This Handbook provides readers with an overview of the field of Practice-Based Research (PBR): different approaches, disciplines that frequently employ PBR, methodologies and creative outputs.
The Routledge International Handbook of Practice-Based Research presents a cohesive framework with which to conduct practice-based research or to support, manage and supervise practice-based researchers. It has been written with an inclusive approach, with the intention of presenting deep and meaningful knowledge for the benefit of all readers.
This handbook has been designed to present specific detail of practice-based research by outlining its shared traits with all forms of research and to highlight its core distinguishing features into a cohesive, principled and methodical approach. To this end, the handbook is presented in five sections: 1. Practice-Based Research, 2. Knowledge, 3. Method, 4. The Practice-Based PhD and 5. Practitioner Voices. Each section begins with a leading chapter that outlines each of the distinct areas as they relate to practice-based research. This is followed by a series of contributing chapters that discuss pertinent themes in more detail.
Practitioners from a broad range of backgrounds will find these chapters helpful:
- research students or final year graduates will be introduced to the principled nature of practice-based research
- PhD researchers embarking on a research project or are in the flow of research will find this guidance supportive
- professionals such as designers, makers, engineers, artists and creative technologists wishing to strengthen their research into their practice will be guided through the principled and focused nature of practice-based research
- supervisors, managers and policy makers will benefit from the potential and rigour of practice-based researchers in the pursuit of new knowledge.
Section 1 Practice-based Research 1.1. Practice-based Research 1.2.
Interdisciplinary Perspectives on Practice-based Research 1.3. The
Academisation of Creativity and the Morphogenesis of the Practice-Based
Researcher 1.4. The Studio and Living Laboratory Models for Practice-based
Research 1.5. Practice-based Research at SensiLab 1.6. Working the Space:
Augmenting Training for Practice-based Research 1.7. Understanding Doctoral
Communities in Practice-based Research 1.8. Research Doctorates in the Arts
A Perspective from Goldsmiths 1.9. The PhD in Visual Arts Practice in the
USA: Beyond Elkins Artists with PhDs 1.10. The Relationship between Practice
and Research; Section 2 Knowledge 2.1. Knowledge 2.2. Theory as an Active
Agent in Practice-based Knowledge Development 2.3. Mapping Practitioner
Knowledge: A Framework for Identifying New Knowledge through Practice-based
Research 2.4. Mapping the Nature of Knowledge in Creative and Practice-based
Research 2.5. Un-knowing: A Strategy for Forging New Directions and
Innovative Works through Experiential Materiality 2.6. Appreciative Systems
in Doing and Supervising Curatorial Practice-based Research 2.7. The Art
Object Does Not Embody a Form of Knowledge Revisited 2.8. Research, Shared
Knowledge and the Artefact; Section 3 Method 3.1. Method 3.2. The Common
Ground Model for Practice-based Research Design 3.3. Finding the Groove: The
Rhythms of Practice-based Research 3.4. Practice-based Research in the Visual
Arts: Exploring the Systems of Practice and the Practices of Research 3.5.
Crafting Temporality in Design: Reflecting on and Extending the Creation of
Chronoscope 3.6. Thinking Together through Practice and Research:
Collaborations across Living and Non-living Systems 3.7. Site: An Inventories
Approach to Practice-led Research 3.8. Reflective Practice Variants and the
Creative Practitioner 3.9. Reflection in Practice: Inter-disciplinary Arts
Collaborations in Medical Settings 3.10. Making Reflection-in-Action Happen:
Methods for Perceptual Emergence; Section 4 The Practice-based PhD 4.1. The
Practice-based PhD 4.2. A Play Space for Practice-based PhD Research 4.3. The
Sound of My Hands Typing: Autoethnography as Reflexive Method in
Practice-based Research 4.4. Navigating the Unknown: A Dramaturgical Approach
4.5. The Practice of Practice-Based Research: Challenges and Strategies 4.6.
Community-building for Practice-based Doctoral Researchers: Mapping Key
Dimensions for Creating Flexible Frameworks 4.7. Strategies for Supporting
PhD Practice-based Research: The CTx Ecosystem 4.8. Ethics through an
Empathetic Lens: A Human-Centred Approach to Ethics in Practice-based
Research 4.9. The Practice-based PhD: Some Practical Considerations; Section
5 Practitioner Voices 5.1. Practitioner Voices 5.2. A New Framework for
Enabling Deep Relational Encounter through Participatory Practice-based
Research 5.3. Risk, Creative Spaces and Creative Identity in Creative
Technologies Research (or Why its OK for Academic Creative Technology
Outputs to look Scrappy and be Buggy) 5.4. FEEDBACK: Vibrotactile Materials
Informing Artistic Practice 5.5. Co-evolving Research and Practice -
_derivations and the Performer-developer 5.6. Publishing Practice Research:
Reflections of an Editor 5.7. From a PhD to Assisting BioMusic Research 5.8.
The Curious Nature of Negotiating Studio-based Practice in PhD Research:
Intimate Bodies and Technologies 5.9. Encounters at the Fringe: A Relational
Approach to Human-robot Interaction 5.10. The Impact of Public Engagement
with Research on a Holographic Practice-based Study 5.11. Project-based
Participatory Practice and Research: Reflections on Being in the Field
5.12. Bearing Witness - the Artist within the Medical Landscape: Reflections
on a Participatory and Personal Research by Practice 5.13. Organisational
Encounters and Speculative Weavings: Questioning a Body of Material 5.14.
Improvising as Practice/Research Method 5.15. Dreaming of Utopian Cities:
Art, Technology, Creative AI, and New Knowledge 5.16. Curating Interactive
Art as a Practice-based Researcher: An Enquiry into the Role of
Autoethnography and Reflective Practice 5.17. Please Touch!
Craig Vear is Research Professor at De Montfort University, where he is a director of the Creative AI and Robotics lab in the Institute of Creative Technologies. His research is naturally hybrid as he draws together the fields of music, digital performance, creative technologies, Artificial Intelligence, creativity, gaming and robotics.
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