Epistemologies of prototyping: knowing in artistic research
Epistemologies of prototyping: knowing in artistic research
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原型认识论：艺术研究中的认识
DOI：
10.1080/14626268.2016.1188119
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发表时间：
2016
影响因子：
1.1
通讯作者：
G. Arrigoni
中科院分区：
文献类型：
--
作者：
G. Arrigoni
越来越多的材料人工制品在艺术和设计研究中发挥着关键作用。然而，知识的传播和合法性问题经常通过对知识本身概念的重新定义而备受争议。本文通过关注艺术原型来促进这些争论，这里将其确定为技术参与艺术研究项目的主要成果之一。与从艺术研究世界内部出现的知识的共同概念化作为主观的，不可言喻的和情感的不同，我讨论了四个例子，以突出艺术原型如何支持对知识的可转移和生成贡献，以特别但创新的方法为基础。此外，这些例子提供了深刻的思考，有助于识别在官方机构之外进行的艺术研究，而不是简单的以过程为导向的艺术实践。
ABSTRACT Increasingly material artefacts are attributed a key role in research in the arts and design. Issues of dissemination and legitimacy of knowledge are however heavily disputed, often through redefinitions of the concept of knowledge itself. This article contributes to these debates by focusing on artistic prototypes, identified here as one of the prevailing outcomes in technologically engaged art research projects. In contrast with a common conceptualisation of knowledge emerging from inside the world of artistic research as subjective, ineffable and emotional, I discuss four examples to highlight how artistic prototypes can support transferable and generative contributions to knowledge, grounded in ad hoc but innovative methodologies. Furthermore, the examples offer insightful considerations that help to identify artistic research when conducted outside official institutions, as opposed to simply process-oriented art practices.