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:
Art & Design Engineering Built Environment
RAE 2001 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 text and practice outputs:

3500

3000

2500

2000

1500

1000

de sign
500
c re a t ive a rt s

0
t e xt out put s pra c t ic e out put s
Comparing fields by output types:

100
90
80
70
60
50
40
30
20 design
10 creative arts
0
Output types and art & design disciplines:

90.00 exhibitions
80.00
70.00 designs
60.00 journal articles
50.00
books
40.00
30.00 confs
20.00 ed bks
10.00
0.00 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
addressed
Specify 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 field
Specify 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 & practice
section 53, p.13

Creative output can be produced, or practice undertaken

as 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 is

ineligible for funding from the Council
Motivations matrix
Practice
Its part of what art & design
lecturers do
Its interesting
It is satisfying to make something
People like what I make
I sell the things I make
It is a part of my identity
There are things I want to try
It contributes to the university art &
design practice profile
Being involved in practice means I
stay engaged with the professional
world
Being involved in practice allows
me to give students a realistic
sense of the current state of play
… …
Research
Its part of the job spec for uni
lecturers
Its interesting
Its satisfying to find something out
People like what I come up with
It gets research grants so I can do
more
It is a part of my identity
There are things I want to find out
It contributes to the university
research profile
Being involved in research keeps
me focused on the forefront of
knowledge in my field
Being involved in research gives
me new understandings to feed
into my teaching
Course development
Its part of the job spec for uni
lecturers
Its interesting
Its satisfying to pass something on
People like my courses
It helps attract students so my job
feels secure
It is a part of my identity
There are things students need to
know
It contributes to the university
teaching profile
Being involved in course
development helps me ensure the
course is kept up-to-date
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?
 Closing thoughts…

‘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)