Practice based research

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Digital art and Design Practice and its relation to research
methods and rationales
Practice-based Research
Professor Martin Rieser, IOCT/ De Montfort University, UK

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Practice-based Research : Definitions
UKCGE paper on Practice-based Doctorates in the Creative
and Performing Arts
The demonstration of certain competencies:
a. undertake a systematic enquiry
b. apply methods appropriate to the subject
c. a grasp of context
d. documentation and communication in a permanent form
e. sustained and contextualised logical argument
f. justification of actions in relation to process and product
g. valid and original work of high quality

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Research has ‘no lone scholars’ or ‘lone scholarships’-
it connects minds
Q What kinds of Research are there?
1. Re-creating lost knowledge
1. Knowledge production
2. Enhancing understanding –challenging knowledge
3. Building intellectual infrastructure
(Prof Bruce Brown, Brighton)

4
Research is a systematic enquiry whose goal is
communicable knowledge:
Systematic because it is pursued according to
some plan
An enquiry because it seeks to find answers to
questions
Goal-directed because the objects of the enquiry
are posed by task description
(Prof Bruce Archer)

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Types of Research through Art & Design
1 Materials research
2 Developmental work i.e. customising a piece of technology
3 Action Research i.e. where (for example) a diary tells, step by step, of a
practical experiment in the studios, and the report
aims to contextualise it
4 Where the end product is an artefact- where thinking is embodied in
the artefact, where the goal may not be communicable knowledge
as in verbal communication, but in the sense of visual or iconic or
imaginative communication
(Christopher Frayling)

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"So, what's the difference between ’Fine Art research
methods' and ’Design Methods'?"
There are perhaps more established materials on design methods,
and certainly more periodicals dealing with design. Are the
brainstorm/prototype/improvisation/feedback methods of design
really that different from fine art production?
Is the difference that whilst designers are obliged to work in
response to feedback on usability, market research likes etc.,
artists rarely seek this information, or can choose to work contrary
to it?
(Beryl Graham)
http://seacoast.sunderland.ac.uk/~as0bgr/learnco99.html#nov/dec
Practice-based Research :Views

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If MPhil/Ph.D. research produces 'poor art' (whatever the definition), is
that a problem? After all, many scientific research projects end with the
conclusion that the original hypothesis was incorrect. Unlike MA level
art education, which involves a 'quality' judgment on finished
artwork for 'success', with PhDs it is theoretically possible to
produce truly terrible, 'unsuccessful' artworks, which form a most
excellent piece of research (and may be more successful at
communicating knowledge to other artists than the most perfect
finished products).
(Beryl Graham)1

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Whilst I would argue that PhDs form a rare and valuable arena for an
artist's 'right to fail' (as long as knowledge is gained from failure), I
would also argue for artists to consciously struggle against a certain
tendency of 'research artworks' to be, well, a little dull. Dullness is not
stipulated in academic regulations, it is optional.
By putting practice first, that relationship between form and content is
necessarily foregrounded, even if not formally theorised. By pushing
the boundaries of the representation of visual knowledge, excitement
is maintained.
(Beryl Graham) 2
http://seacoast.sunderland.ac.uk/~as0bgr/learnco99.html#nov/dec

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The principal feature of such research is not the employment of
a particular method but the desire or requirement to create
'works' (i.e. designed artefacts, art objects or performances) and to
present them as part of the 'answer'.
In this way, art and design research is different from many other
disciplines because it does not simply use objects as evidence
which is later reported on, but attempts to present these objects
as part of, or all of, an argument for interpretation by the
viewer. This implies the notion that 'the work' can embody the
answer to the research question and this is one of the
problematics.
Biggs, M. (2003). The Role of "the Work" in Research. PARIP,
University of Bristol, UK.

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It is sufficient to show that the context affects our reading of 'the
work' in order to demonstrate that 'works' alone cannot embody
knowledge. This situation is comparable to the meaning of
individual words. Although most of us have been taught that one
way to approach an essay question is to seek the dictionary
definitions of key terms in the question, we are also familiar with
the feelings of dissatisfaction that arise from these isolated
definitions. Words have meanings in the context of sentences,
alongside other words, and in social contexts in which utterances
are accompanied by actions. So it is that individual objects and
performances devoid of context become more-or-less devoid
of meaning. Likewise, as they become contextualised they
become more-or-less meaningful.
What is the function of a text/thesis in a practice-based submission?

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Furthermore, we are aware that the interpretation of words and of
works of literature, changes over time owing to changes in the
intertextual context.
For example, in 1920 James Joyce's Ulysses was denounced as
'obscene, lewd, lascivious, filthy, indecent and disgusting' by the
New York Society for the Suppression of Vice
By 1941 it was hailed by Levin as 'a novel to end all novels'
(Joyce 1993: xli & ix). This shows that words or texts do not have
single unalterable meanings any more than do 'works'.

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Ross Gibson’s view is 'the text is not an explanation of the
artwork; rather, the text is an explicit, word-specific
representation of processes that occur during the iterative
art-making routine, processes of gradual, cyclical speculation,
realisation or revelation leading to momentary, contingent
degrees of understanding.
To this extent the text that one produces is a kind of narrative
about the flux of perception-cognition-intuition. The text
accounts for the iterative process that carries on until the artist
decrees that the artwork is complete and available for critique,
'appreciation', interpretation, description, evaluation. All these
particular practices can entail other particular texts.'
Practice-based Research : Views

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Steve Scrivener’s view: ‘The art object does not embody a form of
knowledge’
Art is not a form of knowledge communication
Art is not a servant of knowledge acquisition
Art making creates apprehensions
Art research creates novel apprehensions
http://www.herts.ac.uk/artdes/research/papers/wpades/vol2/scrivener.html
Practice-based Research : Views

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Gateway Questions to Doctoral research
Q Is the projected programme of study of intrinsic
research interest; as opposed to a period for further
personal creative development?
Q Does the proposal indicate a strong and necessary
link between practical and theoretical consideration?
Q Is the Methodology an organised way of proceeding with
research, with regard to data collection and analyses?

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Practice-based projects are those which include as an integral
part the production of an original artefact in addition to, or
perhaps instead of, the production of a written thesis.
They are naturally of great interest to practising artists and
designers, but they are not confined to these disciplines. One
may find examples in music, in software design, in
engineering, in law; in fact in any subject where the result
might be an artefact generated in the laboratory or workplace.

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Practice-based Research is an original investigation undertaken in
order to gain new knowledge partly by means of practice and the
outcomes of that practice.
In a doctoral thesis, claims of originality and contribution to
knowledge may be demonstrated through creative outcomes in the
form of designs, music, digital media, performances and exhibitions.
Whilst the significance and context of the claims are described in
words, a full understanding can only be obtained with direct reference
to the outcomes.
(Linda Candy)

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Practice-led Research is concerned with the nature of practice and
leads to new knowledge that has operational significance for that
practice.
In a doctoral thesis, the results of practice led research may be fully
described in text form without the inclusion of a creative work. The
primary focus of the research is to advance knowledge about
practice, or to advance knowledge within practice.
Such research includes practice as an integral part of its method and
often falls within the general area of action research.
(Linda Candy)

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It is important to make a clear distinction between practice-based
research and pure practice. Many practitioners would say they do
‘research’ as a necessary part of their everyday practice. As the published
records of the creative practitioners demonstrate, searching for new
understandings and seeking out new techniques for realising ideas is a
substantial part of everyday practice.
However, this kind of research is, for the most part, directed towards
the individual’s particular goals of the time rather than seeking to add
to our shared store of knowledge in a more general sense.
Stephen Scrivener argues that the critical difference is that practice-
based research aims to generate culturally novel apprehensions that
are not just novel to the creator or individual observers of an artefact;
and it is this that distinguishes the researcher from the practitioner
(Scrivener, 2002).

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Another important distinction between personal practitioner
research and practice-based research is the form that the knowledge
generated takes. The practice-based doctoral research outcome that is
shared with a wider community arises from a structured process that
is defined in university examination regulations.
In order to achieve advances in knowledge of the kind referred to
above, the everyday research process common to professional practice
has to be defined and executed in a manner that is commonly agreed.
The research component of the practice-based research is, in most
respects, similar to any definition of research, a key element of which is
the transferability of the understandings reached as a result of the
research process. In the UK, the Arts and Humanities Research Board
(now Council) (AHRB, 2000) defined research primarily in terms of
research processes rather than outputs
(Linda Candy)

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Practice-Based and Practice-Led Research
Although practice-based research has become widespread, it has yet
to be characterised in a way that has become agreed across the
various fields of research where it is in use. To complicate matters
further, the terms ‘practice-based’ and ‘practice-led’ are often used
interchangeably. In reality, there are two main types of research that
have a central practice element and that distinction is summarised
here as follows:
If a creative artefact is the basis of the contribution to knowledge, the
research is practice-based.
If the research leads primarily to new understandings about
practice, it is practice-led.
(Linda Candy)

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Practice-based Research :Definitions
Practice-Based Research
Practice-based Research is an original investigation undertaken in order
to gain new knowledge partly by means of practice and the outcomes
of that practice. Claims of originality and contribution to knowledge
may be demonstrated through creative outcomes which may include
artefacts such as images, music, designs, models, digital media or
other outcomes such as performances and exhibitions.
Whilst the significance and context of the claims are described in
words, a full understanding can only be obtained with direct reference
to those outcomes. A practice-based PhD is distinguishable from a
conventional PhD because creative outcomes from the research
process may be included in the submission for examination and the
claim for an original contribution to the field are held to be
demonstrated through the original creative work.
(Linda Candy)

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Practice-based doctoral submissions must include a substantial
contextualisation of the creative work.
This critical appraisal or analysis not only clarifies the basis of the claim
for the originality and location of the original work, it also provides the
basis for a judgement, as to whether general scholarly requirements
are met.
This could be defined as judgement of the submission as a
contribution to knowledge in the field, showing doctoral level
powers of analysis and mastery of existing contextual knowledge, in a
form that is accessible to and auditable by knowledgeable peers.
(Linda Candy)

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Practice-Led Research
Practice-led Research is concerned with the nature of practice and leads
to new knowledge that has operational significance for that practice.
The main focus of the research is to advance knowledge about practice,
or to advance knowledge within practice.
In a doctoral thesis, the results of practice-led research may be fully
described in text form without the inclusion of a creative outcome. The
primary focus of the research is to advance knowledge about practice, or
to advance knowledge within practice.
Such research includes practice as an integral part of its method and
often falls within the general area of action research. The doctoral
theses that emerge from this type of practice related research are not
the same as those that include artefacts and works as part of the
submission. (Linda Candy)

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Studio Practice as research
The thing emerges within what is present, both physically and in an
immanent sense. The work does not merely emerge in the world, it
simultaneously emerges in the practitioner who may see that which
has been dimly felt as the work, may see clearly what they have been
feeling, only at that point where it “feels right”, only as it emerges as a
physical form. The making process can be a search. A very careful
search. And it can reveal unexpected things, more or other than was
searched for.
However not all studio based making in the arts is such a search. Where
a practice has become ritualised, repetitive, or safe — keeping to safe
paths and well established territory — or is formulaic or batch production,
it is not a careful search or research.
(Linden Reilly: An alternative model of "knowledge" for the arts)

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Practice-based Research :Structure
Key elements of a Research document:
1 The Problem
This is a concise statement of the research question or issue that the
thesis addresses.
2 The Context
What is the main work that has been done that gives rise to the
question and what is its significance?
3 The Method
The approach to solving the problem (experimental, practice based,
analytic)
4 The Outcomes
Here the key contribution(s) to knowledge are concisely described.
They are the things that arise from the work that are new and
shown to advance understanding or practice internationally. The
value of these outcomes will be to one or more community
(computer scientists, artists, theoreticians etc)

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SECTIONS:
1 State of the Art Review
This presents the results of a literature survey of the area(s) of study. It should
be a critical review in the context of the stated research question and related
issues. It answers questions such as: Who is doing what? Who has done
what? Who first did it or published it? The survey is taken from published
papers, research monographs, catalogues etc. It must be based on and refer
to primary sources, not textbooks or other such reports on the work of others.
It is to be expected that this section provides a new structured view of the
field of study.
2 Methodology
This is a key section that provides a description and justification of the
research methods used. Normally, the methods will be selected from known
and proven examples. In special cases the development of a method may be a
key part of the research, but then this will have been described in section one
and reviewed in two.

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The task of methodology courses should be to provide the researcher
with tools for the analysis of the relationship of context,
question, answer and audience, so that a method may be tested for its
appropriateness. It is the task of methodology: the study of methods, to
provide a decision-making strategy for the researcher to answer the
question: not "which method shall I use?" but "how shall we
determine which method is appropriate?"

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3 New Studies
The core of the documentation is a description of the new
studies/software/artwork and the process of production. It answers the
questions: What has been done, how was it achieved and what was the
rationale? This can be, for example, a report on the design and execution of a
set of experiments or the development of an innovative software system or
the making of innovative art works. In a practice based research an artwork,
for example, might be presented for examination. If so, this section will
illuminate it by explaining, at the very least, what is important and novel
4 Results
The evaluation of the new software/artwork or analysis of the results or
processes of the new studies will have led to certain results or conclusions.
Placing the new results in the context of Methodology is important. The
outcomes are shown to have been achieved in this section.

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5 Conclusions
A discussion can now be provided that puts a wider perspective on the results
and discusses the implications of them for other broader areas and domains.
Future work and outstanding questions are normally also discussed.
6 References/Bibliography (including published papers)
Use a standard reference format, such as Harvard, and be careful to check
each entry. It is temping to presume that software such as End-Notes will
ensure a perfect reference list, but that all depends on exactly how each entry
was stored. There is no substitute for a line-by-line check.
(Linda Candy)

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Action research is a reflective process of progressive problem solving
led by individuals working with others in teams or as part of a
"community of practice" to improve the way they address issues and
solve problems. Action research can also be undertaken by larger
organizations or institutions, assisted or guided by professional
researchers, with the aim of improving their strategies, practices, and
knowledge of the environments within which they practice.
Kurt Lewin, then a professor at MIT, first coined the term Action
research in about 1944, and it appears in his 1946 paper Action
Research and Minority Problems. In that paper, he described action
research as comparative research on the conditions and effects of
various forms of social action and research leading to social action that
uses a spiral of steps, each of which is composed of a circle of
planning, action, and fact-finding about the result of the action.
Practice-based Research : Action

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Action research is problem centered, and action oriented. It involves the
system in a diagnostic, active-learning, problem-finding, and problem-
solving process. Data are not simply returned in the form of a written report
but instead are fed back in open sessions, and the subject of study and the
change agent collaborate in identifying and ranking specific problems, in
devising methods for finding their real causes, and in developing plans for
coping with them realistically and practically.
Scientific method in the form of data gathering, forming hypotheses, testing
hypotheses, and measuring results, although not pursued as rigorously as in
the laboratory, is nevertheless an integral part of the process.
Action research also sets in motion a long-range, cyclical, self-correcting
mechanism for maintaining and enhancing the effectiveness of a system by
leaving the system with practical and useful tools for analysis and renewal

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Figure summarizes the steps and processes involved in planned change
through action research. Action research is depicted as a cyclical process of
change. The cycle begins with a series of planning actions initiated by the
client and the change agent working together. The principal elements of this
stage include a preliminary diagnosis, data gathering, feedback of results,
and joint action planning.

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The second stage of action research is the action, or transformation, phase.
This stage includes actions relating to learning processes (perhaps in the
form of role analysis) and to planning (and executing behavioral changes in
the client organization). As shown in Figure 1, feedback at this stage would
move via Feedback Loop A and would have the effect of altering previous
planning to bring the learning activities of the client system into better
alignment with change objectives.
The third stage of action research is the output, or results, phase. This stage
includes actual changes in behavior (if any) resulting from corrective action
steps taken following the second stage. Data are again gathered from the
client system so that progress can be determined and necessary
adjustments in learning activities can be made. Minor adjustments of this
nature can be made in learning activities via Feedback Loop B

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The action-research model shown in the Figure closely follows Lewin's
repetitive cycle of planning, action, and measuring results. It also illustrates
other aspects of Lewin's general model of change. As indicated in the
diagram, the planning stage is a period of unfreezing, or problem
awareness.
The action stage is a period of changing, that is, trying out new forms of
behavior in an effort to understand and cope with the system's problems.
(There is inevitable overlap between the stages, since the boundaries are not
clear-cut and cannot be in a continuous process).
The results stage is a period of refreezing, in which new behaviors are tried
out on the job and, if successful and reinforcing, become a part of the
system's repertoire of problem-solving behavior.

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Interactive Art and Research Practice
Studying art is recognised as a historical or critical scholarly activity
rather than a natural subject for field research. By its very nature,
interactive art has particular characteristics that necessitate a
different form of inquiry to conventional areas of discourse in this
field. The involvement of the audience in the active experience of the
work, for one thing, is a radical departure from normal expectations of
our relationship to art works.
Some artists view audience interaction as an integral part of the
work itself and are not only keen to learn from that behaviour, but also
wish to engage with the audience directly. In both audience and
artist collaborative experience, a process of evaluation takes
place, an activity that requires systematic forms of information,
analysis and reflection.
Practice-based Research : Specific

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Interactive Art and Research Practice
The evaluation of an emerging interactive artwork or system is
analogous with the development of an interactive software system
using user-centred design methods. In creative work there is a dual
need: for best results, the work should be carried out in as realistic
(naturalistic) setting as possible and, at the same time, the results
should provide an opportunity to turn what is learnt into modifications
in the evolving art system.
There are some important constraints that differentiate the
normal process of creating art from the research-oriented
approach. Artists working in a studio are in a natural setting for them
but for research to be effective the gathering of information is critical
and this imposes constraints upon the way of working. Artists working
in a public space learn from the audience’s behaviour as they interact
with the new work. How they learn and discoveries that inform
their work is both a new area of creative practice and a source of
knowledge for the wider community. (Linda Candy)
Practice-based Research : Specific

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Hosts 2005
Hosts is a reflection on human life and death, presence and
absence. The "hosts" may be taken to represent a variety of
presences: from the angels of Jacobs Ladder, to the spirit of
people who have inhabited the same spaces, or seen as
fragments of an individual psyche. The emotional mood is
deliberately variable and the encounters change depending on a
randomised selection sequence for the video sprite characters and
sounds.
The piece is a truly transdisciplinary work: a 3D audio landscape of
acapella tonal voices accompanied the visitor between the screens
on wireless headphones and formed a tangible changing audio
landscape. The artist worked with a group of singers, musicians
and sound designers in Bristol/Bath on this aspect of the piece.
Practice-based Research : Example

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Hosts 2005
Technology
Made in conjunction with the Wearable Computing Group at Bristol
University. The project utilised specially designed ultrasound
tracking software to detect human presence and its duration in
allocated space zones, corresponding to the screen areas.
Information was passed to control computers, which co-ordinate
the video feed to individual projectors from networked machines.
The presences were filmed on high definition digital video and
transferred as QuickTime files to server hard drives.
Practice-based Research : Example

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Martin Rieser: Hosts 2006
Sponsors:
AHRC,
Bath University ,
Roper Rhodes
Bath Film Festival ,
ACE

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Hosts 2005/6
Project Outline Description
1 Situated: Bath Abbey
Site specific: Bath Film Festival
Pilot July 05/Install February 06
Projection panels are mounted at strategic points of
the open space. A visitor triggers the presence of a
variety of video characters through the use of
movement detection devices and interpretative
software.
Individual characters appear at random and seeming
to be searching for something. They pass onwards
from screen to screen, keeping pace with the visitor.
These ‘hosts’ are of a wide range of ages, gender,
social types and races.

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Hosts 2005/6
Jacob’s Ladder
On the last wall of the installation is a single
vertical screen on which we see two ladders
standing side by side, disappearing beyond the
picture frame. On one ladder the characters are
continuously climbing upwards and vanishing. On
the second ladder they are climbing downwards
from the top of the frame and walking off screen
Thematic
The piece is a reflection on human life and death,
presence and absence. The “Hosts” may be taken
to represent a variety of presences: from the
angels of “Jacob’s Ladder” to the spirits of people
who have inhabited the same spaces. The
emotional mood is deliberately variable and the
encounters will change depending on a
randomised selection sequence for the video
sprite characters and aphorisms from a list of
over 100.

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Hosts Overview
Projector
Layout 2

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Hosts Technology
Technology
The project utilised an
ultrasound detection
system developed by
the Wearables Group
at Bristol University,
corresponding to the
screen areas, would
later adapt other
locative technologies
from collaborating
research partners such
as Bath University and
Hewlett Packard

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Technology
Ultrasound “chirper”
badges
Hosts Technology

45
Hosts Technology
Technology
The project use
ultra sound devices
developed by
Bristol University’s
Wearables group
to track human
presence and
duration in
allocated space
zones,
corresponding to
the screen areas

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Hosts Situated
North Side of Nave

47
Hosts Outcomes
Papers
Intelligent Environments 2008
ISEA 2009
Presentations:
Imperial College
MUM Cambridge
Uniiversity of Sussex
Open University
Book:
The Mobile Audience, Rodopi 2010

48
SONGLINE
S
Professor Martin Rieser
Institute of Creative
Technologies
Cycling and social collaboration

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Songlines
The Use of Locative Media for
Interactive Cycle Mapping
Martin Rieser
Professor
IOCT/ De Montfort University

50
Songlines
Songlines is a project undertaken in collaboration with
the DMU Transport Committee and Leicester City
Council. 50 GPS devices are being distributed to
volunteer students n for use with software specially
developed for the project to map effective cycle routes
across Leicester.
The project is innovative in its use of digital folksonomies
and wikis in the creation of databases of local route
maps and its delivery of directions to a mobile audience.
It will use GPS positional sensing for a mass audience
taking advantage of the roll-out of cutting edge
technologies as they become available to the majority.

51
Songlines
Aims
The project aimed to encourage public collaboration in mapping safe
urban cycle routes, using local knowledge of conditions, to encourage
sustainable transport solutions and to generate a database of
specifically public downloadable maps and related audio-visual
materials, which can be triggered automatically and listened to as the
participants are walking or cycling the corresponding routes and which
relate to visual landmarks.

52
Songlines
Research
Andrew Salkeld, Leicester City Council Cycling officer supported the
project and was instrumental in providing a Leicester Cycling database
and in submitting a bid to the Pre-Olympics for a number of loan cycles
for Leicester which would be used in the Songlines testing. The failure of
the bid led to a revised timetable with the emphasis on volunteers
gathering data last summer using the 50 GPS devices

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CO2 Reduction
Cycling and walking in urban centres in Britain is at a far lower level than
in comparable countries across Europe. In autumn 2001, 681,000 people
cycled to work in England, 3% of all those in employment.
Cycling accounts for 0.6% of the total distance travelled per person per
year and about 1.5% of all stages are by bicycle and the number of
stages made by bicycle fell by 26%, from 23 stages per person per year
in 1989/1991 to 17 in 1999/2001(DTI Factsheet)
Songlines

54
Songlines
The heavy traffic in urban centres is only part of the story. The efforts of
local authorities to engage commuters in cycling are are constrained by
budgetary and legal impediments, but most of all safety fears discourage
cycling.
By drawing on local knowledge of routes and conditions this pilot
proposal will demonstrate how creative uses of new technologies can
encourage mass participation in solving transport problems through their
reach and innovation.
Cycling is a zero emission form of transport with low environmental
impact in terms of support industries, parking etc. In Leicester, for
example 60 percent of commuting is by car from houses within 2
miles of a city centre in a flat geography. Detailed cycling maps are no
longer available for the city and the council has discontinued the printing
of any that once existed.

55
Songlines
Innovation
The project is innovative in its use of digital folksonomies and wikis in
the creation of databases of local route maps and its delivery of directions
to a mobile audience. It uses positional sensing for a mass audience
taking advantage of the roll-out of cutting edge technologies as they
become available to the majority. The mobile phone based location-
detection features will be used to update positional information.
Further tests on the use of Podcasts of route directions are being
developed for the iPhone using EMPEDIA software developed by
Cuttlefish Multimedia who are collaborating on testing. These can be
uploaded in advance of the journey and to be correlated against positions
along the route. It is envisaged that directional instructions will be
delivered as audio streams according to route progress.

56
Songlines
Research
Y Tian a PhD student from Computer Science has worked closely with
me to develop a mobile interface and wiki map data-base, to work on
most standard mobiles.
This is being further developed by a new team of funded Pervasive
media researchers which is now in place (Sean Clark and Jackie
Calderwood) and an sKTP placement Phil Sparks with Cuttlefish
multimedia who is working with browser-based tools.
After pilot testing, 50 GPS recorders were made available for use by
volunteers

57
Mapping Leicester
A new collaborative
mapping technology
from Empedia with
Open source software
for adaptation
The original Leicester
City Council map was
too large for adaption
to mobiles

58
Songlines
Mainnav GPS
recorder

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Phoenix Square: Large scale Songlines projections
The proposal for the opening of Phoenix Square was an external projection
comprising three elements:
1. a giant series of individual street portraits of randomly selected
individuals met on various city centre cycling routes. The portaits will be
projected on the full height of the side of the building and gradually fade into
each other to create a series of semi-transparent layers as a “palimpsest”
portrait of the city.
2. Six projectors will be used to project abstract video impressions of
cycle journeys on the frontage through the city visualized as colourful
streaming moving images of the passing roadside
3. A single projector will be mounted opposite the white corner inset in the
frontage to create a gradually augmenting map of GPS traces of the
journeys, which contributed to the other imagery in the installation.

60
IOCT De Montfort
University
Phoenix Square

62
Phoenix Square
Six video loops of journeys
projected above entrance on baffles

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Phoenix Square
“Palimsest” Street portrait projections related to
journeys

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Phoenix Square Opening
Public Images recorded on journeys around city centre

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Phoenix Square Opening
Public Images recorded on journeys around city centre layered for projection sequences

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Phoenix Square: Launch Images

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Postcard for Stall at Summer Sundae

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Riverains tests: London
Empedia for Riverains: QR Codes

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Riverains: London

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Riverains: London

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Riverains: London

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Riverains: London

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Riverains: London

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Riverains: London

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Riverains: London

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Riverains: London
Riverains adaptation for Layar by Gareth Howell

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Riverains: London
Riverains adaptation for Layar by Gareth Howell

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Research documentation
http://www.pervasive.org.uk/projects/songlines
mrieser@dmu.ac.uk

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Q What is the role of the artefact in reporting the results?
Practice-based Research :Questions 1

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Example:
Q What is the role of the artefact in reporting the results?
A The artefact is not an explanation in itself:
It requires linguistic description that relates the development and
nature of the artefact to understandings about creative process
The text describes the innovation embodied in the artefact, but
cannot be fully understood without reference to and
observation of the artefact.
Practice-based Research : Questions 2

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Q Can artefacts present arguments?
A?
Q Is experiential knowledge precluded from documentation?
A?
Q Does textual justification make the artefact redundant?
A?

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Q What is the relationship of a systematic enquiry to
creativity and serendipity?
A?
Q Does a contribution to knowledge imply the discovery of
"objective facts”?
A?
Q Does stating how one is going to set about the research
restrict creative development?
A?
Q Does framing a research question imply a research
answer?
A?

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Q How to define Originality or ‘original contribution to knowledge’:
A?
Q In practice as research, are you expanding the boundaries of
knowledge, or the boundaries of experience?
A?

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Q How does practice generate research outcomes?
A?
Q What is the role of serendipity in a "systematic" enquiry?
A?
Q How might responses to the above questions be compared to
whether Picasso deserves a PhD?
A?

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Links
www.martinrieser.com
www.mobileaudience.blogspot.com
Mobile Audience
Personal website
Action Research
http://www.scu.edu.au/schools/gcm/ar/arr/arow/default.html
Pervasive Media Research
www.pervasive.org.uk
Practice-based Research
http://www.creativityandcognition.com/content/category/10/56/131/

Practice based research

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