外文翻譯---論藝術(shù)設(shè)計(jì)研究中的創(chuàng)造性工藝品（節(jié)選）

1、<p>　　中文2140單詞，12000英文字符，3750漢字</p><p>　　出處：Nimkulrat N. Situating Creative Artifacts in Art and Design Research[J]. Formakademisk, 2013, 6(2).</p><p>　　Situating Creative Artifacts in Art

2、and Design Research</p><p>　　Nithikul Nimkulrat</p><p><b>　　Abstract</b></p><p>　　This article aims to discuss the position of art and design artifacts, and their creati

3、on, in a practice-led research process. Two creative productions and exhibitions featuring my textile artifacts were intentionally carried out in order to tackle a specific research problem, and these will be examined he

4、re as case studies. These cases cover the production and exhibition of two sets of artworks, named Seeing Paper and Paper World, that were created as part of my completed doctoral research enti</p><p>　　as o

5、utputs for knowledge communication. As inputs, both art productions and artifacts can be the starting point of a research project from which the research question is formulated. They can also provide data for analysis fr

6、om which knowledge is constructed. As outputs, artifacts can indicate whether the research problem requires reformulation, demonstrate the experiential knowledge of the creative process, and strengthen the findings artic

7、ulated in the written output. Creative practice in a res</p><p>　　Keywords: practice-led, artifacts, art, craft, design, experiential knowledge</p><p>　　Introduction: creative practice and pract

8、ice-led research</p><p>　　Research is often understood by artists and designers as a requisite component of their professional creative practice, especially when they delve into topics beyond their own profe

9、ssions and personalities through visual methods such as drawing and painting (Scrivener,</p><p>　　2009). Research in this sense can be categorized as research for art (Frayling, 1993), which is</p>&

10、lt;p>　　not considered academic research but rather a means to explore ideas and gather information in an artistic process (Nimkulrat, 2009, pp. 33–34). According to Scrivener (2009), this is considered research with a

11、 small “r” and it generally exists in an artist’s or a designer’s creative process. Nevertheless, research in professional art and design practice can extend its territory into the academic context and function as part o

12、f a case study to be scrutinized and reflected on in a piece of schola</p><p>　　Figure 1: Model illustrating the place for research in general creative practice in academia, and the place for creative practi

13、ce in academia in the artworld (Nimkulrat, 2009, p. 34).</p><p>　　Figure 2: Model of three different degrees of overlap between arts practice and academic research (Biggs & Karlsson, 2011, p. 409).</p

14、><p>　　Having been immersed in art and design academia for nearly three decades, this practice-led research approach considers the researcher’s creative practice (i.e., the making of material artifacts) as the

15、main vehicle for study, the results of which include not only written text but also artifacts to be evaluated in a research context. Creative practice is intentionally utilized in this research as a questioning process c

16、onstructed to collect data and to generate reflection about the practice (Dur</p><p>　　to be evaluated in a research context. The knowledge contribution that is a core requirement of academic research should

17、 also be explicit enough in the artifact produced (Lycouris, 2011). An array of terminology, including “practice-led,” “practice-based,” “process-led,” “studio- based,” “arts-based,” “practice as research,” “research by

18、design,” and “artistic research,” has been used to refer to this form of academic research (Biggs, 2006, p. 185). Although these various terms may reflect the d</p><p>　　This article aims to discuss the posi

19、tion of art and design artifacts, and their creation, in a practice-led research process. Two creative productions and exhibitions featuring my textile artifacts, that were carried out in order to tackle specific researc

20、h questions, are examined as case studies. The cases comprise the production of two series of textile artworks and two exhibitions, namely Seeing Paper and Paper World, created as part of my completed doctoral research (

21、Nimkulrat, 2009). The r</p><p>　　The term “practice-led” will be adopted in this article because it highlights the active role of creative practice in the research process (Nimkulrat, 2009, p. 37), and most

22、clearly explains my study in which professional artistic practice leads the process of inquiry to generate a new or enhanced understanding of the expressive potential of material in textile art and design.</p><

23、;p>　　Creative productions and artefacts in the process of inquiry</p><p>　　The thesis entitled Paperness: Expressive Material in Textile Art from an Artist’s Viewpoint (Nimkulrat, 2009) researched at the

24、University of Art and Design, Helsinki in Finland (currently Aalto University School of Arts, Design and Architecture) examined the relationship between a physical material and artistic expression in textile art and desi

25、gn.</p><p>　　Material and skills are the most important elements in any creation within textiles and other craft-based disciplines such as glass, ceramics, jewelry, etc. They could be considered characterist

26、ics of material-based or craft-based fields that is rather distinguishable from fine arts (Nimkulrat, 2012). The material chosen for this investigation was paper string. The possible incorporation of two concepts—paper s

27、tring and artistic expression—was the problem field of the study (Figure 3).</p><p>　　Figure 3: Model of the research problem field: the relationship between paper string and artistic expression (Nimkulrat,

28、2009, p. 24).</p><p>　　While the existence of paper string is evident through physical contact, artistic expression seems to take place during a creative process when a textile practitioner is working with a

29、 material. To problematize the research problem field further, this study set out to investigate paper string’s influence on a textile artist working with the material in actual artistic practice. The focus on the influe

30、nce of paper string on the creative process led to the following research questions:</p><p>　　How does paper string, when used to create artistic textiles, influence a textile practitioner, her artistic proc

31、ess, and the resulting artifact?</p><p>　　How does artistic expression arise in a creative process through the use of paper string as the chosen material?</p><p>　　What could be considered the e

32、xpressive qualities of paper string?</p><p>　　The above research questions implied the importance of the experience of a textile practitioner working with paper string in specific artistic processes, as well

33、 as a reflection on the practitioner’s own experience in actual practice. One possible way to observe and reflect on actual textile practice was to adopt the role of a practitioner. In textile practitioners’ everyday liv

34、es, they learn by doing things rather than by considering the theory/theories underlying them. According to Jarvis (201</p><p>　　The thesis was practice-led and regarded the artistic productions and resultin

35、g artifacts as case studies. With this approach, I could scrutinize my own creative processes by crafting artworks as an artist, and by documenting, reflecting on, and analyzing the processes used in relation to relevant

36、 scholarly literature as a researcher. By means of documentation, the creation of artifacts that attempt to solve the research problem can give rise to a connection between academia and the artworld (Fi</p><p&

37、gt;　　Figure 4: Location of this research in the academic world and the artworld (Nimkulrat, 2009, p. 26).</p><p>　　In this article, the study is used to exemplify the roles of creative productions and artifa

38、cts when situated in the process of inquiry, which was constructed around two art productions— Seeing Paper and Paper World. These were separated into five phases: 1) Before the actual creation of the artwork, 2) The act

39、ual creation of Seeing Paper, 3) After the actual creation of Seeing Paper, 4) The actual creation of Paper World, and 5) After the actual creation of Paper World (Figure 5). This practice</p><p>　　Figure 5:

40、 Process of inquiry divided into five phases (Nimkulrat, 2009, p. 57).</p><p>　　As can be seen in Figure 5, the research problem was framed first as two elements: physical material and artistic expression.

41、To study the importance of a material, as to whether it helps a textile artist construct artistic expression, the two elements must interact with each other and a type of material must be specified. Examining every type

42、of textile material was certainly inappropriate, as the subject of the study would be too broad. This was the stage when research into general creative p</p><p>　　interested me most. On the one hand, the mat

43、erial seems ordinary—it is industrially produced in the form of yarns, just like other textile materials. On the other hand, it is rather special because it is produced from wood, unlike many other textile materials. Not

44、 having used this material before, the challenge of using a new medium would enhance my awareness and my articulation of the creative process.</p><p>　　論藝術(shù)設(shè)計(jì)研究中的創(chuàng)造性工藝品</p><p><b>　　摘要</b

45、></p><p>　　本文試圖通過(guò)一個(gè)以實(shí)踐為主導(dǎo)的研究過(guò)程，討論藝術(shù)設(shè)計(jì)工藝品的地位及創(chuàng)作。并特意通過(guò)兩組符合我所研究的紡織工藝品特征的作品及其兩個(gè)展覽，來(lái)解決特定的研究問(wèn)題，這將作為本文的個(gè)案予以探究。這兩組個(gè)案包括名為“看見(jiàn)紙”和“紙的世界”工藝品的制作和展示，這是我已完成的題為“紙張：藝術(shù)家視角下的富有表現(xiàn)力的紡織工藝品”的博士論文中創(chuàng)作的作品。本文探尋了紡織藝術(shù)與設(shè)計(jì)中物質(zhì)材料與藝術(shù)表現(xiàn)的關(guān)系。

46、這兩組個(gè)案均擔(dān)任了這個(gè)研究中所提及的富有創(chuàng)造性的創(chuàng)作和工藝品的角色。通過(guò)一個(gè)以實(shí)踐為主導(dǎo)的研究過(guò)程，藝術(shù)設(shè)計(jì)工藝品充當(dāng)著知識(shí)產(chǎn)生的輸入者和知識(shí)交流的產(chǎn)出者的角色。作為輸入者，藝術(shù)作品和工藝品均能成為研究活動(dòng)設(shè)計(jì)研究問(wèn)題的的起始點(diǎn)，它們同樣能為構(gòu)建知識(shí)的分析提供數(shù)據(jù)。作為輸出者，工藝品能夠揭示研究問(wèn)題是否需要重新設(shè)計(jì)，能夠?yàn)閯?chuàng)作過(guò)程提供經(jīng)驗(yàn)知識(shí)，并鞏固以書(shū)面形式展示的發(fā)現(xiàn)。研究環(huán)境下的創(chuàng)造性實(shí)踐有利于挖掘蘊(yùn)含在實(shí)踐中的知識(shí)，并促進(jìn)實(shí)踐者表

47、達(dá)自己的見(jiàn)解。這些知識(shí)或見(jiàn)解可以通過(guò)藝術(shù)家創(chuàng)作工藝品來(lái)獲得，這包括創(chuàng)造出來(lái)的作品，制作過(guò)程，以及產(chǎn)品創(chuàng)作、審視和使用的文化背景，所有的這些都會(huì)發(fā)生在研究過(guò)程的不同階段。</p><p>　　關(guān)鍵詞： 實(shí)踐主導(dǎo)，工藝品，藝術(shù)，工藝，設(shè)計(jì)，經(jīng)驗(yàn)知識(shí)。</p><p>　　介紹：創(chuàng)造性的實(shí)踐和以實(shí)踐為主導(dǎo)的研究</p><p>　　在藝術(shù)家和設(shè)計(jì)師看來(lái)，研究是他們專(zhuān)業(yè)創(chuàng)造

48、性實(shí)踐中必不可少的組成部分，特別是在超出其自身專(zhuān)業(yè)和能力范圍時(shí)，他們通過(guò)諸如繪畫(huà)等目視法探究問(wèn)題(Scrivener,2009)。這個(gè)意義上的研究可以歸入藝術(shù)研究的范疇(Frayling,1993)，被認(rèn)作是一種在藝術(shù)過(guò)程中獲取靈感和獲得知識(shí)的方式，而不是學(xué)術(shù)研究(Nimkulrat, 2009, pp. 33–34)。 根據(jù)Scrivener (2009)的觀點(diǎn)，這種研究通常存在于一個(gè)藝術(shù)家或設(shè)計(jì)師的創(chuàng)造過(guò)程中。然而，專(zhuān)業(yè)藝術(shù)和設(shè)計(jì)實(shí)

49、踐中的研究會(huì)將其領(lǐng)域拓展到學(xué)術(shù)范疇中，并會(huì)作為學(xué)術(shù)研究中個(gè)案研究的一部分來(lái)被審查和思考。相反，在藝術(shù)界，為研究而創(chuàng)造的藝術(shù)過(guò)程和工藝品如果也能吸引一些非學(xué)術(shù)受眾，那它們可以被看作是“藝術(shù)專(zhuān)有”的（圖一）。一面是一般創(chuàng)造性實(shí)踐的研究，另一面是學(xué)術(shù)界的創(chuàng)造性研究，兩者之間的轉(zhuǎn)換構(gòu)成了學(xué)術(shù)界與藝術(shù)界的交叉。同樣，Biggs and Karlsson (2011) 探究了學(xué)術(shù)研究與專(zhuān)業(yè)性藝術(shù)實(shí)踐之間的交叉程度，并為“藝術(shù)研究范例” 構(gòu)建了一個(gè)交

50、叉模型(pp. 409–410)（圖二）。這些模型展現(xiàn)了一種共識(shí)，那就是，基于實(shí)</p><p>　　圖一：學(xué)術(shù)界一般創(chuàng)造性實(shí)踐中研究的地位及學(xué)術(shù)界創(chuàng)造性實(shí)踐在藝術(shù)界的地位模型</p><p>　　圖二：藝術(shù)實(shí)踐與學(xué)術(shù)研究之間三種不同程度的交叉模型(Biggs & Karlsson, 2011, p. 409)。</p><p>　　我潛心于藝術(shù)設(shè)計(jì)界做研究

51、將近三十年，我的這個(gè)以實(shí)踐為主導(dǎo)的研究方法把研究者的創(chuàng)造性實(shí)踐（例如制作材料工藝品）看作是研究的主要方法，這樣得出的研究結(jié)果不僅僅包括書(shū)面文本，同樣也包括在研究情境下用以檢測(cè)評(píng)估的工藝品。本研究進(jìn)行創(chuàng)造性實(shí)踐的目的是將其視為一個(gè)調(diào)查過(guò)程，用以收集數(shù)據(jù)和反思實(shí)踐(Durling, 2002)。Durling同時(shí)還強(qiáng)調(diào)盡管實(shí)踐和研究同時(shí)存在并且相互影響，但它們卻屬于兩個(gè)不同的范疇，那種認(rèn)為它們是一樣的想法是錯(cuò)誤的。同樣, Friedman

52、(2003)指出，“實(shí)踐就是研究”和“基于實(shí)踐的研究是一種理論構(gòu)建的方法”的觀點(diǎn)是完全錯(cuò)誤的（p.519）。理論可以從表達(dá)和歸納研究的實(shí)踐中得出。但是，如果沒(méi)有表達(dá)和歸納研究，實(shí)踐就無(wú)法發(fā)展成為理論?！皩?shí)踐就是研究”的觀點(diǎn)產(chǎn)生了一個(gè)存在疑問(wèn)的假設(shè)——?jiǎng)?chuàng)造性實(shí)踐的成果，例如工藝品，可以被看作是不包含大量書(shū)面成果的研究的產(chǎn)物。(Nimkulrat, 2011, p.60)。Biggs (2004) 主張，如果藝術(shù)設(shè)計(jì)允許單純非語(yǔ)言形式的

53、成果，那么這門(mén)學(xué)科將永遠(yuǎn)不能與其他學(xué)科相比擬，因此這種非語(yǔ)言形式的成果完全不應(yīng)該被置于學(xué)術(shù)的范疇</p><p>　　本文旨在討論在藝術(shù)設(shè)計(jì)工藝品在以實(shí)踐為主導(dǎo)的研究過(guò)程中的地位及創(chuàng)作。兩組符合我所研究的紡織工藝品特征的作品和展覽用來(lái)解決特定的研究問(wèn)題，這將作為本文的個(gè)案予以探究。這些個(gè)案包括兩組紡織工藝品的兩個(gè)名為“看見(jiàn)紙”和“紙的世界”展覽，這是我已完成的題為“紙張：藝術(shù)家視角下的富有表現(xiàn)力的紡織工藝品”的博

54、士論文中創(chuàng)作的作品。本研究探尋了紡織藝術(shù)與設(shè)計(jì)中物質(zhì)材料與藝術(shù)表達(dá)的關(guān)系。</p><p>　　本文將采用“以實(shí)踐為主導(dǎo)”這個(gè)術(shù)語(yǔ)，因?yàn)樗鼜?qiáng)調(diào)創(chuàng)造性實(shí)踐在研究過(guò)程中的活躍地位(Nimkulrat, 2009, p. 37)，并能夠最清晰地表達(dá)我的研究立場(chǎng)——專(zhuān)業(yè)性的藝術(shù)實(shí)踐能夠引導(dǎo)探究過(guò)程對(duì)“紡織和設(shè)計(jì)材料的表達(dá)潛能”產(chǎn)生新的理解或加強(qiáng)對(duì)其理解。</p><p>　　探究過(guò)程中的創(chuàng)造性創(chuàng)作

55、和工藝品</p><p>　　題為“紙張：藝術(shù)家視角下的富有表現(xiàn)力的紡織工藝品”的論文(Nimkulrat, 2009)探究了紡織藝術(shù)設(shè)計(jì)中物質(zhì)材料與藝術(shù)表達(dá)之間的關(guān)系，并被傳到了芬蘭赫爾辛基的藝術(shù)設(shè)計(jì)大學(xué)。</p><p>　　在紡織和其他諸如玻璃、陶瓷、珠寶等工藝領(lǐng)域的創(chuàng)作中，材料和技能是最重要的元素。他們被視為基于材料和工藝的領(lǐng)域的特征，這一點(diǎn)與美術(shù)截然不同(Nimkulrat, 2

56、012)。本研究選取的材料為紙繩，“紙繩”與“藝術(shù)表達(dá)”這兩個(gè)概念可能存在的結(jié)合，正是本研究探索的領(lǐng)域。（如圖三）</p><p>　　圖三：研究問(wèn)題領(lǐng)域模型：紙繩與藝術(shù)表達(dá)的關(guān)系(Nimkulrat, 2009, p. 24)。</p><p>　　盡管紙繩的存在更為真實(shí)可觸，但當(dāng)紡織從業(yè)者運(yùn)用一種材料的時(shí)候，藝術(shù)表現(xiàn)往往會(huì)發(fā)生在創(chuàng)造性的過(guò)程中。為了更好地探究研究問(wèn)題，此研究計(jì)劃調(diào)查真實(shí)

57、藝術(shù)實(shí)踐中紙繩對(duì)運(yùn)用這種材料的紡織藝術(shù)家的影響。對(duì)創(chuàng)造性過(guò)程中紙繩的影響的關(guān)注引出了下列的問(wèn)題：</p><p>　　當(dāng)被用于創(chuàng)造藝術(shù)紡織品的時(shí)候，紙繩是如何影響一個(gè)紡織從業(yè)者的藝術(shù)創(chuàng)作過(guò)程及最終創(chuàng)作的工藝品的？</p><p>　　在運(yùn)用紙繩為材料時(shí)，創(chuàng)作過(guò)程中是如何產(chǎn)生藝術(shù)表現(xiàn)的？</p><p>　　紙繩的表現(xiàn)特質(zhì)是什么？</p><p&g

58、t;　　上述問(wèn)題暗含了在特定的藝術(shù)過(guò)程中，一個(gè)使用紙繩為材料的紡織從業(yè)者的經(jīng)驗(yàn)，以及其對(duì)自身在真實(shí)實(shí)踐過(guò)程中的經(jīng)驗(yàn)進(jìn)行反思的重要性。一個(gè)可行的觀察和反思真實(shí)紡織實(shí)踐的方法是采用從業(yè)者的身份。在紡織從業(yè)者每天的生活中，他們通過(guò)做事而不是思考理論來(lái)學(xué)習(xí)。Jarvis （2012）認(rèn)為，實(shí)踐也許先行于理論。從業(yè)者的研究是實(shí)用的，他們的研究基于對(duì)實(shí)踐中發(fā)生的現(xiàn)象或經(jīng)歷的狀況的學(xué)習(xí)和理解，因此理論本身也是遵循經(jīng)驗(yàn)學(xué)習(xí)的（Jarvis，1999）。

59、因此，本文的研究問(wèn)題是通過(guò)制作紡織工藝品，檢驗(yàn)我的實(shí)踐以及討論我對(duì)在藝術(shù)作品中所使用的關(guān)于紙繩的經(jīng)驗(yàn)知識(shí)來(lái)解決的。值得注意的一點(diǎn)是，在我開(kāi)始博士學(xué)習(xí)前，我從來(lái)沒(méi)有在自己的紡織實(shí)踐中使用過(guò)紙繩。由于缺少使用這種材料的相關(guān)經(jīng)驗(yàn)，我對(duì)更加專(zhuān)注自己的創(chuàng)作過(guò)程，因此我能夠更有效率的反思。 正如Jarvis (1999)指出的那樣，反思性實(shí)踐發(fā)生在從業(yè)研究者設(shè)計(jì)實(shí)踐問(wèn)題并重新學(xué)習(xí)他們實(shí)踐所需的知識(shí)、技能和態(tài)度的時(shí)候。</p><

60、p>　　本文是以實(shí)踐為主導(dǎo)，并將藝術(shù)創(chuàng)作和生成的工藝品作為個(gè)案研究。運(yùn)用這種方法，我可以通過(guò)自己作為一個(gè)藝術(shù)家制作藝術(shù)品的過(guò)程，通過(guò)文字記錄、反思和分析作為一個(gè)研究者研究學(xué)術(shù)文獻(xiàn)的過(guò)程來(lái)審視自己的創(chuàng)作過(guò)程。通過(guò)文字記錄，旨在解決研究問(wèn)題而進(jìn)行的工藝品創(chuàng)作能夠使學(xué)術(shù)界與藝術(shù)界產(chǎn)生關(guān)聯(lián)。（圖四）</p><p>　　圖四： 本研究在學(xué)術(shù)界與藝術(shù)界中的定位(Nimkulrat, 2009, p. 26)。<

61、/p><p>　　在本文中，研究的目的是通過(guò)構(gòu)建兩組工藝品“看見(jiàn)紙”和“紙的世界”，來(lái)例證探究過(guò)程中創(chuàng)造性創(chuàng)作和工藝品的地位。這個(gè)過(guò)程可以分為五個(gè)階段：1）藝術(shù)品的實(shí)際創(chuàng)作階段之前，2）“看見(jiàn)紙”的實(shí)際創(chuàng)作階段，3）“看見(jiàn)紙”的實(shí)際創(chuàng)作階段之后，4）“紙的世界”的實(shí)際創(chuàng)作階段，5）“紙的世界”的實(shí)際創(chuàng)作階段之后（圖五）。這個(gè)以實(shí)踐為主導(dǎo)的研究過(guò)程開(kāi)始于最初提出的問(wèn)題，例如創(chuàng)作藝術(shù)紡織品的過(guò)程中物質(zhì)材料（紙繩）與藝術(shù)表

62、現(xiàn)之間的關(guān)系。兩個(gè)組成要素：物質(zhì)材料（紙繩）和藝術(shù)表現(xiàn)，始終是整個(gè)研究過(guò)程的研究焦點(diǎn)。</p><p>　　圖五：探究過(guò)程的五個(gè)階段</p><p>　　正如圖五所示，首先，研究問(wèn)題被設(shè)定為兩個(gè)要素：物質(zhì)材料和藝術(shù)表現(xiàn)。 為了研究一種材料的重要性，也就是它能否有助于紡織藝術(shù)家構(gòu)建藝術(shù)表現(xiàn)，這兩個(gè)要素必須相互影響，并且必須明確一種材料。對(duì)每種材料都進(jìn)行檢測(cè)必然是不恰當(dāng)?shù)模绻@樣，研究的主體

63、會(huì)太過(guò)于寬泛。這個(gè)階段就是發(fā)生在學(xué)術(shù)研究過(guò)程中的一般創(chuàng)造性實(shí)踐中的研究，這個(gè)階段的目的是為了選擇一種材料用于創(chuàng)造性實(shí)踐并作為理論探究的工具。芬蘭有過(guò)對(duì)紡織藝術(shù)史的文獻(xiàn)性研究(e.g., Kruskopf, 1975; Svinhufvud, 1998)，在這些研究中學(xué)術(shù)研究和創(chuàng)作實(shí)踐的地位都得到了確立。通過(guò)研究，紙繩和它自身的矛盾特質(zhì)深深吸引了我。一方面，這種材料看起來(lái)最普通不過(guò)——像其他紡織材料一樣，它以紗線的形式進(jìn)行工業(yè)化生產(chǎn)。另一