Books by Carole Gray
Visualizing Research guides postgraduate students in art and design through the development and i... more Visualizing Research guides postgraduate students in art and design through the development and implementation of a research project, using the metaphor of a 'journey of exploration'. For use with a formal programme of study, from masters to doctoral level, the book derives from the creative relationship between research, practice and teaching in art and design. It extends generic research processes into practice-based approaches more relevant to artists and designers, introducing wherever possible visual, interactive and collaborative methods. The Introduction and Chapter 1 'Planning the Journey' define the concept and value of 'practice-based' formal research, tracking the debate around its development and explaining key concepts and terminology. 'Mapping the Terrain' then describes methods of contextualizing research in art and design (the contextual review, using reference material); 'Locating Your Position' and 'Crossing the Terrain' guide the reader through the stages of identifying an appropriate research question and methodological approach, writing the proposal and managing research information. Methods of evaluation and analysis are explored, and finally strategies for reporting and communicating research findings are suggested. Appendices and a glossary are also included. Visualizing Research draws on the experience of researchers in different contexts and includes case studies of real projects. Although written primarily for postgraduate students, research supervisors, managers and academic staff in art and design and related areas, such as architecture and media studies, will find this a valuable research reference. An accompanying website www.visualizingresearch.info includes multimedia and other resources that complement the book.
Book chapters by Carole Gray
'Using Art as Research in Learning and Teaching' (ed. Prior, R.) Intellect Books
, 2018
Within the framework of practice-led1 doctoral research in the Art and Design sector, there has l... more Within the framework of practice-led1 doctoral research in the Art and Design sector, there has long been debate about the role of the artefact/creative works in the process of inquiry and in the final submission for Ph.D. examination. Their status can be ambiguous and the concept of ‘exhibition’ is – we would argue – problematic in this context.
Therefore, we want to suggest an alternative way of considering the role of artefacts/ creative works in a doctoral submission, by discussing the liberating concept of ‘epistemic objects’ – their possible forms and agencies, and the alternative display/ sharing of the understandings generated from these through ‘exposition’ not exhibition.
Whilst our experience and expertise lies within the sector of Art and Design, we suggest that some ideas in this chapter may resonate and be relevant to other creative disciplines in the revealing and sharing of doctoral research outcomes. This process can be difficult and provoke many anxieties for the practitioner-researcher and their supervisors, so some clarity on this might help everyone involved in the examination of doctoral work to approach it with integrity and confidence, and see it as a valuable learning experience for all involved.
Bihanic, D. (ed.) (2014) 'User Empowerment: Interdisciplinary studies & combined approaches for technological products and services', 2014
Different ways of knowing are acknowledged. What constitutes ‘knowledge’ is open to debate. The a... more Different ways of knowing are acknowledged. What constitutes ‘knowledge’ is open to debate. The authority of the ‘author’ is being questioned, and related to that is the role and purpose of the ‘publisher’ as arbiter of quality. The nature of education is changing as learners take a more active role in the process and help shape what is ‘taught’ and how the curriculum is delivered. Emerging technologies offer possibilities for multi sensory engagement with learning materials and methods. A space now exists in which multiple learners may interact with experienced educators through digital media in a trialogical relationship that encourages the creative construction of new learning content and shared understandings that possibly may challenge and/or alter existing ones. This chapter speculates on such a framework for learning. It draws on extensive experience in creative practice, inquiry through practice and related pedagogy. Although currently only a concept, it is clear how such a framework might be realised.
Barrett, E. and Bolt, B. (eds.) (2014) 'Material Inventions: Applying Creative Research'
Book Abstract
The measurement of the significance and ‘impact’ of research is absolutely paramou... more Book Abstract
The measurement of the significance and ‘impact’ of research is absolutely paramount in today’s academic world - as evidenced by the recent introductions of research assessment exercises in the UK, Australia, Hong Kong, and New Zealand. 'Material Inventions: Applying Creative Arts Research' offers new and original ways of conceptualising impact and innovation in creative arts research. This important book demonstrates how artistic research is capable of solving real-life problems and presenting transforming accounts of the world. By articulating the inventions, innovations, application, and broader uptake of artistic research in and beyond the field of art, expert contributors advance the claim that artistic research constitutes a new paradigm or ‘successor science’ that impacts on interdisciplinary research and in diverse community and industry settings.
This is a timely follow-up to 'Practice as Research: Approaches to Creative Arts Enquiry' and will be indispensable to researchers, institutions, and research assessment bodies.
Smite, R. , Mey, K. and Smits, R. (2011) Art as Research, Acoustic Space No.9. RIXC, The Centre for New Media Culture, Riga and MPLab of Liepaja University, Latvia. ISSN: 1407-2858, 2011
We offer critical perspectives on the rapid development of practice-led doctoral research in the ... more We offer critical perspectives on the rapid development of practice-led doctoral research in the art and design higher education sector, with the intention of helping to inform the pedagogic decisions in initiating and implementing new doctoral programmes.
We begin by raising some cautions and irritations on terminology. ‘Art as research’ can be seen as a contentious, confusing term, generating more heat than light; ‘PhD in studio art’ is misleading, suggesting research might be a closed off, disconnected activity; the term ‘artistic inquiry’, on the other hand, is a helpful clarification of an approach to research (as in ‘scientific research’). The paper then welcomes a certain clarity on definitions of practice-led research that emerged from UK research funding and quality assurance bodies, helping frame artistic inquiry within the academy, at higher degree and post-doctoral levels.
We then identify invaluable, recent thinking on ‘artistic research’ from international perspectives; for example Carter’s compelling concept of ‘material thinking’, and Barrett’s crucial epistemological question asking - what might be known through creative practice that could not be known by any other means?
Drawing on this thinking, and our experience and analysis of practice-led art research, some considerations are offered to help inform principles that might shape a pioneering approach to pedagogy - that of poiesis.
Conference Presentations by Carole Gray
in: Crafticulation, Conference Proceedings,
Helsinki University Press, 2009
ISBN: 978-952-10-5579-9
Keynote paper in: ‘In Theory? Encounters with Theory in Practice-based PhD Research in Art and De... more Keynote paper in: ‘In Theory? Encounters with Theory in Practice-based PhD Research in Art and Design’, AHRC Postgraduate Conference, De Montfort University & Loughborough Universities, UK. 26 June 2007. Conference proceedings ISBN: 1 900856 73 5
The argument I present is that inquiring through creative practice is a legitimate form of resear... more The argument I present is that inquiring through creative practice is a legitimate form of research, leading to different ways of knowing from the dominant academic kind characterised by reason and logic, that champions theory as the primary means of generating new knowledge. How can we understand the creative arts – in this instance art and design - as a form of research towards similarly valuable but different ways of knowing?
The lecture maps out my still developing understanding of formal inquiry through practice over the past 30 years, charting its relationship to key turning points in thinking, creative practice and art education during the 20th and early 21st centuries that have opened up new appreciations of different ways of being and knowing, and therefore different ways of doing research.
These new paradigms have helped to shape doctoral research involving practice, and also recent major postdoctoral visual arts research that further explores the possibilities of this form of inquiry and helps articulate different ways of knowing and their cultural value.
web site by Carole Gray
Papers by Carole Gray
This paper attempts to advance some of the ideas proposed in our initial paper on 'artistic ... more This paper attempts to advance some of the ideas proposed in our initial paper on 'artistic ' research procedure (Gray & Malins, 1993) and brings together some of the most recent references and ideas in our continuing work on this topic. Rather than provide answers or be prescriptive, we hope it will function as a catalyst for debate. The paper sets out the importance of procedure for research, examines the 'methodologies ' used to date in formal Art & Design research in the UK, and outlines some of the recently completed research for the award of Ph.D. The development of these 'artistic ' procedures is taking place simultaneously with advances in other disciplines: as Social Science evaluates a number of alternative paradigms of inquiry, Scientific Philosophy is moving away from a Newtonian position to embrace Complexity. The paper concludes by suggesting that
This paper attempts to put into context the issues which surround the endeavours of researchers w... more This paper attempts to put into context the issues which surround the endeavours of researchers working in the field of Art and Design, in particular the philosophy and context of research procedures / methodologies. The introduction provides some definitions of methodology and its importance in the general context of inquiry and research, historically and actually supranational in essence; characteristics of existing methodologies in Science (Newtonian and Quantum) and Social Sciences are examined; characteristics of ˜artistic method are elaborated, especially through an examination of Fine Art and Design Methodologies in relation to practice; common factors linking creative, scientific and artistic procedures are identified; ˜Postmodern Methodology is discussed, in relation to current ˜paradigm shifts; existing & new procedures / methodologies and devices / tools are identified, and future developments proposed.
Book Abstract The measurement of the significance and ‘impact’ of research is absolutely paramoun... more Book Abstract The measurement of the significance and ‘impact’ of research is absolutely paramount in today’s academic world - as evidenced by the recent introductions of research assessment exercises in the UK, Australia, Hong Kong, and New Zealand. 'Material Inventions: Applying Creative Arts Research' offers new and original ways of conceptualising impact and innovation in creative arts research. This important book demonstrates how artistic research is capable of solving real-life problems and presenting transforming accounts of the world. By articulating the inventions, innovations, application, and broader uptake of artistic research in and beyond the field of art, expert contributors advance the claim that artistic research constitutes a new paradigm or ‘successor science’ that impacts on interdisciplinary research and in diverse community and industry settings. This is a timely follow-up to 'Practice as Research: Approaches to Creative Arts Enquiry' and will be indispensable to researchers, institutions, and research assessment bodies.
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Books by Carole Gray
Book chapters by Carole Gray
Therefore, we want to suggest an alternative way of considering the role of artefacts/ creative works in a doctoral submission, by discussing the liberating concept of ‘epistemic objects’ – their possible forms and agencies, and the alternative display/ sharing of the understandings generated from these through ‘exposition’ not exhibition.
Whilst our experience and expertise lies within the sector of Art and Design, we suggest that some ideas in this chapter may resonate and be relevant to other creative disciplines in the revealing and sharing of doctoral research outcomes. This process can be difficult and provoke many anxieties for the practitioner-researcher and their supervisors, so some clarity on this might help everyone involved in the examination of doctoral work to approach it with integrity and confidence, and see it as a valuable learning experience for all involved.
The measurement of the significance and ‘impact’ of research is absolutely paramount in today’s academic world - as evidenced by the recent introductions of research assessment exercises in the UK, Australia, Hong Kong, and New Zealand. 'Material Inventions: Applying Creative Arts Research' offers new and original ways of conceptualising impact and innovation in creative arts research. This important book demonstrates how artistic research is capable of solving real-life problems and presenting transforming accounts of the world. By articulating the inventions, innovations, application, and broader uptake of artistic research in and beyond the field of art, expert contributors advance the claim that artistic research constitutes a new paradigm or ‘successor science’ that impacts on interdisciplinary research and in diverse community and industry settings.
This is a timely follow-up to 'Practice as Research: Approaches to Creative Arts Enquiry' and will be indispensable to researchers, institutions, and research assessment bodies.
We begin by raising some cautions and irritations on terminology. ‘Art as research’ can be seen as a contentious, confusing term, generating more heat than light; ‘PhD in studio art’ is misleading, suggesting research might be a closed off, disconnected activity; the term ‘artistic inquiry’, on the other hand, is a helpful clarification of an approach to research (as in ‘scientific research’). The paper then welcomes a certain clarity on definitions of practice-led research that emerged from UK research funding and quality assurance bodies, helping frame artistic inquiry within the academy, at higher degree and post-doctoral levels.
We then identify invaluable, recent thinking on ‘artistic research’ from international perspectives; for example Carter’s compelling concept of ‘material thinking’, and Barrett’s crucial epistemological question asking - what might be known through creative practice that could not be known by any other means?
Drawing on this thinking, and our experience and analysis of practice-led art research, some considerations are offered to help inform principles that might shape a pioneering approach to pedagogy - that of poiesis.
Conference Presentations by Carole Gray
The lecture maps out my still developing understanding of formal inquiry through practice over the past 30 years, charting its relationship to key turning points in thinking, creative practice and art education during the 20th and early 21st centuries that have opened up new appreciations of different ways of being and knowing, and therefore different ways of doing research.
These new paradigms have helped to shape doctoral research involving practice, and also recent major postdoctoral visual arts research that further explores the possibilities of this form of inquiry and helps articulate different ways of knowing and their cultural value.
web site by Carole Gray
Papers by Carole Gray
Therefore, we want to suggest an alternative way of considering the role of artefacts/ creative works in a doctoral submission, by discussing the liberating concept of ‘epistemic objects’ – their possible forms and agencies, and the alternative display/ sharing of the understandings generated from these through ‘exposition’ not exhibition.
Whilst our experience and expertise lies within the sector of Art and Design, we suggest that some ideas in this chapter may resonate and be relevant to other creative disciplines in the revealing and sharing of doctoral research outcomes. This process can be difficult and provoke many anxieties for the practitioner-researcher and their supervisors, so some clarity on this might help everyone involved in the examination of doctoral work to approach it with integrity and confidence, and see it as a valuable learning experience for all involved.
The measurement of the significance and ‘impact’ of research is absolutely paramount in today’s academic world - as evidenced by the recent introductions of research assessment exercises in the UK, Australia, Hong Kong, and New Zealand. 'Material Inventions: Applying Creative Arts Research' offers new and original ways of conceptualising impact and innovation in creative arts research. This important book demonstrates how artistic research is capable of solving real-life problems and presenting transforming accounts of the world. By articulating the inventions, innovations, application, and broader uptake of artistic research in and beyond the field of art, expert contributors advance the claim that artistic research constitutes a new paradigm or ‘successor science’ that impacts on interdisciplinary research and in diverse community and industry settings.
This is a timely follow-up to 'Practice as Research: Approaches to Creative Arts Enquiry' and will be indispensable to researchers, institutions, and research assessment bodies.
We begin by raising some cautions and irritations on terminology. ‘Art as research’ can be seen as a contentious, confusing term, generating more heat than light; ‘PhD in studio art’ is misleading, suggesting research might be a closed off, disconnected activity; the term ‘artistic inquiry’, on the other hand, is a helpful clarification of an approach to research (as in ‘scientific research’). The paper then welcomes a certain clarity on definitions of practice-led research that emerged from UK research funding and quality assurance bodies, helping frame artistic inquiry within the academy, at higher degree and post-doctoral levels.
We then identify invaluable, recent thinking on ‘artistic research’ from international perspectives; for example Carter’s compelling concept of ‘material thinking’, and Barrett’s crucial epistemological question asking - what might be known through creative practice that could not be known by any other means?
Drawing on this thinking, and our experience and analysis of practice-led art research, some considerations are offered to help inform principles that might shape a pioneering approach to pedagogy - that of poiesis.
The lecture maps out my still developing understanding of formal inquiry through practice over the past 30 years, charting its relationship to key turning points in thinking, creative practice and art education during the 20th and early 21st centuries that have opened up new appreciations of different ways of being and knowing, and therefore different ways of doing research.
These new paradigms have helped to shape doctoral research involving practice, and also recent major postdoctoral visual arts research that further explores the possibilities of this form of inquiry and helps articulate different ways of knowing and their cultural value.