The Effective and The Evocative : A Spectrum of Creative Practice Research
Hamilton, Jillian & Jaaniste, Luke (2014) The Effective and The Evocative : A Spectrum of Creative Practice Research. In Barrett, Estelle & Bolt, Barbara (Eds.) Material Inventions : Applying Creative Arts Research. I. B. Tauris & Co. Ltd, London, United Kingdom, pp. 232-256.
In the expanding literature on creative practice research, art and design are often described as a unified field. They are bracketed together (art-and-design), referred to as interchangeable terms (art/design), and nested together, as if the practices of one domain encompass the other. However it is possible to establish substantial differences in research approaches. In this chapter we argue that core distinctions arise out of the goals of the research, intentions invested in the resulting “artefacts” (creative works, products, events), and the knowledge claims made for the research outcomes. Moreover, these fundamental differences give rise to a number of contingent attributes of the research such as the forming contexts, methodological approaches, and ways of evidencing and reporting new knowledge.
We do not strictly ascribe these differences to disciplinary contexts. Rather, we use the terms effective practice research and evocative practice research to describe the spirit of the two distinctive research paradigms we identify. In short, effective practice research (often pursued in design fields) seeks a solution (or resolution) to a problem identified with a particular community, and it produces an artefact that addresses this problem by effecting change (making a situation, product or process more efficient or effective in some way). On the other hand, evocative practice research (often pursued by creative arts fields) is driven by individual pre-occupations, cultural concerns or human experience more broadly. It produces artefacts that evoke affect and resonance, and are poetically irreducible in meaning.
We cite recent examples of creative research projects that illustrate the distinctions we identify. We then go on to describe projects that integrate these modes of research. In this way, we map out a creative research spectrum, with distinct poles as well as multiple hybrid possibilities. The hybrid projects we reference are not presented as evidence an undifferentiated field. Instead, we argue that they integrate research modes in deliberate, purposeful and distinctive ways: employing effective practice research methods in the production of evocative artefacts or harnessing evocative (as well as effective) research paradigms to effect change.
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|Item Type:||Book Chapter|
|Keywords:||creative practice, art and design, interdisciplinary practice, creative practice research, practice-led, HERN|
|Subjects:||Australian and New Zealand Standard Research Classification > BUILT ENVIRONMENT AND DESIGN (120000) > DESIGN PRACTICE AND MANAGEMENT (120300) > Design Innovation (120302)
Australian and New Zealand Standard Research Classification > EDUCATION (130000) > EDUCATION SYSTEMS (130100) > Higher Education (130103)
Australian and New Zealand Standard Research Classification > STUDIES IN CREATIVE ARTS AND WRITING (190000) > OTHER STUDIES IN CREATIVE ARTS AND WRITING (190999) > Studies in the Creative Arts and Writing not elsewhere classified (199999)
|Divisions:||Current > QUT Faculties and Divisions > Creative Industries Faculty|
|Copyright Owner:||Copyright Editorial Selection 2014 Estelle Barrett and Barbara Bolt.
Copyright Individual Chapter 2014 Jillian Hamilton and Luke Jaaniste.
|Copyright Statement:||All rights reserved. Except for brief quotations in a review, this book, or any part thereof, may not be reproduced, stored in or introduced into a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher.|
|Deposited On:||13 Jan 2014 23:19|
|Last Modified:||03 Nov 2015 15:14|
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