indeximages 93–4, 101, 109, 207; and media
338–43; photographic 339–43; rhetoric and
155, 157, 161–2, 163; self-image 252–3
improvised performance 282 , 283 , 285, 289,
290, 321, 324, 325; dance and 205, 209,
210, 214, 216, 217–18, 322
intellectual property rights see copyright
intent in research 55
interaction: and feedback 285–6; interactive
digital art 122, 131, 212–16; interactive
music 280–1; practitioner frameworks and
128, 129; research theory/practice divide
and 205–9, 227; with the virtual 278–81,
286–8
interdisciplinarity 65, 74, 212, 280, 290–1, 335,
339, 381–2
international Baccalaureate 415–16
iRCam (institut de Recherche et Coordination
acoustique/musique) 300
ireland, quality assurance of research 12
irigaray, l. 169
iyer, V. 285, 292n1
Jay, m. 156
Jeffri, J. 109
Johnson, p.-a. 69
Johnston, a. 128
Jones, J. 242
Jones, s. 170, 171, 175–6, 177–9, 181, 182
Jorgensen -earp, C.R. 160–1
Journal of Visual Art Practice 366
Journal of Writing and Creative Practice 355
Jupp, V. 195
Juslin, i. 209
Kagan, J. 264
Kandinsky, W. 263
Kant, i. 49–50, 143–4
Karatani, K. 225
Karlsson, h. 12, 14–15
Keats, J. 193
Khatir, l. 360
Kim sang-gil 341–3
Kim, Y. 310–11
Kirlik, a. and maruyama, s. 290
Klarqvist, B. 75, 77
Klein, J.T. et al. 73
Klossowski, p. 311–12
knowledge: and the artefact 2, 123, 124–5;
artistic cognition see artistic cognition;
cognitive science and the promotion of
225–6; concepts, affects, percepts and
kinepts 211–17, 219; creative writing
and 187–203; delta knowledge 347–50;
disavowal of 242; embodied knowing of
propositions 142; generalizability 180–1;
participant research as source of 181–3;
practitioner knowledge 126 see also practice-
based research; production see knowledge
production; relation of art and aesthetic
experience to 142–4; sensuous knowledge of
aesthetics 347; technical/material 46, 49, 52;
theory see knowledge theory; transferability
91, 94–5, 126, 180–1
knowledge production 45–61; architecture
and design scholarship and the two modes
of 68–74; field-specific design research and
the two modes of 78–80; modes of (mode
1 and mode 2) 64–80, 257, 375–6, 382;
relationship between artistic and other forms
of 335–6, 347–50, 351; research project,
securing housing safety 75–7
knowledge theory: artistic cognition see artistic
cognition; computational model 104;
connectionist view of parallel processing 104;
correspondence theory 84; culturally based
forms of knowing 102–4; epistemology and
metaphysics 59–61; methodological mapping
and the epistemological perspective 336–8;
neuropsychological 104–7; perceptual forms
and cognitive structures 101–2; social-
psychological theory 84, 87, 89, 91
Kopelman, i. 350; ubx expression 349
Kozel, s. 207
Kraftwerk 279
Krauss, R. 339, 344
Kress, g. 156
Kubler, g. 115–16
Kuhn, T.s. 36–9, 260
Kuksa, i. 170, 171, 173–5, 177–9, 181, 182
Kundera, m. 195
Kwon, m. 344lacan, J. 242, 245–6, 250, 251, 252–3, 255
landscape painting: conjunctive intent seen as
disjunctive presence (Constable) 267–8; as a
synthesis of poetry and science 265–7
language games 34
larcher, d. 309
lave, J. and Wenger, e. 103
lawson, B. 74, 224
leckey, m. 242, 255
leibowitz, J. 169
leiderstam, m. 350
leonardo da Vinci 249–50, 250–1
leslie, C.R. 265–7, 270, 276n11
levey, m. 268
levi-strauss, C. 199
lichtenberg, g.C. 302
liminal states 230
lincoln, Y. 409
linden, d.J. 104–5
lind, i. 419
listening, articulate 209–11