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research_methodology [2007-06-19 10:27] nikfoam_research_methods [2020-06-30 07:51] (current) – ↷ Page name changed from research_methodology to foam_research_methods nik
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-===== Research Methodology at  FoAM =====+===== Research or re-search: Knowledge production in contemporary arts and design ===== 
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 +Since process-based art and design became favourable in the contemporary cultural scene, research gained importance for many artists, designers and their organisations. Systematic investigations of the subject matter, tools, materials and media used to make an artwork, or implement a design became a valid part of the creative undertaking. By adopting and adapting the language of research, the creative processes of art and design have become more accessible for people from other disciplines. Artists and scientists can better understand each other's motives and objectives. Designers and technologists share similar heuristics, where trial and error play an important part in both the technological and the artistic creation. Art and economy have a hand in a common context, the present-day world and the changing society.  
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 +===Transdisciplinary design research=== 
 +It is through research that multidisciplinary practices can become truly trans-disciplinary, bringing the previously separate fields of knowledge closer to each other. The advantage of transdisciplinary research for the creative process is a multivalent approach to creating and problem solving. The creatives (both artists and scientists) have a whole range of tools and methods at their disposal, allowing them to tackle a problem from many different directions. Furthermore, collaboration with non-artistic disciplines in the creative process enables the results to have manifold benefits. In the process of researching a technology in order to create an artwork, the team might also design a tool that can be useful outside of the artistic sphere.  For example, in art and design that demand audience participation, designers are required to understand at least some aspects of human psychology, phenomenology and sociology; the results of their research can be applicable for their creative works, but can provide new insights in social therapy as well. Technological, bio- and eco-artists are known for their innovations not only in the art-world, but also in the scientific and technological disciplines they involve in their work. However, the methods used in design research are not as well documented as is the case with scientific research. In academia, as well as the industry, practice based research is slowly becoming a legitimate methodology. Issues of evaluation, usefulness and repeatability are more convoluted in the context of design research. If we want design research to become a respected and valued approach, we have to be able to distinguish mere 'fiddling' from valuable research. 
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 +At FoAM, we consider design research to be a creative endeavour targeted towards producing new knowledge. Instead of being focused on creating a unique object or situation, researchers aim to   broaden, deepen, compare and extend existing knowledge in a range of trans-disciplinary subjects. This knowledge can then be used for creating unique artworks and designs. Knowledge production differs from making a work of art or design in its emphasis on externalising the process of creation/production. Researchers document and publish results from the early beginnings of the process, so others can follow their tracks, be inspired, intrigued, informed, as well as avoid making the same mistakes. Documentation of the whole research trajectory (in text, image, video, or other media) is a crucial element of the design research process. As knowledge is produced along the way, not only at the end of the trajectory, the process and its documentation are necessarily a part of the 'creative work'.  
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 +===Design research methodologies==
 +New knowledge can emerge from a range of different approaches; for example, from a comparative survey of existing knowledge, whereby new connections can be found. Some researchers ask a question, finding that no one before them has managed to find an answer, think of different ways in which they could answer it, set up experiments, document them and make the (positive and negative) results available. Alternatively, the researchers plunge into a situation, unsure of what they are seeking,  discovering new patterns of forms, behaviours, or information in the process. The process and the results are translated into verbal, visual, sonic or haptic documents - sometimes the researchers write up their findings, other times they sonify, visualise, or map them, etc. In most cases, the results are used as inspirations or foundations of an artwork or design, but they can also be useful in other fields. There are many methods (some of them more accepted than others) that artists and designers can use in their research. At FoAM, we hope not to limit anyone to any particular method. To begin with, we encourage the artists to come up with their own methodology for producing new knowledge. However, when we see that someone's research has reached a dead end, we suggest some of the methods proven to help people produce interesting results, or even tailor 'customised' and personalised approaches .  
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 +===Design research at FoAM=== 
 +FoAM's motivation to engage in artistic and scientific research originates in one of our core values – fostering interdependence between individuals, their disciplines, communities and realities. For interdependence to work, sharing knowledge and resources is a foremost need. Sharing is the foundation of FoAM's ethical and philosophical principles, but also a practical consideration. In our creative practice we want to create 'things' and situations that other people can enjoy and appreciate. Sometimes we know how to do this, sometimes we don't. In both cases, we benefit from sharing the knowledge and information with people who either work in a similar field (peers), or have complementary knowledge (experts in other fields). In a creative production setting it is rare that we get a chance to share knowledge, interests and resources with people outside of the project (and very often not even with the people inside it). This is not a sustainable practice, as the sources of creativity become rapidly depleted, people burn out, resort to proven methods, rather seeking fresh insights and creative solutions. The process of experimenting should be as inspiring and open as the product of experimentation.  
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 +FoAM operates on the edges between technological, relational and ecological arts, in a field that is very rich, but at the same time quite vague and undefined. There are many people (including us) who can benefit from sharing knowledge and resources, thereby advancing the whole field. Through transdisciplinary research, we approach the world in an ecological or holistic manner, seeing our practice as a part of a larger network of human endeavours.  Such research enables artists to operate in the interstitial spaces between artistic and scientific, grown and built, physical and digital worlds, allowing them to re-integrate otherwise disparate human knowledge and initiate joint endeavours. The future of contemporary art and design, from our point of view, is in the hands of artists, designers, scientists, cooks, engineers  or gardeners, who are interested not only in advancing their own fields, but sharing and applying their skills in new social and public contexts.  Seeding the substance of everyday life with the playful, unexpected, inspiring or imaginary situations, with research as their compost. 
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 +--- 
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 +From a brainstorming session:
  
 **why research?** **why research?**
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