonomising of art systems, and the processes of research (Gaskill, 2010; Smith, 2011).

Other materials concerning art methodologies include Materials for Art-Practice-Led Researchers.

^ to top

Further development for methodologies

You will be asked by your supervisor to fill in the University's Personal Development Plan (PDP), so do take the opportunity to reflect on whether you need to develop your methodological skills as well as your subject skills, as this is a major learning curve for doing a PhD: Are you a methodical person? Are you better at starting than finishing? Try to build on your own existing knowledge and the precedents set by others rather than trying to invent something new.

Some wider issues for art researchers concern artistic and professional ethics, risks vs. safety in making new precedents, and conflicts between process and end-product. Some of these issues are discussed during this session, and on the "Provocative Comment of the Month" discussion page.

If the example of a methodology from a PhD thesis was useful to you, find another similar thesis so you can compare the details of their methods. If it was less useful, find a example more similar to your approach. Write a short paragraph about their method compared to yours, and you can cite this in the methodology section of your forms/annual monitoring/thesis.

Further training sessions include opportunities for inviting visiting speakers, and speakers on method are often relevant to students across subject areas. Students with suggestions for speakers should contact Beryl.

^ to top

Summary

Individual methods have complex bodies of knowledge attached to them, but may be be combined within an overall research process. In planning your research, it may help to plan your overall research 'shape'. You will need to gain many skills in order to design and execute your research methodology. Think about how you will gain those skills at the start of your research. Joining a 'research community' or discussion list might help you.

^ to top

References for this session (see also full bibliography)

Adamson, Glenn (2007) Thinking through craft. Oxford: Berg.

Barrett, Estelle and Barbara Bolt (eds.) (2007) Practice as research, approaches to creative arts enquiry. London: IB Taurus.
[Mostly Australian, mostly performance-based including dance. Quite theoretical (Derrida, Foucault, exegesis as Meme) but with useful practical section in the appendices.]

Biggs, M. and Karlsson, H.( eds.), (2011) The Routledge Companion to Research in the Arts.London: Routledge.

Bunnell, Katie (1998) The integration of new technology into ceramic designer-maker practice. [CD-ROM]. Published PhD thesis. Aberdeen: The Robert Gordon University.

Douglas, Anne (1992). Structure and improvisation: The making aspect of sculpture. Unpub. PhD thesis, University of Sunderland.

Gaver, Bill (2006) “Probes and Commentators: Placing interpretation at the heart of design.” In: Edmonds, Ernest, Lizzie Muller, and Deborah Turnbull (eds.) ENGAGE: Interaction, Art and Audience Experience. CCS/ACID Symposium. Sydney: Creativity and Cognition Studios Press, University of Technology. 8-9.

Graham, Beryl (1997). A study of audience relationships with interactive computer-based visual artworks in gallery settings, through observation, art practice, and curation. Unpub. PhD thesis, University of Sunderland.

Gray, C., A. Douglas, I. Leake and J. Malins (1995) Developing a Research Procedures Programme for Artists and Designers. Aberdeen: CRIAD, The Robert Gordon University. (This is also available as a PDF file from the RGU web site).

Gray, C. and I. Pirie (1995). '"Artistic' research procedure: Research at the edge of chaos?". In: Proceedings of Design Interfaces Conference Vol.3. The European Academy of Design. Salford: University of Salford.

Hogarth, Jan (1999). 'Dislocated landscapes': A sculptor's response to contemporary issues within the British landscape. Unpub. PhD thesis, University of Sunderland.

Johnston, Laura (1997) The innovative application of the coated glass surface in architecture. Unpub. PhD thesis, University of Sunderland.

Laurel, Brenda (ed.) (2003) Design Research: Methods and Perspectives. Cambridge, Mass.: MIT Press.

Macleod, K. and Holdridge L. (2006) Thinking Through Art: reflections on art as research. London: Routledge.

McNiff, Shaun (ed.) (2013) Art as Research: Opportunities and Challenges. London: Intellect.

Phillips, E. M. and D. S. Pugh (2000) How to get a PhD: A handbook for students and their supervisors. 3rd edition. Buckingham: Open University Press.

Rodgers, P.A. and Yee, J. (eds.) (2014) The Routledge Companion to Design Research. London: Routledge.

Schwab, Michael and Henk Borgdorff (2014) The Exposition of Artistic Research: Publishing Art in Academia. Leiden: Leiden University Press.

Smith, Dominic (2011) Models Of Open Source Production Compared To Participative Systems In New Media Art. PhD Thesis: University of Sunderland.

Smith, Hazel and Dean, R. T. (2009) Practice-led research, research-led practice in the creative arts. Edinburgh: Edinburgh University Press.
[Mostly UK and Australian examples, including new media research].

DRAFT Last updated 22 Nov 2014. Beryl Graham.

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< Art and Design Research Methods 1, 2 and 3

Art and Design Research Methods: Section 2
< ADM training Section 1 Section 2 > Section 3	Outline of Section 2: Preface. Some examples of PhDs (by students) What is the 'shape' of a research process? Some issues for researchers Summary References
.	Preface Following on from the previous section, this section looks at some more detailed examples of method, in relation to the student's own research.
^ to top	Some examples of PhDs Each student to briefly describe an example of doctoral research not covered so far. Also very briefly describe how they think their approach/methodology might compare. 5-10 mins each. Discuss. Examples chosen previously have included Tim Long (UWIC), Irene Leake (Gray's, Aberdeen), Franki Austen (Exeter School of Art), Kristoffer Gansing (Malmo Uni), Sara Diamond (Uni of East London) see Section 1
^ to top	What is the 'shape' of a research process? The overall 'shape' of a PhD research process (which may encompass several methods) may help to give students a broad grasp of the bigger picture. In most of these, the time scale starts at the left .
	Phillips and Pugh (2000, p.88) use a ‘wedge’ to represent the PhD programme of work against a time line as a 'progressive reduction of uncertainty' (!). They map out the development of the thesis from background theory through focal theory to data theory. A useful (if optimistic) suggestion for a division of time.
	Gray, Douglas, Leake and Malins (1995, p.9) use a similar but more organic shape to describe the research process as a 'journey' through the headings of: Assumptions, Synthesis, Contextualisation, Data Gathering, Evaluation/Analysis, Conclusion.
	Jan Hogarth's (1999. p.xx) 'linear smear' shows an analysis of how the content and working methods of her series of seven artworks moved from Romantic to Environmental approaches. They do not exactly form a geometrical line (an unlikely occurrence in art-practice-making), but a definite pattern emerged, which formed the thrust of her development.
	Anne Douglas' diagram (from Gray and Pirie, 1995, p.8) of her practice-led sculpture PhD (1992) shows a process moving from positivistic to hermeneutic methods (see definitions of these in Session 1). It also shows that some lines of inquiry and method turned out to be 'dead-ends'. These possible dead-ends should be seen as a valuable part of the research process, from which many things can be learned. Experimental science PhDs frequently feature experiments which fail to find the desired results, or conclusions which prove the original hypothesis wrong. There can be good research without a 'good end product'. For further debate see discussion of 'the right to fail'.
	Beryl Graham's (1997, p.17) diagram maps a hybrid approach where conventional case studies run alongside the making of artworks and the curating of an exhibition. Each informs the other, converging on a key question, and also informing the creation of a taxonomy.
	Design cycles for product design often involve a series of: Brainstorming/Materials Research, followed by Prototyping, then User Testing/Feedback. Depending on the feedback the cycle may be repeated until an acceptable result if obtained. This 'iterative' approach
	Katie Bunnell’s (1998, p.93) diagram adapts a kind of design cycle to a more complex series of 'artist-maker' ceramic projects. She divides each spiral into Immersion, Acquisition and Realisation. A design cycle may or may not be equivalent to a methodology. The whole area of 'making' as a research methodology is still open to debate.
	Katie Bunnell's (1998, p.88) diagram concerning "naturalistic inquiry" highlights the fact that the shapes so far have been broadly linear. This flower-shaped image refers to a research process which may have a radial form (radiating from a common centre). It may be more difficult to retain clarity within this structure, but there are not many examples to judge from. For more on Katie Bunnell's thesis, see the module Writing a Thesis: Media Options. -- So, quite often, practice-led research comprises a series of projects with some kind of reflection between them so that a 'development' occurrs. However, the series might be linked in linear, non-linear, radial or iterative ways, and you will need to be speciific about what you mean by 'reflection'. Task: Students to sketch a 'shape' for their chosen example of a PhD, and/or for their own research. Discuss.
.^ to top	Methodologies across disciplines The overall shape of a research process may include several different methods: positivist sections which may be applied to creative work; formal case studies and informal interviews; public questionnaires or peer evaluation. These methods need to be planned in advance. Each method demands substantial specialist knowledge (questionnaires, for example, are deceptively complex and problematic things), so beware of trying to span too many areas of knowledge. Make sure that you speak to an expert in that method before thinking about using a method from another field. Last training session, art practice-led research was described as "... using predominantly methodologies and specific methods familiar to us as practitioners in the visual arts and design." (CRIAD, 2000). With this is mind, different methods might be more familiar to different practices within art and design (Biggs and Karlsson, 2011; McNiff, 2013; Smith and Dean 2009). For design, for example, the 'design cycle' above would be more familiar than in fine art, and this idea of the 'protoype' was discussed in relation to art at Nomadic Salon 3. If the feedback is from people, then the use of ethnographic methods has been under hot debate: Bill Gaver's (2006) 'cultural probes' for example, involves simple giving artefacts without instructions to people in their homes, and seeing how they use it, which caused debate cocerning previous more positivist Design methods. See also Laurel (2003), Adamson (2007), Rodgers and Yee (2014). Live art and performance fields, for example, have useful methodologies concerning value systems of document in relation to work (Barrat and Bolt, 2007). Curatorial practice-led PhDs have fewer established methods, but some have made parallels between the 'arranging' and taxonomising of art systems, and the processes of research (Gaskill, 2010; Smith, 2011). Other materials concerning art methodologies include Materials for Art-Practice-Led Researchers.
^ to top	Further development for methodologies You will be asked by your supervisor to fill in the University's Personal Development Plan (PDP), so do take the opportunity to reflect on whether you need to develop your methodological skills as well as your subject skills, as this is a major learning curve for doing a PhD: Are you a methodical person? Are you better at starting than finishing? Try to build on your own existing knowledge and the precedents set by others rather than trying to invent something new. Some wider issues for art researchers concern artistic and professional ethics, risks vs. safety in making new precedents, and conflicts between process and end-product. Some of these issues are discussed during this session, and on the "Provocative Comment of the Month" discussion page. If the example of a methodology from a PhD thesis was useful to you, find another similar thesis so you can compare the details of their methods. If it was less useful, find a example more similar to your approach. Write a short paragraph about their method compared to yours, and you can cite this in the methodology section of your forms/annual monitoring/thesis. Further training sessions include opportunities for inviting visiting speakers, and speakers on method are often relevant to students across subject areas. Students with suggestions for speakers should contact Beryl.
^ to top	Summary Individual methods have complex bodies of knowledge attached to them, but may be be combined within an overall research process. In planning your research, it may help to plan your overall research 'shape'. You will need to gain many skills in order to design and execute your research methodology. Think about how you will gain those skills at the start of your research. Joining a 'research community' or discussion list might help you.
^ to top	References for this session (see also full bibliography) Adamson, Glenn (2007) Thinking through craft. Oxford: Berg. Barrett, Estelle and Barbara Bolt (eds.) (2007) Practice as research, approaches to creative arts enquiry. London: IB Taurus. [Mostly Australian, mostly performance-based including dance. Quite theoretical (Derrida, Foucault, exegesis as Meme) but with useful practical section in the appendices.] Biggs, M. and Karlsson, H.( eds.), (2011) The Routledge Companion to Research in the Arts.London: Routledge. Bunnell, Katie (1998) The integration of new technology into ceramic designer-maker practice. [CD-ROM]. Published PhD thesis. Aberdeen: The Robert Gordon University. Douglas, Anne (1992). Structure and improvisation: The making aspect of sculpture. Unpub. PhD thesis, University of Sunderland. Gaver, Bill (2006) “Probes and Commentators: Placing interpretation at the heart of design.” In: Edmonds, Ernest, Lizzie Muller, and Deborah Turnbull (eds.) ENGAGE: Interaction, Art and Audience Experience. CCS/ACID Symposium. Sydney: Creativity and Cognition Studios Press, University of Technology. 8-9. Graham, Beryl (1997). A study of audience relationships with interactive computer-based visual artworks in gallery settings, through observation, art practice, and curation. Unpub. PhD thesis, University of Sunderland. Gray, C., A. Douglas, I. Leake and J. Malins (1995) Developing a Research Procedures Programme for Artists and Designers. Aberdeen: CRIAD, The Robert Gordon University. (This is also available as a PDF file from the RGU web site). Gray, C. and I. Pirie (1995). '"Artistic' research procedure: Research at the edge of chaos?". In: Proceedings of Design Interfaces Conference Vol.3. The European Academy of Design. Salford: University of Salford. Hogarth, Jan (1999). 'Dislocated landscapes': A sculptor's response to contemporary issues within the British landscape. Unpub. PhD thesis, University of Sunderland. Johnston, Laura (1997) The innovative application of the coated glass surface in architecture. Unpub. PhD thesis, University of Sunderland. Laurel, Brenda (ed.) (2003) Design Research: Methods and Perspectives. Cambridge, Mass.: MIT Press. Macleod, K. and Holdridge L. (2006) Thinking Through Art: reflections on art as research. London: Routledge. McNiff, Shaun (ed.) (2013) Art as Research: Opportunities and Challenges. London: Intellect. Phillips, E. M. and D. S. Pugh (2000) How to get a PhD: A handbook for students and their supervisors. 3rd edition. Buckingham: Open University Press. Rodgers, P.A. and Yee, J. (eds.) (2014) The Routledge Companion to Design Research. London: Routledge. Schwab, Michael and Henk Borgdorff (2014) The Exposition of Artistic Research: Publishing Art in Academia. Leiden: Leiden University Press. Smith, Dominic (2011) Models Of Open Source Production Compared To Participative Systems In New Media Art. PhD Thesis: University of Sunderland. Smith, Hazel and Dean, R. T. (2009) Practice-led research, research-led practice in the creative arts. Edinburgh: Edinburgh University Press. [Mostly UK and Australian examples, including new media research]. DRAFT Last updated 22 Nov 2014. Beryl Graham.
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