of (external) reality (Williams 2001: 117ff). |
Niedderer (2007c) |
of a material’s expressivity through its physical qualities that affected not only the hand of the artist but also her expression exhibition and artworks functioned |
Nimkulrat (2013) |
of a more advanced kind |
Schwab (2018) |
of a new dance work |
Smith Dean (2009) |
of a professional field |
Stock(2013) |
of a professional field |
Nelson (2013) |
of a thing through the organ of sight instead of recognition |
Schwab (2018) |
of a type tied to the artworld context and to specfically artworld problems |
Pakes (2004) |
of a variety of approaches |
Stewart(2003) |
of alchemists |
Schwab (2015) |
of all three areas, and their related research expertise |
Gray (2010) |
of an improved articulated prosthesis (knowing that), but also provided experiential knowledge of how such a prosthesis might be constructed and work |
Niedderer (2007 a) |
of an independent reality is obtained through the objective observation by neutral researchers who infer general truths, or laws |
Nelson (2013) |
of and know-how are not set up in opposition; know-how incorporates both rational forms of categorical analysis and the situated forms of aesthetically inclined knowing." |
EDNIE-BROWN (2012) |
of anything |
Niedderer (2007 a) |
of art history |
Elkins(2005) |
of art to communicate. |
Hernandez (2013) |
of artistry |
Borgdorff (2012) |
of artists and designers. |
Niedderer (2011) |
of artists, architects, engineers and designers, writing— |
Hughes (2006) |
of arts practice |
Blom (2011) |
of both the self and the phenomenon |
Schenstead (2012) |
of causal connections, phronesis eschews generalisation, objective detachment and instrumentality |
Pakes (2004) |
of certain kinds has a high value in the book-selling stakes extreme environments |
Smith Dean (2009) |
of constructs such as imagination or visual cognition. |
Sullivan (2006) |
of context |
Rocci(2003) |
of counterpoint in music, of colour in painting, of editing in filmmaking, or of bodily techniques in dance |
Borgdorff (2012) |
of course exists between the extremes |
Nelson (2013) |
of creative actions and their results |
Harper (2011) |
of creative and aesthetic processes |
Laurie (2011) |
of creative artefacts |
Harper (2011) |
of critical theories |
Arnold (2012) |
of cultural context and contemporary practice |
Smith Dean (2009) |
of dance |
Smith Dean (2009) |
of Design |
Niedderer (2007b) |
of design and materials of the researchers |
Metatla(2016) |
of design resides in people |
Makela (2007) |
of different spheres of human activity: representation, language, life |
Sligter (2007) |
of education |
Riddett-Moore Siegesmund (2012) |
of existing instruments |
Schwab (2013) |
of existing practice (process or product), to develop new processes and skills, or to develop new objects (products |
Niedderer (2007 a) |
of existing resear ch methods |
Wesseling (2011) |
of expectations |
Brook (2010) |
of facts, acquaintance [things which are not facts], and knowledge how to do things’ |
Nelson (2006) |
of facts, knowledge about the world, knowing that such and such is the case |
Borgdorff (2012) |
of facts’ and ‘know-how’. |
Nelson (2006) |
of gramma |
Berbacle (2012) |
of how different realities are constructed, about the way the different fields interact and penetrate each other implicitly |
Schwab (2018) |
of how something is made |
Schwab (2013) |
of how such a prosthesis might be constructed and work |
Niedderer (2007 a) |
of how the materials react with each other as well as with the machine |
Hernandez (2013) |
of how to make products and to consider their effect on the social world |
Rocci(2003) |
of human communication’. |
Gray (2010) |
of human creative practice or practices and the outcomes of human creative practices. |
Harper (2011) |
of humanity, culture and society, and the use of this stock of knowledge to devise new applications. |
Smith Dean (2009) |
of idiosyncratic properties and qualities, how they can be manipulated in order to emphasize the ideas and thoughts that arise from the action itself and artistic practice. |
Hernandez (2013) |
of its manifold histories and intricate technicalities |
Schwab (2018) |
of its position at any given time |
Schwab (2018) |
of its subject |
Smith Dean (2009) |
of kinds that are not found in ordinary artistic practice. |
Frisk (2013) |
of law before the jury representing society). |
Nelson (2006) |
of life itself |
Combussen (2007) |
of local context |
Boydell (2015) |
of man, culture and society, and the use of this stock of knowledge to devise new applications |
Kroll (2008) |
of many kinds in many forms over the past decade , it has contributed significantly to a shift in the language of knowledge |
Nelson (2009) |
of many research areas than other methods |
Eglinton (2013) |
of material expressivity |
Nimkulrat (2013) |
of mental things’ (1967: 27) |
Nelson (2009) |
of objects seen clearly from a distance might, by way of negative defini |
Nelson (2013) |
of one’s processes and style of inventiveness will lead to reflection and engagement with the processes and styles of others. |
Colbert (2012) |
of other musical cultures. |
Sligter (2007) |
of others |
Donovan (2012) |
of others, accessing meta-verbal ways of knowing that are particularly effective in evoking empathy and transformative understanding |
Chilton Leavy (2015) |
of others, stimulates one’s own awareness, enriches the imagination and gives meaning to personal experience |
Hernandez (2013) |
of others’ work in a particular unique |
Paltridge (2012) |
of our times |
Piatti(2005) |
of practice-led disciplines is experience-based and therefore difficult to communicate through conventional language-based means of research. |
Niedderer (2007 a) |
of prevailing theories and practices is well understood |
Baxter (2008) |
of publication procedures; and ‘anti-research’ work environments” " |
Cruz (2001) |
of reality, knowledge, was happening |
Hernandez (2013) |
of relevance to future practice |
Schwab (2013) |
of relevant physical vocabularies, media and aesthetic ideas. |
Rowe(2013) |
of research |
Cruz (2001) |
of research and practice. |
Niedderer (2007c) |
of research in the arts |
Hernandez (2013) |
of research methods |
Cruz (2001) |
of research methods |
Cruz (2001) |
of research methods as a significant barrier |
Cruz (2001) |
of research methods or insufficient confidence in abilities as barriers |
Cruz (2001) |
of science |
Barrett Bolt (2014) |
of science is a fact and a creative act itself. |
Hernandez (2013) |
of sensible realities |
Manning (2008) |
of something else |
Eaves (2014) |
of staging |
Hernandez (2013) |
of statistical methods |
Cruz (2001) |
of statistical methods |
Cruz (2001) |
of statistical methods as a barrier |
Cruz (2001) |
of statistics as a significant barrier |
Cruz (2001) |
of status economies |
Brook (2010) |
of structure, timbre and other technical elements. It is holistic with the human being as part of this site of knowledge – visceral, spiritual and sensory perception, involving emotions, social intelligence intelligence, life history, interac |
Blom (2011) |
of substantial new insights, it is necessary to know what has previously been established. Indeed, in a narrow and specific field of inquiry, it is assumed that everything previously published on the topic will be known by the researcher, and a thorough |
Nelson (2013) |
of supervisor training |
Hamilton (2015) |
of teaching and students? |
Riddett-Moore Siegesmund (2012) |
of technique |
Brook (2010) |
of the “possible” characterize arts-based research. |
Jagodzinski Wallin (2013) |
of the advanced practitioner, who in Michael Polanyi’s words ‘know more than they can tell’ (Polanyi 1967: |
Smith Dean (2009) |
of the art |
Niedderer (2007c) |
of the art history: an artworld’ |
Biron (2015) |
of the art of the past is an invaluable tool for understand_ ing the art of the present |
Wesseling (2011) |
of the artistic field and its history, |
CARPA_2(2011) |
of the artists’ book as a genre |
Hernandez (2013) |
of the arts practice in order to understand and appreciate arts practice as a site of knowledge |
Blom (2011) |
of the being itself, the ontology of being , knowledge is necessarily transdisciplinary us. |
Hernandez (2013) |
of the body present an authenticity of experience that gives direct access to describe ontological aspects of the body and consciousness |
CARPA_1(2010) |
of the body that (at first) does not manifest itself on the level of thinking. |
Combussen (2007) |
of the breadth and intensity of work being done. |
Beer (2015) |
of the community that is laced with subjective (personal) experiences elicited within the identification of community assets |
Hernandez (2013) |
of the context of work undertaken to identify the “gap” in existing knowledge, |
Nimkulrat ORiley (2009) |
of the creation shareable |
Nimkulrat (2013) |
of the creative process |
Nimkulrat (2013) |
of the creative process |
Nimkulrat (2013) |
of the dancer |
Stock(2007) |
of the discipline of design |
Glashan (2011) |
of the domain and procedures but also knowledge implicit design thinking and studio practices |
Rocci(2003) |
of the emergence of a new dance approach knowledge can at best only be partially undertaken i |
Nelson (2009) |
of the existence of a certain category of design object. |
Niedderer (2007 a) |
of the field and a demonstrable aptitude based upon the practice of previously making such judgements |
Nelson (2009) |
of the field, nor artistic experience |
Lilja (2015) |
of the genre, of emerging organisational shapes, content and rhetorical patterns |
Aitchison (2015) |
of the history of ‘the academy’ reveals many changes and accommodations since the medieval university curriculum |
Nelson (2013) |
of the illness experience |
Boydell (2015) |
of the indispensable character of artistic education in nowadays controversial space-time. |
Hernandez (2013) |
of the interactive digital instrument building |
Metatla(2016) |
of the natural world; Humanities the purpose of advancing our understanding of the human experience; and Design the purpose of advancing our capacity for envisioning possible future realities that Art has as its is purpose the advanceme" |
Scrivener Chapman (2004) |
of the other sciences and is the ultimate level of wisdom” (Descartes 1985, 186) |
Schwab (2013) |
of the participants of the project is the main goal |
Hernandez (2013) |
of the parts |
Schwab (2018) |
of the past relies on the transmission of signals, which were sent in the there and then and are received in the here and now. |
Schwab (2013) |
of the personal has been enlarged and brought into language not only through reflection on self but within the context of the ideas and language of others. |
Colbert (2012) |
of the physical modelling of sound is a necessary role for such ‘theory’. On the other hand, practitioner theory may consist of an untested opinion (‘hypothesis’) that the artwork can elicit certain emotions or qualitie s of experience in an audience |
Candy (2011) |
of the possibility of an infrathin difference within documentary, that is, representational photography. |
Schwab (2018) |
of the potential for distress |
Mykitiuk (2015) |
of the practice is both prior to and distinct from, the written (symbolic) account afte r the event |
Nelson (2009) |
of the practitioner can be compared and positioned among the theories from the field that frame the actions of the people involved. |
Barrett Bolt (2014) |
of the prior work. |
Smith Dean (2009) |
of the protocols of academic research |
Rowe(2013) |
of the research area and makes clear new contributions, understandings and insights into it |
Arnold (2012) |
of the Russian formalist school. However, it suffices to pay attention to how Shklovsky uses his examples to see that in his view perception is coupled to cognition, that a new way of seeing things also implies a new way of understanding the matter at ha |
Schwab (2018) |
of the self when it is located in a social arena |
Crouch (2007) |
of the singula |
Nelson (2013) |
of the social world |
Barstow (2017) |
of the specific field of research |
Lilja (2015) |
of the subject |
Niedderer (2007 a) |
of the subject, the subject as a key by which know reality be your retina and individual experience the measure of all things, put as priority subjective variables in the processes of knowing |
Hernandez (2013) |
of the subject’s relation to the symbolic order |
Schwab (2018) |
of the underlying foundations of phenomena and observable facts |
Borgdorff (2012) |
of the validity of using practice as a method and means in research for making tacit knowledge available to the research process. |
Niedderer (2007c) |
of the viewer |
Rust (2007) |
of the way things were or are |
Scrivener. (2002) |
of the whole precedes knowledge of the parts |
Schwab (2018) |
of the wo rld through those data |
Candy (2006) |
of the world |
Nelson (2013) |
of the world improves asymptotically with “reality” being the unreachable limit |
Hernandez (2013) |
of the world is a reflection of the world as it is and not an elaborate (co)produc -tion. |
Schwab (2012b) |
of the world, and contextual knowledge established during previous discourse between speaker and hearer |
Crouch (2007) |
of their discipline |
Wright(2010) |
of their more experienced peers |
Hamilton (2015) |
of these disciplines is different |
Niedderer (2007c) |
of these new opportunities |
Niedderer (2007 a) |
of these things comes to me as new knowledge |
Biggs (2007) |
of things |
Nelson (2013) |
of things and situations. |
Sullivan (2011) |
of this art form and art practice |
O Donoghue (2009) |
of this critically important human and cultural construct |
Sullivan (2011) |
of this kind can never be fully communicated, because “we can know more than we can tell” (Polanyi, 1967, p. 4) |
Niedderer (2011) |
of this kind can still be shared, verified and criticised |
Candy (2006) |
of this kind is typically ar ticulated in a set of testable and falsifiable propositions |
Nelson (2009) |
of tools and methods that might have generic applicability. |
Smith Dean (2009) |
of transcendence |
Paltridge (2012) |
of transparencies and opacities |
Hernandez (2013) |
of truth and falsehood: the latter gives the sentiment of beauty and deformity, vice and virtue |
Schwab (2013) |
of truths as its source and ground |
Nelson (2006) |
of what are often called “sense data” (Swartz, 1965) |
Candy (2006) |
of what artworks mean, |
Scrivener. (2002) |
of what comics are and “work”, as well with a certain reliance upon cognitive, figurative and affective elements |
Hernandez (2013) |
of what has been shown to be possible |
Scrivener Chapman (2004) |
of what is or was the case, art making is concerned with providing ways of seeing and ways of being in relation to what is, was, or might be. |
Scrivener. (2002) |
of what makes a plot work, you cannot activate the mainspring of dramatic tension through a sequence of decided processes |
Smith Dean (2009) |
of when the process is complete and needs to stop |
Schenstead (2012) |
of when, how and why is subjective |
Scrivener Chapman (2004) |
of, and indeed the practice of, ones’ own professional practice |
Berbacle (2012) |
of, and/or insight |
Nimkulrat (2013) |
of, essentially juxtaposing aesthetic distance and connectedness |
Jagodzinski Wallin (2013) |