1st Edition

The Routledge International Handbook of Practice-Based Research

Edited By Craig Vear Copyright 2022
    784 Pages 125 B/W Illustrations
    by Routledge

    The Routledge International Handbook of Practice-Based Research presents a cohesive framework with which to conduct practice-based research or to support, manage and supervise practice-based researchers. It has been written with an inclusive approach, with the intention of presenting deep and meaningful knowledge for the benefit of all readers.

    This handbook has been designed to present specific detail of practice-based research by outlining its shared traits with all forms of research and to highlight its core distinguishing features into a cohesive, principled and methodical approach. To this end, the handbook is presented in five sections: 1. Practice-Based Research, 2. Knowledge, 3. Method, 4. The Practice-Based PhD and 5. Practitioner Voices. Each section begins with a leading chapter that outlines each of the distinct areas as they relate to practice-based research. This is followed by a series of contributing chapters that discuss pertinent themes in more detail.

    Practitioners from a broad range of backgrounds will find these chapters helpful:

    • research students or final year graduates will be introduced to the principled nature of practice-based research
    • PhD researchers embarking on a research project or are in the flow of research will find this guidance supportive
    • professionals such as designers, makers, engineers, artists and creative technologists wishing to strengthen their research into their practice will be guided through the principled and focused nature of practice-based research
    • supervisors, managers and policy makers will benefit from the potential and rigour of practice-based researchers in the pursuit of new knowledge.

    Section 1 – Practice-based Research

    1.1. Practice-based Research

    Linda Candy, Ernest Edmonds and Craig Vear

    1.2. Interdisciplinary Perspectives on Practice-based Research

    Jonathan Michaels

    1.3. The Academisation of Creativity and the Morphogenesis of the Practice-Based Researcher

    Mike Philips

    1.4. The Studio and Living Laboratory Models for Practice-based Research

    Linda Candy and Ernest Edmonds

    1.5. Practice-based Research at SensiLab

    Jon McCormack, Alon Ilsar, Tom Chandler, Mike Yeates, Elliott Wilson, Camilo Cruz Gambardella, Nina Rajcic, Maria Teresa Llano and Sojung Bahng

    1.6. Working the Space: Augmenting Training for Practice-based Research

    Becky Shaw

    1.7. Understanding Doctoral Communities in Practice-based Research

    Sian Vaughan

    1.8. Research Doctorates in the Arts – A Perspective from Goldsmiths

    Janis Jefferies

    1.9. The PhD in Visual Arts Practice in the USA: Beyond Elkins’ Artists with PhDs

    Bruce Mackh

    1.10. The Relationship between Practice and Research

    Gavin Sade

    Section 2 – Knowledge

    2.1. Knowledge

    Linda Candy, Ernest Edmonds and Craig Vear

    2.2. Theory as an Active Agent in Practice-based Knowledge Development

    Linda Candy

    2.3. Mapping Practitioner Knowledge: A Framework for Identifying New Knowledge through Practice-based Research

    Craig Vear

    2.4. Mapping the Nature of Knowledge in Creative and Practice-based Research

    Kristina Niedderer

    2.5. Un-knowing: A Strategy for Forging New Directions and Innovative Works through Experiential Materiality

    Garth Paine

    2.6. Appreciative Systems in Doing and Supervising Curatorial Practice-based Research

    Lizzie Muller

    2.7. The Art Object Does Not Embody a Form of Knowledge Revisited

    Stephen Scrivener

    2.8. Research, Shared Knowledge and the Artefact

    Ernest Edmonds

    Section 3 – Method

    3.1. Method

    Linda Candy, Ernest Edmonds and Craig Vear

    3.2. The Common Ground Model for Practice-based Research Design

    Falk Hübner

    3.3. Finding the Groove: The Rhythms of Practice-based Research

    Brigid Costello

    3.4. Practice-based Research in the Visual Arts: Exploring the Systems of Practice and the Practices of Research

    Judith Mottram

    3.5. Crafting Temporality in Design: Reflecting on and Extending the Creation of Chronoscope

    Amy Yo Sue Chen and William Odom

    3.6. Thinking Together through Practice and Research: Collaborations across Living and Non-living Systems

    Lucy HG Solomon and Cesar Baio (AKA Cesar & Lois)

    3.7. Site: An Inventories Approach to Practice-led Research

    Graeme Brooker

    3.8. Reflective Practice Variants and the Creative Practitioner

    Linda Candy

    3.9. Reflection in Practice: Inter-disciplinary Arts Collaborations in Medical Settings

    Anna Ledgard, Sofie Layton and Giovanni Biglino

    3.10. Making Reflection-in-Action Happen: Methods for Perceptual Emergence

    Jennifer Seevinck

    Section 4 – The Practice-based PhD

    4.1. The Practice-based PhD

    Linda Candy, Ernest Edmonds and Craig Vear

    4.2. A Play Space for Practice-based PhD Research

    Sophy Smith

    4.3. The Sound of My Hands Typing: Autoethnography as Reflexive Method in Practice-based Research

    Iain Findlay-Walsh

    4.4. Navigating the Unknown: A Dramaturgical Approach

    Hanna Slättne

    4.5. The Practice of Practice-Based Research: Challenges and Strategies

    Andrew Johnston

    4.6. Community-building for Practice-based Doctoral Researchers: Mapping Key Dimensions for Creating Flexible Frameworks

    Sian Vaughan

    4.7. Strategies for Supporting PhD Practice-based Research: The CTx Ecosystem

    Craig Vear, Sophy Smith and Stacie Lee Bennett-Worth

    4.8. Ethics through an Empathetic Lens: A Human-Centred Approach to Ethics in Practice-based Research

    Falk Hübner

    4.9. The Practice-based PhD: Some Practical Considerations

    Ernest Edmonds

    Section 5 – Practitioner Voices

    5.1. Practitioner Voices

    Craig Vear

    5.2. A New Framework for Enabling Deep Relational Encounter through Participatory Practice-based Research

    Alice Charlotte Bell

    5.3. Risk, Creative Spaces and Creative Identity in Creative Technologies Research (or Why it’s OK for Academic Creative Technology Outputs to look Scrappy and be Buggy)

    Oliver Bown

    5.4. FEEDBACK: Vibrotactile Materials Informing Artistic Practice

    Øyvind Brandtsegg and Alexandra Murray-Leslie

    5.5. Co-evolving Research and Practice - _derivations and the Performer-developer

    Ben Carey

    5.6. Publishing Practice Research: Reflections of an Editor

    Maria Chatzichristodoulou

    5.7. From a PhD to Assisting BioMusic Research

    Balandino Di Donato

    5.8. The Curious Nature of Negotiating Studio-based Practice in PhD Research: Intimate Bodies and Technologies

    Kerry Francksen

    5.9. Encounters at the Fringe: A Relational Approach to Human-robot Interaction

    Petra Gemeinboeck and Rob Saunders

    5.10. The Impact of Public Engagement with Research on a Holographic Practice-based Study

    Pearl John

    5.11. Project-based Participatory Practice and Research: Reflections on Being ‘in the Field’

    Gail Kenning

    5.12. Bearing Witness - the Artist within the Medical Landscape: Reflections on a Participatory and Personal Research by Practice

    Sofie Layton

    5.13. Organisational Encounters and Speculative Weavings: Questioning a Body of Material

    Debbie Michaels

    5.14. Improvising as Practice/Research Method

    Corey Mwamba

    5.15. Dreaming of Utopian Cities: Art, Technology, Creative AI, and New Knowledge

    Fabrizio Augusto Poltronieri

    5.16. Curating Interactive Art as a Practice-based Researcher: An Enquiry into the Role of Autoethnography and Reflective Practice

    Deborah Turnbull Tillman

    5.17. Please Touch!

    Marloeke van der Vlugt


    Craig Vear is Research Professor at De Montfort University, where he is a director of the Creative AI and Robotics lab in the Institute of Creative Technologies. His research is naturally hybrid as he draws together the fields of music, digital performance, creative technologies, Artificial Intelligence, creativity, gaming and robotics.