http://www.creativityandcognition.com/resources/PBR%20Guide-1.1-2006.pdf
Q3. How much detail should I go into when describing the
methodological approach?
A3. Some tips are:
1.start with the actual things you have done/will do (asif instructing an assistant)
2. then add a brief description of the origins of the method(s) -sourcesfrom which
they have been selected
3. if any aspect is not yet justified develop the argument to justify it.
Number 3 should be minimal.If the argument includes negatives(“statisticsis no good for
this” or “semiotics does not work in this case”) be sure that you are knowledgeable about what
you are rejecting.
Q4. How should I write reflective documentation?
A3. Monitoring and Recording ‘Events’ for Reflective Practice
• Keep a written record either in the form of an online diary or blog, or a hand written
notebook.
• Having a notebook with you at all timesto record any observations or events during
the process of making a work is advisable.
• If you are collecting audio records, you will probably need to transcribe them atsome
point and may need to factor that in to your time and effortschedule.
• Keep an overview chart to be able to see at a glance what has been recorded and what
you plan to record.
• It is advisable to designate time for reflection after the events and to record your
reactions and emerging thoughts atspecified Review points. Do not be tempted to
only review and reflect on an ad hoc basis. Build it in to your timetable.
Good questionsto ask yourself are:
– what was proposed, discussed, decided and carried through,
– whatstumbling blocks arose and how they were addressed….,
– whether the ideas were workable, interesting, challenging….
– whether the collaboration worked well or not
– reasonsforsuccess or otherwise
– did the solutions work well, if not why not?
– whether there were different viewpoints between you and your collaborating parties
– whether lessons were learnt from failures.
Viewpoints
Ross Gibson’s view is’the text is not an explanation of the artwork;rather, the text is an
explicit, word-specific representation of processesthat occur during the iterative art-making
routine, processes of gradual, cyclicalspeculation,realisation or revelation leading to
momentary, contingent degrees of understanding. To this extent the text that one producesis
a kind of narrative about the flux of perception-cognition-intuition. The text accountsfor the
iterative processthat carries on until the artist decreesthat the artwork is complete and
available for critique, ‘appreciation’, interpretation, description, evaluation. All these particular
practices can entail other particular texts.’
Steve Scrivener’s view:‘The art object does not embody a form of knowledge’
o Art is not a form of knowledge communication
o Art is not a servant of knowledge acquisition
o Art making creates apprehensions
o Artresearch creates novel apprehensions
