Frayling’s paper was originally published in 1992-
Frayling delineates/ constructs the problem of artistic research (as distinct form the area of design research which arguably has a clearer teleological focus and a more established tradition of unified research- methods)
responses- Negative- postive
Negative
A wave or strong criticism directed at practice based research in the context of fine art, which began around the years 2000, and took place largely design- centric research forums, along with a more sympathetic, pro-active response that built more slowly between over the course of first decade of the 21st century.
Doctoral education in design conference- Design issued journal
We can link this position to the idea of research quantification/ adjudication
RAE research
Success in are ref determines university research funding bodies and university administration
Griselda Pollock
Pollock, speaking in an ontological register suggests that a particular material practice may: “set in motion the processes by which, eventually, the necessary terms of critical interpretation may emerge” …and that as a consequence, it may only be “in retrospect” that the critical vocabulary for describing such an event may emerge. When she switches to an epistemological register, however, a familiar, communicative, tension arises: “But if creativity may be considered thought it is not necessarily, critical, reflective and other-oriented thought. So how can we think about art as thought, as capable of producing knowledge rather than its own vital, creative and significant event?”
Positive
The proactive response to artistic research emerged slowly in the form of a series of practise
Graeme Sulllivan: Art Practice as Research
Barrett and Bolt: Practice as Research
Henk Slager: Artistic Research
Robin Nelson: Practice as Research
Platforms- Art and Research Journal (Glasgow School of Art):
Borgforff and actor network theory
Invlokes the idea of a paradigm- shift but only in an university infrastructural sense
as building a framework of infrastructural of institution, organisations publications, conferences, government bodies and funding agencies.
Actors in ant - human and not human
What is important is there connection to order actors and their performance dimension
An actor might be a human being, a microbe or a speed bank machine- or a university
In ant relationally constituted, performative objects come to the fore.
Laurie Gries uses ANT to chart the life of Shepard Fairey’s Obama Hope Image
