Professional practice and scholarly research

1. Professional practice and scholarly research Professor Judith Mottram, Nottingham Trent University I was asked to talk about difference between professional practice and scholarly research Why are we considering whether there are differences? Because AHRC is picking up from the enquiries it receives that there is �much confusion� about this issue. As Postgrad panel member and peer college member, I would concur that I�ve seen that in the applications I�ve been asked to review. We can try to explore the sort of confusion there is about this issue, have a look at possible causes for it, and consider the interest groups that such confusion might be useful to A potential benefit of talking about the differences between these two classes of activity, professional practice and research, is to explore useful ways of in which we might think about our past and future activities. In particular, by reflection upon our professional activities, we could construct well grounded research proposals that might contribute to the forward development of our subjects. I was asked to talk about difference between professional practice and scholarly research Why are we considering whether there are differences? Because AHRC is picking up from the enquiries it receives that there is �much confusion� about this issue. As Postgrad panel member and peer college member, I would concur that I�ve seen that in the applications I�ve been asked to review. We can try to explore the sort of confusion there is about this issue, have a look at possible causes for it, and consider the interest groups that such confusion might be useful to A potential benefit of talking about the differences between these two classes of activity, professional practice and research, is to explore useful ways of in which we might think about our past and future activities. In particular, by reflection upon our professional activities, we could construct well grounded research proposals that might contribute to the forward development of our subjects.

2. Addressing the question Recent history Characteristics Definitions Motivations Is there a difference between an art question and a research question? There are several ways in which the differences may be explored This presentation looks at some of the events that I think might be implicated in the confusion. It will then look at the sorts of activities that have been reported as research, before touching on definitions and labels This includes looking at the particular ways in which AHRC defines research, and its expectations of what approach it would expect of the activities that might be described in a research project proposal. We do need to question our own motivations for using particular labels It is suggested that a research approach to our discipline has particular and distinctive ways in which it contribute to knowledge and understanding that are different from but equally valuable to the contribution that can be made by professional practice in the creative and performing arts. There are several ways in which the differences may be explored This presentation looks at some of the events that I think might be implicated in the confusion. It will then look at the sorts of activities that have been reported as research, before touching on definitions and labels This includes looking at the particular ways in which AHRC defines research, and its expectations of what approach it would expect of the activities that might be described in a research project proposal. We do need to question our own motivations for using particular labels It is suggested that a research approach to our discipline has particular and distinctive ways in which it contribute to knowledge and understanding that are different from but equally valuable to the contribution that can be made by professional practice in the creative and performing arts.

3. 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� This time-line is being used in the Review of Practice-led research to underpin the emergence of definitions. The 1st few dates are where confusion crept in. Suggest that most of our research activities in art & design do need to check back on some of this material to see where they sit. This is a part of our discipline history and in many parts of our domain, the idea that we might do research does only have this much history�(or back to the mid-1970s) 1984 CNAA statement noted that research and related activities were those that infused teaching with a sense of critical enquiry. They saw such activities as including the following: Academic research, Applied research, Consultancy, Professional practice, Scholarship, Creative work, Curriculum and pedagogic research, and the development of applied, interdisciplinary and collaborative activities that are responsive to industrial and community needs This seems a fairly clear model and it was the one I was introduced to when I started my own PhD in 1984. This was a period very close to the start of thinking about research within our disciplines - there had only been about half a dozen PhD�s in my subject area, fine art, in the whole of the UK at the point at which I started mine� 1988 Matrix conference publication included a 1989 paper from CNAA Art & Design Research Committee, which clearly stated that they did not accept creative work as legitimate scholarly activity, but recognised rapid growth in the reporting of such activity. They reinforced recognition of breadth of activities needed to support healthy subjects and debated whether they needed alternative awards to recognise advanced creative work. An important note made by Alan Livingstone was that it was a mistaken belief that �analysis leads to paralysis�� 1992 a lot of this creative activity being reported under the research and related activities performance indicator of the CNAA was entered into the RAE. The �new kids on the research-block� (Brown, Gough & Roddis, 2004) rather skewed the projections and deflated the unit of funding across the university system, but appeared as the �research saviours� of the old polytechnic institutions. Brown Gough & Roddis note that a lot of the activity reported at the 1992 RAE was applied work undertaken within professional or industrial contexts, and note that it was the sort of activity described mostly as �professional practice� 1993 saw Frayling�s useful plundering of Herbert Reads model of for, through and into. He noted that research could be FOR practice, as in Picasso gathering source material for Les Desmoiselles d�Avignon, THROUGH practice, such as the iterative process of making a working prototype, testing and amending that model, or INTO practice, such as Cornock�s observations of art students when drawing. In the AHRC funding guidelines for Fellowships they note there may be �Research which forms an integral part of the creative process� when �developing a work� as �part of a artist�s professional development� - this chimed for me when thinking about Frayling�s �FOR� practice. We have to be careful about this � it can be like the student compilation of the �research file� of material that is intended to stimulate their studio work, rather than the intentional data gathering or data generation in order to address a research question. The aimless collection of stuff indicates very little about the capacity to organise, evaluate or interpret�.. Frayling sees the goal of this sort of activity as art, rather than knowledge or understanding, and more about autobiography and personal development than about communicable knowledge So, in 1989 the CNAA Research Committee in Art & Design did not see creative work as scholarly activity, but by 1992, the RAE convinced us � This time-line is being used in the Review of Practice-led research to underpin the emergence of definitions. The 1st few dates are where confusion crept in. Suggest that most of our research activities in art & design do need to check back on some of this material to see where they sit. This is a part of our discipline history and in many parts of our domain, the idea that we might do research does only have this much history�(or back to the mid-1970s) 1984 CNAA statement noted that research and related activities were those that infused teaching with a sense of critical enquiry. They saw such activities as including the following: Academic research, Applied research, Consultancy, Professional practice, Scholarship, Creative work, Curriculum and pedagogic research, and the development of applied, interdisciplinary and collaborative activities that are responsive to industrial and community needs This seems a fairly clear model and it was the one I was introduced to when I started my own PhD in 1984. This was a period very close to the start of thinking about research within our disciplines - there had only been about half a dozen PhD�s in my subject area, fine art, in the whole of the UK at the point at which I started mine� 1988 Matrix conference publication included a 1989 paper from CNAA Art & Design Research Committee, which clearly stated that they did not accept creative work as legitimate scholarly activity, but recognised rapid growth in the reporting of such activity. They reinforced recognition of breadth of activities needed to support healthy subjects and debated whether they needed alternative awards to recognise advanced creative work. An important note made by Alan Livingstone was that it was a mistaken belief that �analysis leads to paralysis�� 1992 a lot of this creative activity being reported under the research and related activities performance indicator of the CNAA was entered into the RAE. The �new kids on the research-block� (Brown, Gough & Roddis, 2004) rather skewed the projections and deflated the unit of funding across the university system, but appeared as the �research saviours� of the old polytechnic institutions. Brown Gough & Roddis note that a lot of the activity reported at the 1992 RAE was applied work undertaken within professional or industrial contexts, and note that it was the sort of activity described mostly as �professional practice� 1993 saw Frayling�s useful plundering of Herbert Reads model of for, through and into. He noted that research could be FOR practice, as in Picasso gathering source material for Les Desmoiselles d�Avignon, THROUGH practice, such as the iterative process of making a working prototype, testing and amending that model, or INTO practice, such as Cornock�s observations of art students when drawing. In the AHRC funding guidelines for Fellowships they note there may be �Research which forms an integral part of the creative process� when �developing a work� as �part of a artist�s professional development� - this chimed for me when thinking about Frayling�s �FOR� practice. We have to be careful about this � it can be like the student compilation of the �research file� of material that is intended to stimulate their studio work, rather than the intentional data gathering or data generation in order to address a research question. The aimless collection of stuff indicates very little about the capacity to organise, evaluate or interpret�.. Frayling sees the goal of this sort of activity as art, rather than knowledge or understanding, and more about autobiography and personal development than about communicable knowledge So, in 1989 the CNAA Research Committee in Art & Design did not see creative work as scholarly activity, but by 1992, the RAE convinced us �

4. Characteristics of the field � output types: These are some of the sorts of outputs recorded as disseminating our research activities in the 2001 RAE Illustrates clearly how research or other activities that include dissemination by exhibition predominate in the sphere of art & design. These are some of the sorts of outputs recorded as disseminating our research activities in the 2001 RAE Illustrates clearly how research or other activities that include dissemination by exhibition predominate in the sphere of art & design.

5. Art & Design text and practice outputs: One of the differences between professional practice and research is that we may need to present information in different ways. This table represents about 75% (6967 of 9242) of the total number of outputs returned to RAE2001, which have been coded by discipline type. Exhibitions and designs might be anticipated to be the outputs of practice-led work, and the articles or conference papers or books might be the outcomes of more desk or lab-based research. Creative arts is taken to include the disciplines of fine art and performance, and this table indicates these subjects were more likely to report outputs that were not text-based text outputs practice outputs Design 2047 1385 creative arts 548 2987 One of the differences between professional practice and research is that we may need to present information in different ways. This table represents about 75% (6967 of 9242) of the total number of outputs returned to RAE2001, which have been coded by discipline type. Exhibitions and designs might be anticipated to be the outputs of practice-led work, and the articles or conference papers or books might be the outcomes of more desk or lab-based research. Creative arts is taken to include the disciplines of fine art and performance, and this table indicates these subjects were more likely to report outputs that were not text-based text outputs practice outputs Design 2047 1385 creative arts 548 2987

6. Comparing fields by output types: Again, using the design: creative arts distinction - here we see more detail of the sorts of outputs coming from the broad fields of design and the creative arts. 4 times as many exhibitions from creative arts as design, and almost the opposite balance for the other sorts of output types. When you start thinking about this in terms of numbers of people involved in art & design in the university sector, this appears less straightforward. Exhibition may the main form of dissemination for art stuff � but surely �doing design� would be the equivalent for the academics teaching those disciplines? But the designers are also doing all these other things � writing journal articles, books, conference papers etc�. Is this good for design and bad for art, or vice versa?Again, using the design: creative arts distinction - here we see more detail of the sorts of outputs coming from the broad fields of design and the creative arts. 4 times as many exhibitions from creative arts as design, and almost the opposite balance for the other sorts of output types. When you start thinking about this in terms of numbers of people involved in art & design in the university sector, this appears less straightforward. Exhibition may the main form of dissemination for art stuff � but surely �doing design� would be the equivalent for the academics teaching those disciplines? But the designers are also doing all these other things � writing journal articles, books, conference papers etc�. Is this good for design and bad for art, or vice versa?

7. Output types and art & design disciplines: Another way of looking at what we do, looking at proportions of different sorts of outputs submitted by different disciplines. In the coding process the interpretation of �book� raised some concerns. �Book� was taken to include all manner of things, from a 200 page written text to a 16 page leaflet with a graphic visual narrative. A positive aspect to the range of output types used by the design field is that researchers in these fields may be able to have more influence on recognising the impact of new thinking. It is important to think about the forward dissemination of our work and its accessibility to future audiences. We do need to ensure that the investment of our time, and the AHRCs funds, can have a lasting impact on thinking and practice in our world. It is important to recognise who gets to decide what gets disseminated within different fields. The reason that the engineers focus so single-mindedly on journal articles for dissemination of research results may be partly because there is no �professional� world of engineering exhibitions or book about engineering for the broader populace. Art & design are different � our �products� may hit a big commercial market and it may be qualities that are far removed from research rigour or research impact that determine whether they get to the front page of Elle Decoration or set new records at auction. It is interesting to reflect on parallels between art & design and engineering in relation to the Megastructures programme on prime time Channel 5 � an amazing example of the reporting of practice. There may well be papers on the technical innovations in civil engineering that enabled the construction of the Boston road tunnels, but what was broadcast, or what exists in Boston, would probably not be described as research within that community� The decision to exhibit work in the Waddington Galleries or the Lisson, or to include objects in an exhibition at the Hayward or Documenta, has very little to do with its research value. The scholarly community has little or no influence over the gallery world or over the design market. There seem to be some powerful reasons for us to think carefully about our mode of dissemination if we are concerned about research impact.Another way of looking at what we do, looking at proportions of different sorts of outputs submitted by different disciplines. In the coding process the interpretation of �book� raised some concerns. �Book� was taken to include all manner of things, from a 200 page written text to a 16 page leaflet with a graphic visual narrative. A positive aspect to the range of output types used by the design field is that researchers in these fields may be able to have more influence on recognising the impact of new thinking. It is important to think about the forward dissemination of our work and its accessibility to future audiences. We do need to ensure that the investment of our time, and the AHRCs funds, can have a lasting impact on thinking and practice in our world. It is important to recognise who gets to decide what gets disseminated within different fields. The reason that the engineers focus so single-mindedly on journal articles for dissemination of research results may be partly because there is no �professional� world of engineering exhibitions or book about engineering for the broader populace. Art & design are different � our �products� may hit a big commercial market and it may be qualities that are far removed from research rigour or research impact that determine whether they get to the front page of Elle Decoration or set new records at auction. It is interesting to reflect on parallels between art & design and engineering in relation to the Megastructures programme on prime time Channel 5 � an amazing example of the reporting of practice. There may well be papers on the technical innovations in civil engineering that enabled the construction of the Boston road tunnels, but what was broadcast, or what exists in Boston, would probably not be described as research within that community� The decision to exhibit work in the Waddington Galleries or the Lisson, or to include objects in an exhibition at the Hayward or Documenta, has very little to do with its research value. The scholarly community has little or no influence over the gallery world or over the design market. There seem to be some powerful reasons for us to think carefully about our mode of dissemination if we are concerned about research impact.

8. 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. This definition signals that research is seen as an investigation performed IN ORDER to gain knowledge or understanding. There is a clear indication here of a principle of intentionality in terms of the knowledge of understanding. The activity is not anticipated to be performed in order to confuse its audience. We also have an indicator that the activity is seen to address NEEDS, and an expectation that where objects or ideas are generated by the research process, they will lead to NEW or IMPROVED insights When looking at definitions that mention knowledge, need to recognise that there are some particular types of knowledge which are common in Art & Design but not so prevalent in other areas of practice. These could be seen to include tacit knowledge, haptic knowledge, and certain types of procedural knowledge � know how in its broadest sense. These types of knowledge may provide an interesting focus for research in our domain. This definition signals that research is seen as an investigation performed IN ORDER to gain knowledge or understanding. There is a clear indication here of a principle of intentionality in terms of the knowledge of understanding. The activity is not anticipated to be performed in order to confuse its audience. We also have an indicator that the activity is seen to address NEEDS, and an expectation that where objects or ideas are generated by the research process, they will lead to NEW or IMPROVED insights When looking at definitions that mention knowledge, need to recognise that there are some particular types of knowledge which are common in Art & Design but not so prevalent in other areas of practice. These could be seen to include tacit knowledge, haptic knowledge, and certain types of procedural knowledge � know how in its broadest sense. These types of knowledge may provide an interesting focus for research in our domain.

9. 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. In terms of identifying research quality, RAE gives us these measures: Significance � this is about the contribution to knowledge or understanding making a difference to how the field thinks Originality � are the new ideas or things going to make a difference to how others are going to engage in this particular field? Rigour � can someone see how it was done � could someone else replicate the work? (this is a particularly interesting question when thinking about the production of creative work, where some value may be attached to the authentic mark of the maker) The esteem indicators are effectively asking who else has noticed what has been achieved and the extent to which practice have changed as a result. BENEFIT is again an interesting notion � how useful was the contribution? In terms of identifying research quality, RAE gives us these measures: Significance � this is about the contribution to knowledge or understanding making a difference to how the field thinks Originality � are the new ideas or things going to make a difference to how others are going to engage in this particular field? Rigour � can someone see how it was done � could someone else replicate the work? (this is a particularly interesting question when thinking about the production of creative work, where some value may be attached to the authentic mark of the maker) The esteem indicators are effectively asking who else has noticed what has been achieved and the extent to which practice have changed as a result. BENEFIT is again an interesting notion � how useful was the contribution?

10. 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 From the AHRC itself, the focus is on process not product, with a requirement for specification and defining questions, context and methods. In the advice given to applicants on completing the application forms, they usefully add a set of questions which could help applicants deliver to these specifications. It could be questioned whether current undergraduate and postgraduate courses are really giving aspiring researchers the tools to deal with the sorts of question being asked by the AHRC. This may be one of the reasons why there is some confusion about research and practice.From the AHRC itself, the focus is on process not product, with a requirement for specification and defining questions, context and methods. In the advice given to applicants on completing the application forms, they usefully add a set of questions which could help applicants deliver to these specifications. It could be questioned whether current undergraduate and postgraduate courses are really giving aspiring researchers the tools to deal with the sorts of question being asked by the AHRC. This may be one of the reasons why there is some confusion about research and practice.

11. AHRC distinction between research & practicesection 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 Particularly important to be sure what we are talking about here in terms of distinctions between research and practice, especially if thinking about the AHRC Fellowships scheme in creative and performing arts. These notes on screen make it very clear how they expect to hear about creative practice that is part of research. � they want documentation, textual analysis and critical reflection AHRC do have a strong interest in helping us to develop research programmes that include creative practice, but they distinguish this from work which is purely a development of an individual's professional practice. That might more appropriately seek support from an arts funding body. Where creativity or practice does not involve research, it would be ineligible for funding from the AHRC. For schemes like the Fellowships, �the proposed work should aim, through practice, to illuminate or bring about new knowledge and understanding in the discipline. Particularly important to be sure what we are talking about here in terms of distinctions between research and practice, especially if thinking about the AHRC Fellowships scheme in creative and performing arts. These notes on screen make it very clear how they expect to hear about creative practice that is part of research. � they want documentation, textual analysis and critical reflection AHRC do have a strong interest in helping us to develop research programmes that include creative practice, but they distinguish this from work which is purely a development of an individual's professional practice. That might more appropriately seek support from an arts funding body. Where creativity or practice does not involve research, it would be ineligible for funding from the AHRC. For schemes like the Fellowships, �the proposed work should aim, through practice, to illuminate or bring about new knowledge and understanding in the discipline.

12. Motivations matrix This motivations matrix is a starting point for further thought � this initial matrix was developed from considering what characterises some of the sorts of activities academics engage in.This motivations matrix is a starting point for further thought � this initial matrix was developed from considering what characterises some of the sorts of activities academics engage in.

13. 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 Another take on motivations is to consider how different interest groups might think about research and practice. From work on AHRC review of practice-led research, we�ve been looking at Boston Grid method of setting up scalar relationships. Here are a few axes that might fit some of the positions between professional practice in the creative arts and research activity within such disciplines. The note on exact or expedient labels was suggested by a colleague who described his published work in two ways last week � he said at one point that he had an �interdisciplinary research agenda�, then he qualified this by saying that he�d been �jumping about� all over the place not settling down and focusing. He also noted that the term �knowledge transfer collaboration� was just a fancy way of saying we were �keeping our hand in� on trying to keep up to date with the reality of the professional design world. He was aware he was switching between different �languages�. The issue of �learning the lingo� also came up quite clearly in the first �town meeting� held for the AHRC review of practice-led research. It is up to the individual to ask themselves a set of questions about what it is that they are doing and to assess the extent to which the activity that they want to undertake is practice or research, and seek funding accordingly. If the prime motivation is having an exhibition, it might well be that the activity should be regarded as professional practice. If the prime motivation is answering a question, the activity should be regarded as researchAnother take on motivations is to consider how different interest groups might think about research and practice. From work on AHRC review of practice-led research, we�ve been looking at Boston Grid method of setting up scalar relationships. Here are a few axes that might fit some of the positions between professional practice in the creative arts and research activity within such disciplines. The note on exact or expedient labels was suggested by a colleague who described his published work in two ways last week � he said at one point that he had an �interdisciplinary research agenda�, then he qualified this by saying that he�d been �jumping about� all over the place not settling down and focusing. He also noted that the term �knowledge transfer collaboration� was just a fancy way of saying we were �keeping our hand in� on trying to keep up to date with the reality of the professional design world. He was aware he was switching between different �languages�. The issue of �learning the lingo� also came up quite clearly in the first �town meeting� held for the AHRC review of practice-led research. It is up to the individual to ask themselves a set of questions about what it is that they are doing and to assess the extent to which the activity that they want to undertake is practice or research, and seek funding accordingly. If the prime motivation is having an exhibition, it might well be that the activity should be regarded as professional practice. If the prime motivation is answering a question, the activity should be regarded as research

14. 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? Why do research? If employed as an academic in a university, doing research is normally regarded as a part of what academics do. Art & Design has not been part of the university sector for very long, and has a short history of engagement with research in that context. Why bid for research council funding if you are an artist or a designer? If working in a university it is one of the activities that acts as a �performance indicator� for the sector, so you will be encouraged to do so. If you do not work in a university, it is a source of funding for certain sorts of activities that you may or may not be familiar with. There is an enduring interest in showing the outcomes of creative activity within art & design. There is a belief that the work �speaks for itself�. The model of �show & tell� is an important main means of exchange within the professional context. But as Frayling has said � �no scientist would ever say that contents of a test-tube changing colour �speaks for itself�� It may be useful to understand a bit more about the notion of visual knowledge and its transmission with intentionality, if we are to continue to assert any central role for the art or design object in doctoral (or any other) research. It might be also be useful for us to consider the quality of our evidence, visual or otherwise, and the way it might be accessed in the future. Blaikie (Norman) has provided a useful description of how to develop and refine a research question. There should be that questioning of the intended topic � what really is the point of finding out about this? How is it going to add to practice, whether creative or research orientated, within my discipline? His method is to write down every question you can think of, to �expose all the ideas you have on the topic�. Then sort them into different themes or topics, if they exist. In effect this is a labelling activity. Then Blaikie suggests separating out the �what�, �why� and �how� questions, exposing the assumptions, and then examining scope. In terms of strategy, the issue of scope is very important, particularly within the early stages of a developing research agenda. Too much focus or too much breadth can both have implications for the logical or illogical progression of further work. It is difficult to see how we can engage in research if, as a discipline, we reject the notion of the �canon of knowledge�. Why do research? If employed as an academic in a university, doing research is normally regarded as a part of what academics do. Art & Design has not been part of the university sector for very long, and has a short history of engagement with research in that context. Why bid for research council funding if you are an artist or a designer? If working in a university it is one of the activities that acts as a �performance indicator� for the sector, so you will be encouraged to do so. If you do not work in a university, it is a source of funding for certain sorts of activities that you may or may not be familiar with. There is an enduring interest in showing the outcomes of creative activity within art & design. There is a belief that the work �speaks for itself�. The model of �show & tell� is an important main means of exchange within the professional context. But as Frayling has said � �no scientist would ever say that contents of a test-tube changing colour �speaks for itself�� It may be useful to understand a bit more about the notion of visual knowledge and its transmission with intentionality, if we are to continue to assert any central role for the art or design object in doctoral (or any other) research. It might be also be useful for us to consider the quality of our evidence, visual or otherwise, and the way it might be accessed in the future. Blaikie (Norman) has provided a useful description of how to develop and refine a research question. There should be that questioning of the intended topic � what really is the point of finding out about this? How is it going to add to practice, whether creative or research orientated, within my discipline? His method is to write down every question you can think of, to �expose all the ideas you have on the topic�. Then sort them into different themes or topics, if they exist. In effect this is a labelling activity. Then Blaikie suggests separating out the �what�, �why� and �how� questions, exposing the assumptions, and then examining scope. In terms of strategy, the issue of scope is very important, particularly within the early stages of a developing research agenda. Too much focus or too much breadth can both have implications for the logical or illogical progression of further work. It is difficult to see how we can engage in research if, as a discipline, we reject the notion of the �canon of knowledge�.

15. �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) Maybe we know quite well what the differences are between professional practice and research, but chose to ignore them when it is expedient to do so. Within art and design, we generate material that is distinctive and is of value. We do need to be clear about our aims and intentions, and we need to be honest about what we can contribute to knowledge and understanding and what our motivations might be. Definition of research for the RAE http://www.rae.ac.uk/pubs/2005/03/rae0305.doc Bougourd, J., Evans, S. and Gronberg, T. (eds), 1988. The Matrix of Research in Art and Design Education. London: London Institute Brown, B., Gough, P., Roddis, J., 2004. Types of Research in the Creative Arts and Design. Brighton: University of Brighton. Buchler, Pavel, 2001. 'New Academic Art'. In Antonia Payne (eds.) Research and the Artist: Considering the Role of the Art School. Oxford: OUP Cox, George, 2005. Cox Review of Creativity in Business: building on the UK�s strengths. London: HMSO. Elkins, James, 2001. Why Art Cannot be Taught. Chicago: UIP Frayling, Christopher, 1993. Research in Art and Design, Royal College of Art Research Papers, Vol 1, No. 1, 1993/4. London: RCA Harris, Roy, 2003. The Necessity of Artspeak. London: Continuum. Transcript of research seminar on practice-based doctorates in creative and performing arts and design, Occasional Paper, 1998. Farnham: The Surrey Institute of Art & Design. (includes Frayling�s comment on the test-tube changing colour)Maybe we know quite well what the differences are between professional practice and research, but chose to ignore them when it is expedient to do so. Within art and design, we generate material that is distinctive and is of value. We do need to be clear about our aims and intentions, and we need to be honest about what we can contribute to knowledge and understanding and what our motivations might be. Definition of research for the RAE http://www.rae.ac.uk/pubs/2005/03/rae0305.doc Bougourd, J., Evans, S. and Gronberg, T. (eds), 1988. The Matrix of Research in Art and Design Education. London: London Institute Brown, B., Gough, P., Roddis, J., 2004. Types of Research in the Creative Arts and Design. Brighton: University of Brighton. Buchler, Pavel, 2001. 'New Academic Art'. In Antonia Payne (eds.) Research and the Artist: Considering the Role of the Art School. Oxford: OUP Cox, George, 2005. Cox Review of Creativity in Business: building on the UK�s strengths. London: HMSO. Elkins, James, 2001. Why Art Cannot be Taught. Chicago: UIP Frayling, Christopher, 1993. Research in Art and Design, Royal College of Art Research Papers, Vol 1, No. 1, 1993/4. London: RCA Harris, Roy, 2003. The Necessity of Artspeak. London: Continuum. Transcript of research seminar on practice-based doctorates in creative and performing arts and design, Occasional Paper, 1998. Farnham: The Surrey Institute of Art & Design. (includes Frayling�s comment on the test-tube changing colour)