[-empyre-] Practice in Research

[maria mencia]

Just a quick email in response to Andrian’s and Simon’s emails and some other emails about ‘defending’ thesis.

One thing artists don’t need to do is to defend their artwork.  Practice-based research needs to be constantly defended, precisely because of what Adrian states- it is research:

‘and I agree with everything that Simon says, though the sense of 'instrumentalised' I would like to be able to use easily includes what Simon describes as 'non-instrumental' research. My working definitions treat art as non instrumental because it does not have to refer to anything outside of itself, if it desires, its use value is to itself only. Where as I'd argue that even 'pure' research, or 'non-instrumental' research must have use value to that particular corner of the field/discipline etc for it to be research. Adrian’

The VIVA is the beginning of this defense towards the value of your research and your contribution to knowledge.

Another thing, I would like to bring up is practice PhDs which are only PRACTICE, has anybody in the list done one of these PhDs?  What makes this practice research? How do you defend it? What is the difference between this practice and an artwork/creative work, as it could well be a piece of creative writing for instance?

And, in research where practice and theory comes hand in hand (most people involved in this discussion seem to follow this sample), how do you feel about the practical side of the practice-based research, do you think this area of research has to stand up as an artwork regardless of this being part of the overall research (research enquires: practical-theoretical-technological etc)? And, equally, can the written component be examined individually without any connection to the artwork? (thinking of REF here too)

regards,

Maria


On 19 Jan 2013, at 02:34, Adrian Miles wrote:

> 
> On Saturday, 19 January 2013 at 2:00 AM, Talan Memmott wrote:
> 
>> Yes, I would agree that this is where the shift takes place. But with the students it operates in two different directions --  one, where the project is 'informed' by research, in which case an artist statement may be required (much more inline with an art school model); two, where the research is practically 'informed' by the project, in which case the project is secondary to a more traditionally academic outcome such as an essay. In both cases there are presentations, critique situations, documentation, and defense situations. That said, the exam models in the Digital Culture and Communication program are flexible. Students sometimes think they are selecting an easier route by choosing the more practice-based option, but soon find out that the requirements for both are pretty even. And, the thesis work involves both an artifact and an essay.  
>> 
> the honours program I direct is similar. Project based research, at honours level in Australia, is difficult as you need to produce something and write an exegesis demonstrating how the project responds/investigates a relevant research problem. It is a lot of work and while exciting in so many ways writing a thesis is much less ambiguous.  
> 
> -- 
> an appropriate closing
> Adrian Miles
> Program Director Bachelor of Media and Communication (Honours)
> RMIT University - www.rmit.edu.au
> http://vogmae.net.au/
> 
> _______________________________________________
> empyre forum
> empyre at lists.cofa.unsw.edu.au
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Maria Mencia Ph.D
Artist/Senior Lecturer in New Media Theory and Practice
School of Performance & Screen Studies
Faculty of Arts & Social Sciences
Penrhyn Road
Kingston upon Thames
KT1 2EE

T: +44(0)208 547 2000
email: m.mencia at freeuk.com
http://www.mariamencia.com




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