Contextsconduct of experiments; they are out there in the world. and whilst it might not always
be tidy, i think there is much to be gained from engaging in dialogue with researchers
and practitioners in other fields. sociological and anthropological approaches to visual
and material culture have moved on considerably from the sociology of art i once
memorably heard described as ‘destined to end badly’.^12 some of the most interesting
research to my mind is happening at the interfaces of disciplines and between research
and practice.
What are the implications of this for doctoral education? as i have stated above, i
think that we have to recognize the methodological openness, or perhaps promiscuity,
of research in the creative arts and design. The increasing interest in interdisciplinary,
multidisciplinary or even post- disciplinary research must be seen as part of the
evolving research landscape, for which doctoral study should prepare students. This
is not an argument against disciplinary research, there is no reason that research on,
say, painting should not continue to deal with issues of concern primarily to theorists
and practitioners of painting, as Borgdorff (2009a: 17) puts it: ‘artistic research can
sometimes be very well understood as purely disciplinary experimental research into
the aesthetic and formal qualities and universal regularities of elements that constitute
an artwork or creative process’. nor should it be seen as an argument against discipline
or subject- based research training, as dunin- Woyseth points out in her discussion
of the different modes of research (Chapter 4), the ability to carry out practice-
oriented, transdisciplinary research (mode 2) is dependent on the development of a
disciplinary research (mode 1) identity. But rather it is to acknowledge that there are
some significant points of convergence and opportunities for productive engagements
between disciplines, and between the academy and professional practice in the creative
arts and design. The shift in anthropology from a predominant focus on language to
a greater interest in visual, spatial and sensory forms of knowledge has provided one
such opportunity. Where anthropologists have an interest in understanding human
value, expression and communication in visual and material form, and are concerned
with the interpretation of culture and creativity, they clearly share common ground
with creative arts and design researchers and practitioners (e.g. hallam and ingold.
2007).^13 Convergent technologies similarly present opportunities for dialogue between
disciplines as well as collaborative multidisciplinary research. For example, mobile
technologies present research problems and opportunities that cannot be addressed by
mono- disciplinary approaches. Research and development in this area will necessitate
input from experts in human- computer interaction, cultural geographers and software
designers, amongst others. There are threats here as well as opportunities of course.
‘social accountability and reflexivity’ (Borgdorff 2009a: 18) – the responsibility of
researchers to consider the broader impact of their research in contexts beyond the
academy – whilst appealing to those in the creative arts and design whose work has
always spanned academic, professional and public domains, could be considered a
threat to its critical role: ‘art often takes an antithetical stance towards the existing
world, and it delivers the unsolicited and unexpected. That is its very strength.’
(Borgdorff 2009a: 19). in this respect it is important that research training cultivates
a sense of the position from which students speak and conduct their research, as well
as enabling them to recognize their contribution to projects that go beyond discipline
and subject boundaries.