A Fresh Theoretical Perspective on Practice‐Led Research

Practice‐led research in art and design has now come of age and can take its place alongside other forms of research at the academic ‘high table’. It no longer needs to be treated with ‘special consideration’ as a new form of intellectual enquiry. The research craft developed by those involved in practice‐led research admits them to a broader community of practice engaged in questioning the conceptual basis of how we perceive and make sense of the world around us. The objective/subjective divide that preoccupied an earlier generation of academics has eventually been replaced by a more nuanced epistemological framework able to embrace PhDs that include non‐textual artefacts as part of their exposition. An increasing number of academic institutions around the world have taken up the debate and now participate in practice‐led research programmes. However, for early‐career researchers in these fields there are still many hurdles to overcome, some of which are unique to this form of endeavour, as we outline. This article has been developed from a series of seminars and workshops presented by the authors to early‐career practice‐led researchers as part of their Project Dialogue programme which seeks greater engagement between the arts and sciences.     

Interdisciplinary Research: Practising the In‐Between

This article will demonstrate that practice‐led photographic research offers an example of dialogical encounter. Through recourse to an outline of my own practice and the experience of completing a practice‐led doctoral thesis, the article will account for photographic practice and interdisciplinary research in terms of dialogism. This will demonstrate that visual research is a productive nexus: it does not simply concern itself with the products of creative practice, but is a generative space itself. The article will also discuss interdisciplinarity from a personal perspective on practice‐led research, which, over time, has developed into an interdisciplinary mode of working. The radical notion of the dialogical self will be considered with specific reference to interdisciplinarity and practice‐led research. The dialogical encounter will also be considered in relation to transformative learning encounters and what is at play in learning through practice, an encounter which places its protagonists at risk. However, far from being a negative state of affairs, this interstitial space in which the researcher/learner/teacher is lost and found is in fact a highly productive place in which to be.     

The interface between arts practice and research: attitudes and perceptions of Australian artist‐academics

Whilst an academic working in the arts may have been appointed as a consequence of artistic accomplishment and a capacity to teach, the research that underpins such work is an intrinsic part of its production and also needs to be recognised. In Australia, the ability of the artist‐academic to translate research into a form that is respected and rewarded is an issue of contention. This paper gathers responses to this issue. Perceptions of and attitudes to creative work as research are canvassed alongside life decisions arising from those perceptions and attitudes. This research occurs in the context of a new Australian framework for the evaluation of research. This framework offers some recognition of the research that supports creative practice. Thus, the long‐standing experience of compromise reported by the Australian artist‐academics interviewed for this study are discussed alongside new policies that seek to construct methodologies for its amelioration.     

Closing the Gap: Fostering Successful Research‐Practice Partnerships in Counselor Education

Research‐practice partnerships offer counselor educators an opportunity to generate scholarship that can promote client welfare and create systemic change in practice and policy. The purpose of this article is to articulate strategies for building and sustaining research‐practice partnerships, as well as suggest methods for evaluating these partnerships.     

Learning to Be: The Modelling of Art and Design Practice in University Art and Design Teaching

Learning to be an artist or designer is a complex process of becoming. Much of the early phase of ‘learning to be’ occurs during the time emerging artists and designers are students in university art/design programmes, both undergraduate and postgraduate. Recent research reveals that a critical role in assisting students in their maturing identities as artists and designers is played by artist/designer‐academics teaching in university art and design programmes. By maintaining active art/design practices and drawing from these in their teaching, artist/designer‐academics model professional practice to students. Witnessing and interacting with such modelling is part of the process of students learning the shared discourses, views and practices of the art or design worlds to which they aspire to belong. The modelling of professional practice is critical to an artist or designer's ‘learning to be’ experience because it enables students to access the tacit and nuanced behaviours, languages and cultures that constitute contemporary art or design practice. This article outlines findings from a recent Australian study revealing the role of professional practice modelling in university art/design teaching. It highlights the centrality of professional practice modelling to artist/designer‐academics in their beliefs and approaches to teaching their academic disciplines. In critically exploring the research data and findings this article describes the role that modelling of practice plays and how it comprises a core part of the value that artist/designer‐academic participants contribute to the teaching of art/design education.     

Creativity,Art and Learning: A Psycho‐Social Exploration of Uncertainty

What makes it possible for artists to stay with the anxieties and uncertainties of the creative process? This aspect of an artist's development is rarely theorised or addressed despite it being an essential aspect of creative practice. It is a capacity, similar to tacit knowing, that is gradually acquired and learnt, and cultivated over time as part of the process of practising art and being an artist. The role of tacit knowledge as a key aspect of fine art education is well documented and is a learning experience that artists are familiar with. However, what tends to get focused on in discussions about tacit knowing are the practical, usually physical and technical, aspects of learning from experience to the exclusion of a range of mental or psychological capacities that are also a fundamental part of the tacit knowing process and vital to the learning necessary to be an artist. These mental capacities, which include being able to tolerate high levels of excitability, periods of nothingness, chaos, uncertainty and not‐knowing, are also, I suggest, passed between tutor and student as a form of tacit knowledge. This article draws on the experience of one artist, both as a learner and as an emergent practising artist, in developing this ability. The role played by art tutors in supporting student artists to develop a capacity to stay with the anxieties of the creative process is also explored.     

Challenging the knowledge‐transfer orthodoxy: Knowledge co‐construction in technology‐enhanced learning for children with autism

Experimental intervention studies constitute the current dominant research designs in the autism education field. Such designs are based on a ‘knowledge‐transfer’ model of evidence‐based practice in which research is conducted by researchers, and is then ‘transferred’ to practitioners to enable them to implement evidence‐based interventions. While these research designs contribute important knowledge, they lead to a gap between what the research evidence may prescribe and what happens in practice, with a concomitant disparity between the priorities of researchers and practitioners. This paper discusses findings from the ESRC‐funded ‘SHAPE’ project, which adopted a different model of evidence‐based practice, focusing on knowledge co‐construction. Pupils (N = 8), teachers (N = 10), a speech and language therapist and a parent in three different school communities investigated creative ways in which children's social communication skills could be enhanced through technology use. Through a participatory methodology, digital stories were used as a method to enable engagement with the practical realities of the classroom and empower practitioners to construct and share their own authentic narratives. Participants articulated precise knowledge about the learning opportunities afforded to them and their pupils through quality interactions that were mediated by the technologies, as evidenced through digital stories. The SHAPE project shows that it is feasible to develop methodologies that enable genuine knowledge co‐construction with school practitioners, parents and pupils. Such co‐construction could offer realistic opportunities for pedagogical emancipation and innovation in evidence‐based practice as an alternative to the currently dominant and narrow model of knowledge transfer.     

‘The art of democracy’: Young people's democratic learning in gallery contexts

In this article the authors report on research which aimed to explore the opportunities for democratic action and learning in a number of artist‐led gallery education projects in the south‐west of England. The research takes an approach to citizenship learning and democracy that is less focused on citizenship as a specific subject in the formal school curriculum and the achievement of specific citizenship outcomes that can follow from it. Rather, it is more focused upon understanding how democratic practices that are embedded in the day‐to‐day lives of young people contribute to their democratic learning and participation as citizens. Drawing upon conceptual categories and concepts that illuminate the process, the authors demonstrate the nature and character of young people's democratic learning. An implication arising from this is the need for practice‐orientated research in other contexts (e.g. work, leisure and home) to fully understand the nature of democratic learning.     

Research Training Needs of Scientist‐Practitioners: Implications for Counselor Education

Counselors (N = 911) reported the research skills needed for practice and subsequent research training needs. Findings indicate that counselors have a high need for research skills at work, but training needs differ significantly by counselor type. Recommendations include increasing emphasis on single‐case design, survey design, and widely available data analysis tools.     

Evaluating the readiness of special education doctoral students to apply the standards of evidence‐based practice to single‐case research

How well doctoral students in special education are prepared to evaluate research as evidence‐based practice (EBP) is likely to impact their careers, as well as the teachers they will train. In developing a method for evaluating the readiness of small cohort groups of doctoral students to apply a research‐based model of EBP, an instrument and procedure were refined in a pilot evaluation and implemented within a multiple baseline design across participants. Participants’ independent and instrument‐guided performance in rating published research was compared to the ratings of two experts in single‐case research design, yielding proportions of agreement across evaluation conditions. Results indicated group readiness to independently conduct the EBP evaluation and individual differences in readiness indicating the need for remediation.     

Modelling Experiential Knowledge Ethically: An Artefact‐Based Approach to Visually Documenting a Participatory Design Process with Young People

This article contributes to the growing debate within art and design education research about the role, legitimacy and accountability of artefacts in the creation and generation of knowledge. I present an artefact‐based approach to visually documenting and disseminating my doctoral practice‐based fieldwork that protected the anonymity of the participants whilst supporting my exploration of the situational, interactional and tacit dimensions of participation. Constructing a three‐dimensional scaled model of the fieldwork setting and using narratives from my field notes, I undertook a cyclical reflective process where I reconstructed critical moments that took place. This was used as both a tool for communicating my participatory design educational practice and for evaluating my findings with the participants. By sharing this sense‐making process, I offer an ethical means of visually documenting fieldwork when working in sensitive contexts and with vulnerable participants, setting out the dual role this design artefact played as both a producer and carrier of experiential knowledge.     

Teacher as Conceptual Artist

Teachers in arts education frequently struggle with their professional identity. When asked, arts teachers often answer that they believe that their main responsibility is education at the expense of understanding themselves as artists. The Mexican‐American artist and teacher Jorge Lucero questions whether an occupation as teacher necessarily impedes a creative practice. The finding that both progressive pedagogy and conceptual art share certain characteristics forms the basis for his concept of ‘teacher as conceptual artist’. In short, Lucero proposes that a teacher’s practice, in and beyond the classroom, simultaneously can be his or her creative practice. This qualitative intervention study explored whether or not the concept of teacher as conceptual artist holds the possibility to narrow down the gap between teacher and artist identities. The intervention consisted of a three‐day project led by Lucero in which nine arts teacher students were familiarised with modes of operation as a conceptual artist. In the three following months, these students implemented lessons in primary and secondary education based on those modes. Prior to the project, ‘elicitation‐interviews’ were used to explore how students perceived their professional identity and at the end of project semi‐structured interviews were conducted. The findings suggest that through the modes of operation as a conceptual artist, students who mainly identified as an artist were able to integrate a teacher identity in their artist identity, but the modes of operation also gave students who withheld their artist identity from the classroom an opportunity to live their artist identity in the classroom.     

A Never‐Ending Painting: The Generosity of Time Spent Making and Learning with Others through Artistic Research

This article examines the role of spending time with others in and through artistic research and practice. I draw from my doctoral work which took me on a cross‐Canada journey visiting 125 artists in their studios. Following the studio visits, I made a series of paintings of artists’ studios, however a year later these same paintings were cut up and rearranged to create collaborative studio assemblages on the walls of the Tate Exchange Gallery in Liverpool. Drawing on the metaphor of a never‐ending‐painting to examine never‐ending pedagogies, this article examines the evolution of this project through three iterations of the studio paintings. With each iteration, I explore different ways of knowing others through making thus proposing the performative and relational qualities of artistic research. The first iteration allowed me to spend time with artists even in their absence, as I engaged with our conversations through painting their studios, thus blurring the lines between solitary and social art practices. The second iteration allowed me to give up my art to others through asking them to create collages with fragments of my studio paintings. And the third iteration allowed my work to merge with other arts‐based researchers. Through this process, I propose that making art allows for multiple conversations to emerge through spending time getting to know others through art making.     

Family‐centred practice: collaboration,competency and evidence

In the 1990s, the developing field of early intervention with young children with disabilities and their families adopted family‐centred practice as its philosophical foundation. Family‐centred practice includes three key elements: (1) an emphasis on strengths, not deficits; (2) promoting family choice and control over desired resources; and (3) the development of a collaborative relationship between parents and professionals. During the last two decades, the field of early childhood disability has successfully defined the working principles of family‐centred practice for practitioners. Although research has acknowledged that the paradigm shift to family‐centred practice is neither simple nor easy, a substantive body of evidence demonstrates that (a) family‐centred practice can be linked to a wide range of demonstrated benefits for both children and families, and (b) families are more satisfied and find family‐centred practice to be more helpful than other models of practice.     

A third use of sociology of scientific knowledge: a lens for studying teacher practice

Over the last two decades, science educators and science education researchers have grown increasingly interested in utilising insights from the sociology of scientific knowledge (SSK) to inform their work and research. To date, researchers in science education have focused on two applications: results of sociological studies of science have been used to define new areas of content, generally referred to as Nature of Science (NOS). This has included research into students’ understanding of the NOS, teachers’ understanding of the NOS, and inclusion (or exclusion) of NOS themes in curricula. A second vein of inquiry has been investigations that consider the classroom as a microcosm of scientific discourse and inquiry. Such research has included investigations of student‐to‐student and student‐to‐teacher interactions. In this paper, we present a third application for educational research – the investigation of teacher knowledge and practice as sociological phenomena. In addition to supporting scholarly research, we believe it can be a useful tool for illuminating the complexities of teaching that needs to be taken into account by policy makers and practitioners. In this paper, we provide a thematic review of concepts from the sociology of scientific knowledge, and their application to a case of teacher work.     

Research‐led teaching: moving from a fractured engagement to a marriage of convenience

There are many reasons to develop closer links between research and teaching. To do this, we argue the need to move beyond university rhetoric that fractures the engagement of teaching with research and instead focus on the development of what is necessary to bring these two core academic activities closer together. Opening with a review of the current literature on research‐led teaching, the paper then highlights the various debates about whether or not the divide between research and teaching can be broached. We then explore a number of often contradictory myths that we argue universities subscribe to in their efforts to bring teaching and research together as they simultaneously create structures to separate them. The paper seeks to better ‘marry’ research and teaching activities in higher education settings, concluding with a set of principles that could be used by university leaders to guide the implementation of research‐led teaching.     

Continuing the Journey—the Artist‐Teacher MA as a Catalyst for Critical Reflection

This article discusses the personal experience of reading an Artist‐Teacher MA, both as a way of engaging with a course of study aimed specifically at art teachers and also as an attempt to explore and possibly reconcile the pedagogic issues related to the area of critical and contextual studies that had arisen within my own practice. Critical and contextual studies has grown to become an essential component of art education in schools, yet there would appear to be limited pedagogic approaches amongst art teachers or enthusiasm for alternative curriculum models other than those inferred from exemplar material provided by examination boards for assessment purposes. As a consequence of engaging with the Artist‐Teacher MA, I confronted my pedagogic practice and reconsidered my personal position within the continuum of the role of teacher and that of artist. In turn this has led me to consider the notion of the pupil‐artist and and to question the implications of this for my continuing classroom practice.     

Creativity in the Bronze Age: Bringing Archaeological Research into Contemporary Craft Teaching and Learning through a Live Project

The CinBA Live Project sought to engage students of contemporary craft courses in the UK with Bronze Age creativity. We aimed to explore the ways in which the creativity inherent in prehistoric craft may be used as inspiration in contemporary making. It simultaneously offered institutions a unique opportunity to offer a practice‐led, research‐based live project which was distinct to those generally known to be available to art and design institutions. It offered a different experience within this established pedagogical model in art and design education by using the Bronze Age as a source of inspiration for creative practice through practice‐based research in contemporary craft within the framework of an international academic research project, and suggesting new roles for the interpretation of the prehistoric past through creative work. This article reports on the CinBA Live Project. It outlines the context of the opportunity, details our methods of facilitation, describes the activities undertaken by the students and considers the outputs and post‐project impact of the activity.     

Teaching for Open‐Mindedness: A Justice‐Oriented Approach

This article explores the pedagogical virtue of open‐mindedness in practice and its relationship to epistemic justice through analysis of a fictional, narrative case. The case focuses on a young white woman who attempts to implement a pedagogy of open‐mindedness as she teaches a unit on the civil rights movement. After presenting the case scenario, Tadashi Dozono and Rebecca Taylor examine three tensions that arise for teachers as they seek to enact a pedagogy of open‐mindedness. First, what form of open‐mindedness should guide them? Second, how should they respond to limits in their own knowledge and understanding? And finally, how should teachers exercise authority within a pedagogy of open‐mindedness? Their analysis confronts the tension between the teacher's own open‐mindedness, on the one hand, and the teacher's subject position, on the other. Through this exploration of open‐mindedness, Dozono and Taylor argue that, in practice, teachers must counteract legacies of epistemic injustice as a necessary part of cultivating their own and their students' access to open‐mindedness.