Research-creation can be described as the complex intersection of art practice, theoretical concepts, and research. It is an emergent, experimental practice that cannot be predicted or determined in advance. It is multi-disciplinary and is used by artists and designers who incorporate a hybrid form of artistic practice between the arts and science, or social science research; scholars attuned to the role of the arts and creativity in their own areas of expertise; and educators interested in developing curriculum and pedagogy grounded in cultural production. Research-creation is attuned to processes rather than the communication of outputs or products.
Propositions for Research-Creation
Research-creation is future event oriented. As a speculative practice it invents techniques of relation.
Propose enabling constraints
Enabling constraints are expansive and suggestive. They operate by delimiting process and possibility, although they always include more possibilities than any given event realizes.
Research-creation is a practice that does not seek to describe, explain, or solve problems. Rather, it is an ‘event’ that creates concepts that problematize. Concepts are not pre-given or known in advance. As an event of problems research-creation brings something new into the world.
The aim of research-creation is not to report or reflect on something that has passed. Thinking-in-movement is to think in the act; it is a thinking saturated with rhythm and affect.
Note emergences – rework emergences
Concepts proliferate in research-creation, and with them ethico-political concerns emerge. Once an ethico-political concern emerges re-work it to see what it can do.
Rather than attempting to ‘represent’ or report on research-creations, use them to propel further thought, and create something new: new concepts, new ethico-political concerns, new problems.