Your typically erudite and lengthy manifesto is written very much along the lines of ‘this is how it is’ rather than ‘here are my views’ (I guess we are slipping back into the ‘I am right, you are wrong’ mode). The things that you disagree with or dispute, you generally refer to as ‘mistakes’. You reassert eloquently opinions that you have asserted many times before.
As, I suspect, is the case with many subscribers, I wouldn’t dare to challenge your authority. But I do wish to humbly put forward a few thoughts and questionsaround the many assumptions you appear to make about the primacy of the word in conveying knowledge. I was particularly conscious of this during recent discussions on this list which trawled around possible definitions of ‘design’ before going on to descend into debate around definitions of the word ‘definition’. I appreciate that you are here referring specifically to ‘research communications’ and ‘communicating research to the research field’. However, my views and observations are in the general context of the evolution of the PhD in the field of Art & Design and the growing focus on the nature of knowledge and ‘knowing’.
Some time ago on this list, you elucidated on the subject of practice-led research:
“The terms “studio research,” “artistic research,” and “practice as research” also appear in this context, but these terms generally refer to work that avoidsarticulating or theorizing what emerges from the design activity or practice. Instead, the position associated with these terms suggests that activity or practice is itself a form of research and the resulting artifact is a research output. This is instantiated, for example, in the claim that a teapot, a toaster, or a piece of software might count as research. This also leads to the occasional claim that it should be possible to get a PhD for making a teapot, a toaster, or a piece of software, presenting the artifacttogether with a short essay incorrectly labeled as an exegesis.”
As I see it, one great advantage of words over images and artifacts is that they can be used so easily and effectively to obscure as well as reveal truths (and in the case of some contributors to this list, to demand 'evidence' to support anything that they disagree with, whilst repeatedly failing to supply any to those who ask for the same). On the surface, it is difficult to dispute the factual correctness of the above statement. But by using examples such as teapots or toasters it is possible to suggest something slight or insubstantial and we can also generalise about ‘short essays’ as if to suggest that this is what is usually submitted in the case of a creative, practice-led PhD. We can also give theimpression that an artifact or design (or perhaps a very large body of working drawings and storyboards?) ‘avoids articulating or theorizing’.
A few months back, during a periodic return to denouncement of Chris Frayling’s early text on the possibilities of research into/ through/ for/ Art & Design, you were taken to task by another contributor for describing Frayling’s document as a ‘pamphlet’. Of course you were able to explain quite accurately that the publication was indeed a pamphlet by any definition of that word. The unsaid bit is of course that we will associate‘pamphlet’ once again with something slight or insubstantial. We can only speculate as to whether a similar sized publication which contained words that you thoroughly agreed with and approved of would also be referred to as a ‘pamphlet’. Similarly, Frayling was described as an expert on spaghetti westerns, which indeed he is, among other things. But choosing this particular aspect of his work in order to tell us ‘who Frayling is’ allows us to infer that his ideas should not be taken seriously.
I am not suggesting that all of this smoke and mirrors is necessarily deliberate or conscious. But it tends to leave me confused as to why there should be such faith in the ‘privileging’ (I’ve been dying to use that word) of words over artifacts as reliable conveyors of knowledge.
In your recent post, you explain to Mattias Arvola that he has made a ‘mistake’ in describing the discussion around verbal and visual language as an age-old debate.
“The debate began when people with no research background and no publications found themselves required to deal with research issues. Those people did not understand the kinds of questions involved in research. Rather than learn about research, some decided to assert what research meant based on personal preferences or sheer ignorance. In that context, a significant number of people did not know the difference between communicating design outcomes and communicating research outcomes.”
Is the unthinkable possible here, in that it may be you who has made a mistake and this debate does precede the merging of Art & Design institutions and polytechnics with universities? It may go back to and beyond Ben Shahn’s exploration of the subject in his Charles Elliot Norton lectures given to students at Harvard in the late 1950s (in particular ‘Artists in Colleges’ and ‘The Shape of Content’):
“For it is just such inexact knowing that is implicit in the arts. And actually I believe that it is toward this kind ofknowing that the classifications of the classroom reach, if sometimes unsuccessfully.”
An alternative interpretation of the issue of languages of design to that which you expound in your paragraph above mightperhaps go something like this?-
“The debate began when people with no practical art and design experience saw a tempting career opportunity at the time of the absorption of Art & Design institutions and polytechnics into universities. Those people did not understand the kinds of questions that are inherent in creative, practice-led thinking. Rather than learn about thinking and knowing through practice, and how best to disseminate that knowing, they took the easy career option and gained traditional academic PhDs, rather than seeking to establish clearly what ‘research’ and the PhD might mean in the context of creative practice.”
You state (dare I say it, somewhat dogmatically):
“But images and objects alone cannot communicate the mental acts of research because they cannot describe the metanarrative of research.”
Once again, is it possible that you have made a ‘mistake’? Is it possible that detailed working drawings and storyboards may be able in certain contexts to communicate research outcomes far more effectively than words?
In the field of picturebooks, words and pictures are interdependent. In a successful picturebook, neither would normally make any sense when experienced without the other. In picturebook research, the term ‘visual text’ has become commonplace in relation to this multimodal form. Research through practice is, in my humble opinion, badly needed to offset some of the skewed research of those generating theory 'from outside'.
Another version of your paragraph in the context of the above might be:
“But words alone cannot communicate the mental acts of research because they cannot describe the metanarrative of research.”
“Many research reports require images and illustrations.”
Well of course they do! But it is important to distinguish between ‘illustrations’ that are designed to clarify the words and illustrations that are part of the research itself.
It’s time to listen to the teapot, Ken!
Professor Martin Salisbury
Director, The Centre for Children's Book studies
Course Leader, MA Children's Book Illustration
Cambridge School of Art
0845 196 2351
The Twelve Dancing Princesses, illustrated by Sheila Robinson- now available from our online store:
EMERGING EXCELLENCE: In the Research Assessment Exercise (RAE) 2008,
more than 30% of our submissions were rated as 'Internationally
Excellent' or 'World-leading'. Among the academic disciplines now rated
'World-leading' are Allied Health Professions & Studies; Art & Design;
English Language & Literature; Geography & Environmental Studies;
History; Music; Psychology; and Social Work & Social Policy &
Administration. Visit www.anglia.ac.uk/rae for more information.
This e-mail and any attachments are intended for the above named
recipient(s)only and may be privileged. If they have come to you in
error you must take no action based on them, nor must you copy or show
them to anyone please reply to this e-mail to highlight the error and
then immediately delete the e-mail from your system. Any opinions
expressed are solely those of the author and do not necessarily
represent the views or opinions of Anglia Ruskin University.
Although measures have been taken to ensure that this e-mail and attachments are
free from any virus we advise that, in keeping with good computing
practice, the recipient should ensure they are actually virus free.
Please note that this message has been sent over public networks which
may not be a 100% secure communications
PhD-Design mailing list <[log in to unmask]>
Discussion of PhD studies and related research in Design
Subscribe or Unsubscribe at https://www.jiscmail.ac.uk/phd-design