Material evidence: definition by a series of artefacts in arts research

Abstract

The possibility of the artefact in arts research to hold formal knowledge is still very much questioned. This paper explores the potential of not a single artefact but a series of artefacts to define and demonstrate formal knowledge in itself. Through a comparative analysis of a number of basic art research projects in e.g. painting, music, fashion design and photography, the paper explores how formal aesthetic principles may be not only defined through a series of artefacts but also equally argued for on the basis of the material evidence that the artefacts provide. The analysis of the examples shows how a series of artefacts can define and validate principle results of basic art research rather than narrate interpretative results of applied art research. The self-informed and self-referential character of the examples shows how formal aesthetic principles and its expressive potential can be validated in terms of fit rather than a justified belief in relation to the aim of the research. In conclusion, the result demonstrates significant implications for theoretical conceptualisation of foundational knowledge in art research based on a form of ostensive definition without significant use of text for theoretical reasons.

Keywords:

• art
• research
• artefacts
• series
• ostensive definition

Notes on contributor

Dr. Clemens Thornquist is Professor in Fashion Design at The Swedish School of Textiles, University of Borås, Sweden, where he is doing research in the intersection of art, fashion and philosophy. Dr. Thornquist is visiting Professor at the Royal Melbourne Institute of Technology, School of Architecture and Design and The Fashion Graduate University at Bunka Gakuen University, Tokyo, and is head of the Body, Dress, Space research centre at The Swedish School of Textiles Research Council, and co-coordinator of the H2020 Innovative research training Network in architecture, interaction design and textiles, ArcInTex.