The ‘problem’ of research in art and design
Christopher Frayling- rector of the royal college of art (RCA)
Principle interest- film studies
I like to think of this as an image of Frayling ‘conjuring’ up the debate (spencer)
RSA Research papers 1993/4: research in Art and Design
Fraylings lines of argument-
(re)search as deed/ process ‘Pragmatic’- Correlative cliches/stereotypes
(re)search - old territory- correlative cliches/streotypes
The case of Picasso — Picasso- interviewed in 1923 RE his ‘Les Demoiselle d’Avignon’
Picassos References materials: Visual memorise of the red light district in Barcelona- Ancient Iberian sculptures form the Louvre - Mezzanines Monte- Sante-Victorie
Cezzanne paint Monte-sante-victoire over 60 times in one decade
Cezzanne dscribes ‘it’ (the real Monte-sante-victoire- eg. beneath the veil of perception and his motif: tion) http://piratesandrevolutionaries.blogspot.com/2011/06/cezanne-and-phenomenon-painting.html
Picasso DID NOT consider his own practices as a form of research. he tell us that
‘to search means nothing in painting’
‘when i paint my objects is to show what i have found, and not what i am looking for’
He is interested in visual intent aimed a producing a work
the artist isn't i the business of unambiguous (objective) communication
the artwork is expensive and a new work is about, personal development
Cinematic Portrayal of Artist (Ciche) -‘lust for life’ 1956
Artistic disposition is presented as expressive and Non-cognitive
Shared in Hollywood representation of ARTISTS*
eg. michelangelo (Chariton Heston) Caravaggio (Nigel Terry)
John A Walker- ‘there could never be a popular movie about a non-expressive artists such as Mondrian.
*Popular Stereotypes
Designer
Pre 1980s ‘Designer Boffin’ strong presence in war/sci-fi- ‘moving on to the designer, up until relatively recently the popular stereotypes was rather different. Instead of the expensive artist, we have the pipe-smoking boffin who rolls up his sleeve (always his incidentally) and gets down to some good honest hands-on experimentation. From Leslie Howard in the First of the few (1942) to Michael Redgrave in The Dam busters (1955).’
Here, designing- pragmatic doing. ‘Doing is designing for these people-not systemic hypotheses, or structures of thought or orderly procedures; but potting-shed, hit and-miss, sorry i blew the roof off but you know how it is darling, craft work.’
Late 80s Designer ( product of style TV shows- sassed by Chris Morris and Charlie Brooker in the TV seres Nathan Barley, 2005) http://www.youtube.com/watch?v=06AS8SiY3rw
Style obsessed Image archaeologist- considers image, styes and signs- always in search of the latest thing. ‘not an creator of meaning so much as an intuitive searcher after the latest thing. Don't think twice, its alright. I’m reminded of the designer who was overhead on a bus, saying ‘let be philosophical about this, don't give it a second thought.’
Research scientists
Fictional scientists presented as deranged, diabolical ‘over- reachers’- Frankenstein, Faustus Jekyll- Sinners
Actual, true life scientists presented as saintly, generous, humanitarian- Saints - Presented as critical rationalists: logic, clarity, transparency of methods.
The critical rationalist stereotype has been attacked in the 25-30 years through Sociologyy of Sciences and technology Studies ‘The last 10-15 years Sociologists such as Harry Collins. in his book Changing Order and philosophers such as Paul Feyeraband, have stressed that in science- as in everything else- there may well be conjectures but many of them are unconscious and they end to be changed or modified without any explicit discussion, and they tend to involve a significant measure of subjectivity.’
Bruno Labour (Laboratory Life 1986)
Professional networks
‘entities’ are networks of observation and rarely directed observed
move from hypothesis to unspoken assumption
Henry Collins (changing order, 1992)
Irrationality, craftsmans knowledge, Tactic (not propositional) knowledge, negotiating
Crick and Watson’s double helix could almost be an artists biography
Rosalind Franklin, a female scientist, is left out of the account despite her important influence & contribution
It stresses human faults and foibles, petty rivalries and driving ambition. It captures the extraordinary excitement of their desperate efforts to beat their rivals at king’s college.
Working scientists seem to embody a little of both - like wise the stereo type of the artist neglects the cognitive dimension of artistic practise
Constables research into cloud formations make his landscape possible and influence is stye as a whole. ‘I am here on behalf of my own profession, and I trust it is with no intrusive that i now stand before you; but I am anxious that the world should be inclined to look to painters for information on painting. I hope to show that ours is regularly taught profession; that it is scientific as well as poetic;…’
For Frayling, all stereotypes are reductive. he believes that the concept of research can be found in the convergence of stereotypes are reductive. He believes that the concept of research can be found in the convergence of stereotypes
The brain controls the hand which in turn informs the brain. ( ‘so where dose this all lead? Apart form to the important thought that ‘research’ is a much less diffuse, much more convergent activity that the terms of recent debate would suggest. And that research has been, can be and will be an important perhaps the most important- nourishment for the practice and teaching of art, craft and design.’)
Fraylings distinctions-
Research (into) art and design- Close to standard humanities, historical, or aesthetic research
Research (through) art and design- applied research into materials- applied research into materials- investigation into ‘modding’ existing technologies/ techniques- What Frayling terms ‘action’ research: Diaristic account of studio experimentation..
