The Routledge International Handbook of Practice-Based Research

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.

Section 1 – Practice-based Research 1.1. Practice-based Research 1.2. Interdisciplinary Perspectives on Practice-based Research 1.3. The Academisation of Creativity and the Morphogenesis of the Practice-Based Researcher 1.4. The Studio and Living Laboratory Models for Practice-based Research 1.5. Practice-based Research at SensiLab 1.6. Working the Space: Augmenting Training for Practice-based Research 1.7. Understanding Doctoral Communities in Practice-based Research 1.8. Research Doctorates in the Arts – A Perspective from Goldsmiths 1.9. The PhD in Visual Arts Practice in the USA: Beyond Elkins’ Artists with PhDs 1.10. The Relationship between Practice and Research; Section 2 – Knowledge 2.1. Knowledge 2.2. Theory as an Active Agent in Practice-based Knowledge Development 2.3. Mapping Practitioner Knowledge: A Framework for Identifying New Knowledge through Practice-based Research 2.4. Mapping the Nature of Knowledge in Creative and Practice-based Research 2.5. Un-knowing: A Strategy for Forging New Directions and Innovative Works through Experiential Materiality 2.6. Appreciative Systems in Doing and Supervising Curatorial Practice-based Research 2.7. The Art Object Does Not Embody a Form of Knowledge Revisited 2.8. Research, Shared Knowledge and the Artefact; Section 3 – Method 3.1. Method 3.2. The Common Ground Model for Practice-based Research Design 3.3. Finding the Groove: The Rhythms of Practice-based Research 3.4. Practice-based Research in the Visual Arts: Exploring the Systems of Practice and the Practices of Research 3.5. Crafting Temporality in Design: Reflecting on and Extending the Creation of Chronoscope 3.6. Thinking Together through Practice and Research: Collaborations across Living and Non-living Systems 3.7. Site: An Inventories Approach to Practice-led Research 3.8. Reflective Practice Variants and the Creative Practitioner 3.9. Reflection in Practice: Inter-disciplinary Arts Collaborations in Medical Settings 3.10. Making Reflection-in-Action Happen: Methods for Perceptual Emergence; Section 4 – The Practice-based PhD 4.1. The Practice-based PhD 4.2. A Play Space for Practice-based PhD Research 4.3. The Sound of My Hands Typing: Autoethnography as Reflexive Method in Practice-based Research 4.4. Navigating the Unknown: A Dramaturgical Approach 4.5. The Practice of Practice-Based Research: Challenges and Strategies 4.6. Community-building for Practice-based Doctoral Researchers: Mapping Key Dimensions for Creating Flexible Frameworks 4.7. Strategies for Supporting PhD Practice-based Research: The CTx Ecosystem 4.8. Ethics through an Empathetic Lens: A Human-Centred Approach to Ethics in Practice-based Research 4.9. The Practice-based PhD: Some Practical Considerations; Section 5 – Practitioner Voices 5.1. Practitioner Voices 5.2. A New Framework for Enabling Deep Relational Encounter through Participatory Practice-based Research 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) 5.4. FEEDBACK: Vibrotactile Materials Informing Artistic Practice 5.5. Co-evolving Research and Practice - _derivations and the Performer-developer 5.6. Publishing Practice Research: Reflections of an Editor 5.7. From a PhD to Assisting BioMusic Research 5.8. The Curious Nature of Negotiating Studio-based Practice in PhD Research: Intimate Bodies and Technologies 5.9. Encounters at the Fringe: A Relational Approach to Human-robot Interaction 5.10. The Impact of Public Engagement with Research on a Holographic Practice-based Study 5.11. Project-based Participatory Practice and Research: Reflections on Being ‘in the Field’ 5.12. Bearing Witness - the Artist within the Medical Landscape: Reflections on a Participatory and Personal Research by Practice 5.13. Organisational Encounters and Speculative Weavings: Questioning a Body of Material 5.14. Improvising as Practice/Research Method 5.15. Dreaming of Utopian Cities: Art, Technology, Creative AI, and New Knowledge 5.16. Curating Interactive Art as a Practice-based Researcher: An Enquiry into the Role of Autoethnography and Reflective Practice 5.17. Please Touch!