practice based research

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Digital art and Design Practice and its relation to research methods and rationales

Practice-based Research

Professor Martin Rieser, IOCT/ De Montfort University, UK

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Practice-based Research : DefinitionsUKCGE paper on Practice-based Doctorates in the Creative and Performing Arts

The demonstration of certain competencies:

a. undertake a systematic enquiry

b. apply methods appropriate to the subject

c. a grasp of context

d. documentation and communication in a permanent form

e. sustained and contextualised logical argument

f. justification of actions in relation to process and product

g. valid and original work of high quality

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Practice-based Research : Definitions

Research has ‘no lone scholars’ or ‘lone scholarships’-it connects minds

Q What kinds of Research are there?

1. Re-creating lost knowledge

1. Knowledge production

2. Enhancing understanding –challenging knowledge

3. Building intellectual infrastructure

(Prof Bruce Brown, Brighton)

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Practice-based Research : Definitions Research is a systematic enquiry whose goal iscommunicable knowledge:

Systematic because it is pursued according tosome plan

An enquiry because it seeks to find answers toquestions

Goal-directed because the objects of the enquiryare posed by task description

(Prof Bruce Archer)

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Practice-based Research : Definitions Types of Research through Art & Design

1 Materials research

2 Developmental work i.e. customising a piece of technology

3 Action Research i.e. where (for example) a diary tells, step by step, of a practical experiment in the studios, and the report aims to contextualise it

4 Where the end product is an artefact- where thinking is embodied in the artefact, where the goal may not be communicable knowledge as in verbal communication, but in the sense of visual or iconic or imaginative communication

(Christopher Frayling)

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"So, what's the difference between ’Fine Art research methods' and ’Design Methods'?" There are perhaps more established materials on design methods, and certainly more periodicals dealing with design. Are the brainstorm/prototype/improvisation/feedback methods of design really that different from fine art production? Is the difference that whilst designers are obliged to work in response to feedback on usability, market research likes etc., artists rarely seek this information, or can choose to work contrary to it? (Beryl Graham)

http://seacoast.sunderland.ac.uk/~as0bgr/learnco99.html#nov/dec

Practice-based Research :Views

http://seacoast.sunderland.ac.uk/~as0bgr/learnco99.html

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If MPhil/Ph.D. research produces 'poor art' (whatever the definition), is that a problem? After all, many scientific research projects end with the conclusion that the original hypothesis was incorrect. Unlike MA level art education, which involves a 'quality' judgment on finished artwork for 'success', with PhDs it is theoretically possible to produce truly terrible, 'unsuccessful' artworks, which form a most excellent piece of research (and may be more successful at communicating knowledge to other artists than the most perfect finished products).

(Beryl Graham)1


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Whilst I would argue that PhDs form a rare and valuable arena for an artist's 'right to fail' (as long as knowledge is gained from failure), I would also argue for artists to consciously struggle against a certain tendency of 'research artworks' to be, well, a little dull. Dullness is not stipulated in academic regulations, it is optional.

By putting practice first, that relationship between form and content is necessarily foregrounded, even if not formally theorised. By pushing the boundaries of the representation of visual knowledge, excitement is maintained.(Beryl Graham) 2http://seacoast.sunderland.ac.uk/~as0bgr/learnco99.html#nov/dec


http://www.herts.ac.uk/artdes/research/papers/wpades/vol2/scrivener.html

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The principal feature of such research is not the employment of a particular method but the desire or requirement to create 'works' (i.e. designed artefacts, art objects or performances) and to present them as part of the 'answer'.

In this way, art and design research is different from many other disciplines because it does not simply use objects as evidence which is later reported on, but attempts to present these objects as part of, or all of, an argument for interpretation by the viewer. This implies the notion that 'the work' can embody the answer to the research question and this is one of the problematics.

Biggs, M. (2003). The Role of "the Work" in Research. PARIP, University of Bristol, UK.


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It is sufficient to show that the context affects our reading of 'the work' in order to demonstrate that 'works' alone cannot embody knowledge. This situation is comparable to the meaning of individual words. Although most of us have been taught that one way to approach an essay question is to seek the dictionary definitions of key terms in the question, we are also familiar with the feelings of dissatisfaction that arise from these isolated definitions. Words have meanings in the context of sentences, alongside other words, and in social contexts in which utterances are accompanied by actions. So it is that individual objects and performances devoid of context become more-or-less devoid of meaning. Likewise, as they become contextualised they become more-or-less meaningful.


Practice-based Research :ViewsWhat is the function of a text/thesis in a practice-based submission?

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Furthermore, we are aware that the interpretation of words and of works of literature, changes over time owing to changes in the intertextual context.

For example, in 1920 James Joyce's Ulysses was denounced as 'obscene, lewd, lascivious, filthy, indecent and disgusting' by the New York Society for the Suppression of Vice

By 1941 it was hailed by Levin as 'a novel to end all novels' (Joyce 1993: xli & ix). This shows that words or texts do not have single unalterable meanings any more than do 'works'.



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Ross Gibson’s view is 'the text is not an explanation of the artwork; rather, the text is an explicit, word-specific representation of processes that occur during the iterative art-making routine, processes of gradual, cyclical speculation, realisation or revelation leading to momentary, contingent degrees of understanding.

To this extent the text that one produces is a kind of narrative about the flux of perception-cognition-intuition. The text accounts for the iterative process that carries on until the artist decrees that the artwork is complete and available for critique, 'appreciation', interpretation, description, evaluation. All these particular practices can entail other particular texts.'

Practice-based Research : Views

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Steve Scrivener’s view: ‘The art object does not embody a form of knowledge’

Art is not a form of knowledge communicationArt is not a servant of knowledge acquisitionArt making creates apprehensionsArt research creates novel apprehensions

http://www.herts.ac.uk/artdes/research/papers/wpades/vol2/scrivener.html

Practice-based Research : Views

http://uk.youtube.com/watch?v=sbqCgQC5Y1k

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Gateway Questions to Doctoral research

Q Is the projected programme of study of intrinsicresearch interest; as opposed to a period for furtherpersonal creative development?

Q Does the proposal indicate a strong and necessarylink between practical and theoretical consideration?

Q Is the Methodology an organised way of proceeding with research, with regard to data collection and analyses?

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Practice-based projects are those which include as an integral part the production of an original artefact in addition to, or perhaps instead of, the production of a written thesis.

They are naturally of great interest to practising artists and designers, but they are not confined to these disciplines. One may find examples in music, in software design, in engineering, in law; in fact in any subject where the result might be an artefact generated in the laboratory or workplace.

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Practice-based Research is an original investigation undertaken in order to gain new knowledge partly by means of practice and the outcomes of that practice.

In a doctoral thesis, claims of originality and contribution to knowledge may be demonstrated through creative outcomes in the form of designs, music, digital media, performances and exhibitions. Whilst the significance and context of the claims are described in words, a full understanding can only be obtained with direct reference to the outcomes. (Linda Candy)


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Practice-led Research is concerned with the nature of practice and leads to new knowledge that has operational significance for that practice.

In a doctoral thesis, the results of practice led research may be fully described in text form without the inclusion of a creative work. The primary focus of the research is to advance knowledge about practice, or to advance knowledge within practice.

Such research includes practice as an integral part of its method and often falls within the general area of action research. (Linda Candy)


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It is important to make a clear distinction between practice-based research and pure practice. Many practitioners would say they do ‘research’ as a necessary part of their everyday practice. As the published records of the creative practitioners demonstrate, searching for new understandings and seeking out new techniques for realising ideas is a substantial part of everyday practice.

However, this kind of research is, for the most part, directed towards the individual’s particular goals of the time rather than seeking to add to our shared store of knowledge in a more general sense.

Stephen Scrivener argues that the critical difference is that practice-based research aims to generate culturally novel apprehensions that are not just novel to the creator or individual observers of an artefact; and it is this that distinguishes the researcher from the practitioner (Scrivener, 2002).


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Another important distinction between personal practitioner research and practice-based research is the form that the knowledge generated takes. The practice-based doctoral research outcome that is shared with a wider community arises from a structured process that is defined in university examination regulations.

In order to achieve advances in knowledge of the kind referred to above, the everyday research process common to professional practice has to be defined and executed in a manner that is commonly agreed.

The research component of the practice-based research is, in most respects, similar to any definition of research, a key element of which is the transferability of the understandings reached as a result of the research process. In the UK, the Arts and Humanities Research Board (now Council) (AHRB, 2000) defined research primarily in terms of research processes rather than outputs (Linda Candy)


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Practice-based Research : DefinitionsPractice-Based and Practice-Led Research

Although practice-based research has become widespread, it has yet to be characterised in a way that has become agreed across the various fields of research where it is in use. To complicate matters further, the terms ‘practice-based’ and ‘practice-led’ are often used interchangeably. In reality, there are two main types of research that have a central practice element and that distinction is summarised here as follows:

If a creative artefact is the basis of the contribution to knowledge, the research is practice-based.

If the research leads primarily to new understandings about practice, it is practice-led. (Linda Candy)

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Practice-based Research :DefinitionsPractice-Based Research

Practice-based Research is an original investigation undertaken in order to gain new knowledge partly by means of practice and the outcomes of that practice. Claims of originality and contribution to knowledge may be demonstrated through creative outcomes which may include artefacts such as images, music, designs, models, digital media or other outcomes such as performances and exhibitions.

Whilst the significance and context of the claims are described in words, a full understanding can only be obtained with direct reference to those outcomes. A practice-based PhD is distinguishable from a conventional PhD because creative outcomes from the research process may be included in the submission for examination and the claim for an original contribution to the field are held to be demonstrated through the original creative work. (Linda Candy)

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Practice-based Research :DefinitionsPractice-based doctoral submissions must include a substantial contextualisation of the creative work.

This critical appraisal or analysis not only clarifies the basis of the claim for the originality and location of the original work, it also provides the basis for a judgement, as to whether general scholarly requirements are met.

This could be defined as judgement of the submission as a contribution to knowledge in the field, showing doctoral level powers of analysis and mastery of existing contextual knowledge, in a form that is accessible to and auditable by knowledgeable peers. (Linda Candy)

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Practice-based Research :DefinitionsPractice-Led Research

Practice-led Research is concerned with the nature of practice and leads to new knowledge that has operational significance for that practice. The main focus of the research is to advance knowledge about practice, or to advance knowledge within practice.

In a doctoral thesis, the results of practice-led research may be fully described in text form without the inclusion of a creative outcome. The primary focus of the research is to advance knowledge about practice, or to advance knowledge within practice.

Such research includes practice as an integral part of its method and often falls within the general area of action research. The doctoral theses that emerge from this type of practice related research are not the same as those that include artefacts and works as part of the submission. (Linda Candy)

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Practice-based Research :DefinitionsStudio Practice as research

The thing emerges within what is present, both physically and in an immanent sense. The work does not merely emerge in the world, it simultaneously emerges in the practitioner who may see that which has been dimly felt as the work, may see clearly what they have been feeling, only at that point where it “feels right”, only as it emerges as a physical form. The making process can be a search. A very careful search. And it can reveal unexpected things, more or other than was searched for.

However not all studio based making in the arts is such a search. Where a practice has become ritualised, repetitive, or safe — keeping to safe paths and well established territory — or is formulaic or batch production, it is not a careful search or research.

(Linden Reilly: An alternative model of "knowledge" for the arts)

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Practice-based Research :StructureKey elements of a Research document:

1 The ProblemThis is a concise statement of the research question or issue that the thesis addresses.

2 The ContextWhat is the main work that has been done that gives rise to the question and what is its significance?

3 The MethodThe approach to solving the problem (experimental, practice based, analytic)

4 The OutcomesHere the key contribution(s) to knowledge are concisely described. They are the things that arise from the work that are new and shown to advance understanding or practice internationally. The value of these outcomes will be to one or more community (computer scientists, artists, theoreticians etc)

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Practice-based Research :StructureSECTIONS:

1 State of the Art ReviewThis presents the results of a literature survey of the area(s) of study. It should be a critical review in the context of the stated research question and related issues. It answers questions such as: Who is doing what? Who has done what? Who first did it or published it? The survey is taken from published papers, research monographs, catalogues etc. It must be based on and refer to primary sources, not textbooks or other such reports on the work of others. It is to be expected that this section provides a new structured view of the field of study.

2 MethodologyThis is a key section that provides a description and justification of the research methods used. Normally, the methods will be selected from known and proven examples. In special cases the development of a method may be a key part of the research, but then this will have been described in section one and reviewed in two.

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Practice-based Research :Structure

The task of methodology courses should be to provide the researcher with tools for the analysis of the relationship of context,question, answer and audience, so that a method may be tested for its appropriateness. It is the task of methodology: the study of methods, to provide a decision-making strategy for the researcher to answer the question: not "which method shall I use?" but "how shall wedetermine which method is appropriate?"

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Practice-based Research :Structure3 New Studies

The core of the documentation is a description of the new studies/software/artwork and the process of production. It answers the questions: What has been done, how was it achieved and what was the rationale? This can be, for example, a report on the design and execution of a set of experiments or the development of an innovative software system or the making of innovative art works. In a practice based research an artwork, for example, might be presented for examination. If so, this section will illuminate it by explaining, at the very least, what is important and novel

4 ResultsThe evaluation of the new software/artwork or analysis of the results or processes of the new studies will have led to certain results or conclusions. Placing the new results in the context of Methodology is important. The outcomes are shown to have been achieved in this section.

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Practice-based Research :Structure5 Conclusions

A discussion can now be provided that puts a wider perspective on the results and discusses the implications of them for other broader areas and domains. Future work and outstanding questions are normally also discussed.

6 References/Bibliography (including published papers)Use a standard reference format, such as Harvard, and be careful to check each entry. It is temping to presume that software such as End-Notes will ensure a perfect reference list, but that all depends on exactly how each entry was stored. There is no substitute for a line-by-line check.

(Linda Candy)

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Action research is a reflective process of progressive problem solving led by individuals working with others in teams or as part of a "community of practice" to improve the way they address issues and solve problems. Action research can also be undertaken by larger organizations or institutions, assisted or guided by professional researchers, with the aim of improving their strategies, practices, and knowledge of the environments within which they practice.

Kurt Lewin, then a professor at MIT, first coined the term Action research in about 1944, and it appears in his 1946 paper Action Research and Minority Problems. In that paper, he described action research as comparative research on the conditions and effects of various forms of social action and research leading to social action that uses a spiral of steps, each of which is composed of a circle of planning, action, and fact-finding about the result of the action.

Practice-based Research : Action

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Action research is problem centered, and action oriented. It involves the system in a diagnostic, active-learning, problem-finding, and problem-solving process. Data are not simply returned in the form of a written report but instead are fed back in open sessions, and the subject of study and the change agent collaborate in identifying and ranking specific problems, in devising methods for finding their real causes, and in developing plans for coping with them realistically and practically.

Scientific method in the form of data gathering, forming hypotheses, testing hypotheses, and measuring results, although not pursued as rigorously as in the laboratory, is nevertheless an integral part of the process.

Action research also sets in motion a long-range, cyclical, self-correcting mechanism for maintaining and enhancing the effectiveness of a system by leaving the system with practical and useful tools for analysis and renewal

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Figure summarizes the steps and processes involved in planned change through action research. Action research is depicted as a cyclical process of change. The cycle begins with a series of planning actions initiated by the client and the change agent working together. The principal elements of this stage include a preliminary diagnosis, data gathering, feedback of results, and joint action planning.

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The second stage of action research is the action, or transformation, phase. This stage includes actions relating to learning processes (perhaps in the form of role analysis) and to planning (and executing behavioral changes in the client organization). As shown in Figure 1, feedback at this stage would move via Feedback Loop A and would have the effect of altering previous planning to bring the learning activities of the client system into better alignment with change objectives.

The third stage of action research is the output, or results, phase. This stage includes actual changes in behavior (if any) resulting from corrective action steps taken following the second stage. Data are again gathered from the client system so that progress can be determined and necessary adjustments in learning activities can be made. Minor adjustments of this nature can be made in learning activities via Feedback Loop B

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The action-research model shown in the Figure closely follows Lewin's repetitive cycle of planning, action, and measuring results. It also illustrates other aspects of Lewin's general model of change. As indicated in the diagram, the planning stage is a period of unfreezing, or problem awareness.

The action stage is a period of changing, that is, trying out new forms of behavior in an effort to understand and cope with the system's problems. (There is inevitable overlap between the stages, since the boundaries are not clear-cut and cannot be in a continuous process).

The results stage is a period of refreezing, in which new behaviors are tried out on the job and, if successful and reinforcing, become a part of the system's repertoire of problem-solving behavior.

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Interactive Art and Research Practice

Studying art is recognised as a historical or critical scholarly activity rather than a natural subject for field research. By its very nature, interactive art has particular characteristics that necessitate a different form of inquiry to conventional areas of discourse in this field. The involvement of the audience in the active experience of the work, for one thing, is a radical departure from normal expectations of our relationship to art works.

Some artists view audience interaction as an integral part of the work itself and are not only keen to learn from that behaviour, but also wish to engage with the audience directly. In both audience and artist collaborative experience, a process of evaluation takes place, an activity that requires systematic forms of information, analysis and reflection.

Practice-based Research : Specific

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Interactive Art and Research Practice

The evaluation of an emerging interactive artwork or system is analogous with the development of an interactive software system using user-centred design methods. In creative work there is a dual need: for best results, the work should be carried out in as realistic (naturalistic) setting as possible and, at the same time, the results should provide an opportunity to turn what is learnt into modifications in the evolving art system.

There are some important constraints that differentiate the normal process of creating art from the research-oriented approach. Artists working in a studio are in a natural setting for them but for research to be effective the gathering of information is critical and this imposes constraints upon the way of working. Artists working in a public space learn from the audience’s behaviour as they interact with the new work. How they learn and discoveries that inform their work is both a new area of creative practice and a source of knowledge for the wider community. (Linda Candy)

Practice-based Research : Specific

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Hosts 2005

Hosts is a reflection on human life and death, presence and absence. The "hosts" may be taken to represent a variety of presences: from the angels of Jacobs Ladder, to the spirit of people who have inhabited the same spaces, or seen as fragments of an individual psyche. The emotional mood is deliberately variable and the encounters change depending on a randomised selection sequence for the video sprite characters and sounds.

The piece is a truly transdisciplinary work: a 3D audio landscape of acapella tonal voices accompanied the visitor between the screens on wireless headphones and formed a tangible changing audio landscape. The artist worked with a group of singers, musicians and sound designers in Bristol/Bath on this aspect of the piece.

Practice-based Research : Example

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Hosts 2005

Technology

Made in conjunction with the Wearable Computing Group at Bristol University. The project utilised specially designed ultrasound tracking software to detect human presence and its duration in allocated space zones, corresponding to the screen areas. Information was passed to control computers, which co-ordinate the video feed to individual projectors from networked machines. The presences were filmed on high definition digital video and transferred as QuickTime files to server hard drives.

Practice-based Research : Example

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Martin Rieser: Hosts 2006

Sponsors: AHRC,Bath University , Roper Rhodes Bath Film Festival , ACE

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Hosts 2005/6

Project Outline Description

1 Situated: Bath Abbey Site specific: Bath Film FestivalPilot July 05/Install February 06

Projection panels are mounted at strategic points of the open space. A visitor triggers the presence of a variety of video characters through the use of movement detection devices and interpretative software.

Individual characters appear at random and seeming to be searching for something. They pass onwards from screen to screen, keeping pace with the visitor. These ‘hosts’ are of a wide range of ages, gender, social types and races.

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Hosts 2005/6

Jacob’s LadderOn the last wall of the installation is a single vertical screen on which we see two ladders standing side by side, disappearing beyond the picture frame. On one ladder the characters are continuously climbing upwards and vanishing. On the second ladder they are climbing downwards from the top of the frame and walking off screen

ThematicThe piece is a reflection on human life and death, presence and absence. The “Hosts” may be taken to represent a variety of presences: from the angels of “Jacob’s Ladder” to the spirits of people who have inhabited the same spaces. The emotional mood is deliberately variable and the encounters will change depending on a randomised selection sequence for the video sprite characters and aphorisms from a list of over 100.

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Hosts Overview

Projector Layout 2

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Hosts Technology

Technology

The project utilised an ultrasound detection system developed by the Wearables Group at Bristol University, corresponding to the screen areas, would later adapt other locative technologies from collaborating research partners such as Bath University and Hewlett Packard

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Technology

Ultrasound “chirper” badges

Hosts Technology

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Hosts Technology

Technology

The project use ultra sound devices developed by Bristol University’s Wearables group to track human presence and duration in allocated space zones, corresponding to the screen areas

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Hosts Situated

North Side of Nave

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Hosts Outcomes

Papers Intelligent Environments 2008ISEA 2009

Presentations:Imperial CollegeMUM CambridgeUniiversity of SussexOpen University

Book:The Mobile Audience, Rodopi 2010

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SONGLINES

Professor Martin Rieser

Institute of Creative

Technologies

Cycling and social collaboration

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Songlines

The Use of Locative Media for Interactive Cycle Mapping

Martin Rieser

Professor

IOCT/ De Montfort University

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Songlines

Songlines is a project undertaken in collaboration with the DMU Transport Committee and Leicester City Council. 50 GPS devices are being distributed to volunteer students n for use with software specially developed for the project to map effective cycle routes across Leicester.

The project is innovative in its use of digital folksonomies and wikis in the creation of databases of local route maps and its delivery of directions to a mobile audience. It will use GPS positional sensing for a mass audience taking advantage of the roll-out of cutting edge technologies as they become available to the majority.

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Songlines

Aims

The project aimed to encourage public collaboration in mapping safe urban cycle routes, using local knowledge of conditions, to encourage sustainable transport solutions and to generate a database of specifically public downloadable maps and related audio-visual materials, which can be triggered automatically and listened to as the participants are walking or cycling the corresponding routes and which relate to visual landmarks.

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Songlines

Research

Andrew Salkeld, Leicester City Council Cycling officer supported the project and was instrumental in providing a Leicester Cycling database and in submitting a bid to the Pre-Olympics for a number of loan cycles for Leicester which would be used in the Songlines testing. The failure of the bid led to a revised timetable with the emphasis on volunteers gathering data last summer using the 50 GPS devices

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CO2 Reduction

Cycling and walking in urban centres in Britain is at a far lower level than in comparable countries across Europe. In autumn 2001, 681,000 people cycled to work in England, 3% of all those in employment.

Cycling accounts for 0.6% of the total distance travelled per person per year and about 1.5% of all stages are by bicycle and the number of stages made by bicycle fell by 26%, from 23 stages per person per year in 1989/1991 to 17 in 1999/2001(DTI Factsheet)

Songlines

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Songlines

The heavy traffic in urban centres is only part of the story. The efforts of local authorities to engage commuters in cycling are are constrained by budgetary and legal impediments, but most of all safety fears discourage cycling.

By drawing on local knowledge of routes and conditions this pilot proposal will demonstrate how creative uses of new technologies can encourage mass participation in solving transport problems through their reach and innovation.

Cycling is a zero emission form of transport with low environmental impact in terms of support industries, parking etc. In Leicester, for example 60 percent of commuting is by car from houses within 2 miles of a city centre in a flat geography. Detailed cycling maps are no longer available for the city and the council has discontinued the printing of any that once existed.

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Songlines

Innovation

The project is innovative in its use of digital folksonomies and wikis in the creation of databases of local route maps and its delivery of directions to a mobile audience. It uses positional sensing for a mass audience taking advantage of the roll-out of cutting edge technologies as they become available to the majority. The mobile phone based location-detection features will be used to update positional information.

Further tests on the use of Podcasts of route directions are being developed for the iPhone using EMPEDIA software developed by Cuttlefish Multimedia who are collaborating on testing. These can be uploaded in advance of the journey and to be correlated against positions along the route. It is envisaged that directional instructions will be delivered as audio streams according to route progress.

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Songlines

Research

Y Tian a PhD student from Computer Science has worked closely with me to develop a mobile interface and wiki map data-base, to work on most standard mobiles.

This is being further developed by a new team of funded Pervasive media researchers which is now in place (Sean Clark and Jackie Calderwood) and an sKTP placement Phil Sparks with Cuttlefish multimedia who is working with browser-based tools.

After pilot testing, 50 GPS recorders were made available for use by volunteers

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Mapping Leicester

A new collaborative mapping technology

from Empedia with Open source software

for adaptation

The original Leicester City Council map was too large for adaption

to mobiles

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Songlines

Mainnav GPS recorder

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Phoenix Square: Large scale Songlines projections

The proposal for the opening of Phoenix Square was an external projection comprising three elements: 1. a giant series of individual street portraits of randomly selected individuals met on various city centre cycling routes. The portaits will be projected on the full height of the side of the building and gradually fade into each other to create a series of semi-transparent layers as a “palimpsest” portrait of the city. 2. Six projectors will be used to project abstract video impressions of cycle journeys on the frontage through the city visualized as colourful streaming moving images of the passing roadside 3. A single projector will be mounted opposite the white corner inset in the frontage to create a gradually augmenting map of GPS traces of the

journeys, which contributed to the other imagery in the installation.

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IOCT De Montfort University

Phoenix Square

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Phoenix Square

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Phoenix Square

Six video loops of journeysprojected above entrance on baffles

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Phoenix Square

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Phoenix Square

“Palimsest” Street portrait projections related to journeys

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Phoenix Square Opening

Public Images recorded on journeys around city centre

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Phoenix Square Opening

Public Images recorded on journeys around city centre layered for projection sequences

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Phoenix Square: Pani 12

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Phoenix Square: Launch Images

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Phoenix Square: Opening

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Postcard for Stall at Summer Sundae

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How can you help?

Borrow a device

Map your journeys

Upload photos

Add Comments

Suggest Artwork ideas

Spread the word

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Riverains tests: LondonEmpedia for Riverains: QR Codes

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Riverains: LondonEmpedia for Riverains: QR Codes

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Riverains: LondonEmpedia for Riverains: QR Codes

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Riverains: London

Empedia for Riverains: QR Codes

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Riverains: London


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Riverains: London


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Riverains: London


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Riverains: London


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Riverains: London

Riverains adaptation for Layar by Gareth Howell

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Riverains: London

Riverains adaptation for Layar by Gareth Howell

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Research documentation

http://www.pervasive.org.uk/projects/songlines

[email protected]

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Website

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Q What is the role of the artefact in reporting the results?

Practice-based Research :Questions 1

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Example:

Q What is the role of the artefact in reporting the results?

A The artefact is not an explanation in itself:

It requires linguistic description that relates the development and nature of the artefact to understandings about creative process

The text describes the innovation embodied in the artefact, but cannot be fully understood without reference to and observation of the artefact.

Practice-based Research : Questions 2

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Q Can artefacts present arguments?A?

Q Is experiential knowledge precluded from documentation?A? Q Does textual justification make the artefact redundant?A?


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Q What is the relationship of a systematic enquiry to creativity and serendipity?A?

Q Does a contribution to knowledge imply the discovery of "objective facts”?A?

Q Does stating how one is going to set about the research restrict creative development?A?

Q Does framing a research question imply a research answer?A?


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Q How to define Originality or ‘original contribution to knowledge’: A?

Q In practice as research, are you expanding the boundaries of knowledge, or the boundaries of experience?A?


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Q How does practice generate research outcomes?A? Q What is the role of serendipity in a "systematic" enquiry?A?

Q How might responses to the above questions be compared to whether Picasso deserves a PhD?A?


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Links

www.martinrieser.com

www.mobileaudience.blogspot.com

Mobile Audience

Personal website

Action Research

http://www.scu.edu.au/schools/gcm/ar/arr/arow/default.html

Pervasive Media Researchwww.pervasive.org.uk

Practice-based Researchhttp://www.creativityandcognition.com/content/category/10/56/131/

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