Publication Cover
Accountability in Research
Ethics, Integrity and Policy
Volume 26, 2019 - Issue 5
589
Views
3
CrossRef citations to date
0
Altmetric
Reviews

Mapping responsible conduct in the uncharted field of research-creation: A scoping review

, ORCID Icon, , ORCID Icon, , , , , & show all

References

  • Aitchison, C. 2015. “Writing the Practice/Practise the Writing: Writing Challenges and Pedagogies for Creative Practice Supervisors and Researchers.” Educational Philosophy and Theory 47 (12): 1291–1303. doi:10.1080/00131857.2015.1035629.
  • Akesson, B., M. D’Amico, M. Denov, F. Khan, W. Linds, and C. A. Mitchell. 2014. ‘Stepping Back’ as Researchers: Addressing Ethics in Arts-Based Approaches to Working with War-Affected Children in School and Community Settings. SSRN Scholarly Paper ID 2476379. Rochester, NY: Social Science Research Network. http://papers.ssrn.com/abstract=2476379
  • Alferi, P., D. Figarella, C. Perret, and P. Sztulman. 2015. “L’artiste et le singe savant”. Hermès, La Revue, no. 72 (October): 27–32.
  • ALLEA (All European Academies). 2017. The European Code of Conduct for Research Integrity. Berlin: ALLEA - All European Academies.
  • Babbage, F. 2016. “Active Audiences: Spectatorship as Research Practice.” Studies in Theatre & Performance 36 (1): 48–51. doi:10.1080/14682761.2015.1111013.
  • Baker, D. J. 2011. “Queering Practice-Led Research: Subjectivity, Performative Research and the Creative Arts.” Creative Industries Journal 4 (1): 33–51. doi:10.1386/cij.4.1.33_1.
  • Batty, C., and M. Berry. 2015. “Constellations and Connections: The Playful Space of the Creative Practice Research Degree.” Journal of Media Practice 16 (3): 181–194. doi:10.1080/14682753.2015.1116753.
  • Baxter, K., H. Ortega López, D. Serig, and G. Sullivan. 2008. “The Necessity of Studio Art as a Site and Source for Dissertation Research.” International Journal of Art and Design Education 27 (1): 4–18. doi:10.1111/j.1476-8070.2008.00553.x.
  • Bédard, P. 2016. “L’ethos en sociologie: perspectives de recherche pour un concept toujours fertile.” Cahiers De Recherche Sociologique, no. 59–60: 259–276.
  • Beer, L. E. 2015. “From Embedded to Embodied: Including Music in Arts-Based Music Therapy Research.” Music Therapy Perspectives 34 (1): 33–40. doi:10.1093/mtp/miv006.
  • Bellin, S. 2014. “Documenter et communiquer la recherche en arts numériques par la mise en situation dialogale de l’artiste contemporain.” Muséologies: Les cahiers d’études supérieures 7 (1): 209. doi:10.7202/1026655ar.
  • Beyes, T., and C. Steyaert. 2011. “The Ontological Politics of Artistic Interventions: Implications for Performing Action Research.” Action Research 9 (1): 100–115. doi:10.1177/1476750310396944.
  • Bilbrough, P. 2014. “Opening Gates and Windows.” Departures in Critical Qualitative Research 3 (3): 298–313. doi:10.1525/dcqr.2014.3.3.298.
  • Biron, L., and E. Cooper. 2015. “Authorship, Aesthetics and the Artworld: Reforming Copyright’s Joint Authorship Doctrine.” Law and Philosophy 35 (1): 55–85. doi:10.1007/s10982-015-9244-y.
  • Blackstone, M., L. Given, J. Lévy, M. McGinn, P. O’Neill, T. Palys, W. van Den Hoonaard, B. Keating, G. Griener, and M. Muldoon. 2008. “Research Involving Creative Practices: A Chapter for Inclusion in the TCPS.” The Social Sciences and Humanities Research Ethics Special Working Committee (SSHWC): A Working Committee of The Interagency Advisory Panel on Research Ethics (PRE).
  • Blom, D., D. Bennett, and D. Wright. 2011. “How Artists Working in Academia View Artistic Practice as Research: Implications for Tertiary Music Education.” International Journal of Music Education 29 (4): 359–373. doi:10.1177/0255761411421088.
  • Bolt, B. 2015. “Beneficence and Contemporary Art: When Aesthetic Judgment Meets Ethical Judgment.” http://www.academia.edu/22587340/Beneficence_and_contemporary_art_when_aesthetic_judgment_meets_ethical_judgment
  • Borgdorff, H. 2012. The Conflict of the Faculties: Perspectives on Artistic Research and Academia. Amsterdam: Leiden University Press.
  • Bouchardon, S., C. Bardiot, and H. Caubel. 2015. “Recherche, ingénierie, création artistique : processus, prototypes, productions”. Hermès, La Revue, no. 72 (October): 187–197.
  • Bouchez, P. 2015. “Traces audiovisuelles du théâtre et pertinence des dispositifs d’enregistrement.” Les Cahiers du numérique 11 (3): 115–150. doi:10.3166/lcn.11.3.115-149.
  • Boydell, K. M., B. M. Gladstone, T. Volpe, B. Allemang, and E. Stasiulis. 2012b. “The Production and Dissemination of Knowledge: A Scoping Review of Arts-Based Health Research.” Forum Qualitative Sozialforschung/Forum: Qualitative Social Research 13 (1). http://www.qualitative-research.net/index.php/fqs/article/view/1711
  • Boydell, K. M., C. Solimine, and S. Siona. 2015. “Visual Embodiment of Psychosis: Ethical Concerns in Performing Difficult Experiences.” Visual Methodologies 3 (2): 43–52. doi:10.7331/vm.v3i2.54.
  • Boydell, K. M., T. Volpe, S. Cox, A. Katz, R. Dow, F. Brunger, J. Parsons, et al. 2012a. “Ethical Challenges in Arts-Based Health Research.” International Journal of the Creative Arts in Interdisciplinary Practice, no. 11 (June): 1–17.
  • Braun, V., and V. Clarke. 2006. “Using Thematic Analysis in Psychology.” Qualitative Research in Psychology 3 (2): 77–101. doi:10.1191/1478088706qp063oa.
  • Burge, A., M. G. Godinho, M. Knottenbelt, and D. Loads. 2016. “‘ … but We are Academics!’ A Reflection on Using Arts-Based Research Activities with University Colleagues.” Teaching in Higher Education 21 (6): 730–737. doi:10.1080/13562517.2016.1184139.
  • Byrne, E., E. Elliott, and G. Williams. 2016. “Poor Places, Powerful People? Co-Producing Cultural Counter-Representations of Place.” Visual Methodologies 3 (January): 77–85. doi:10.7331/vm.v3i2.56.
  • CCA (Council of Canadian Academies), and Expert Panel on Research Integrity. 2010. Honesty, Accountability and Trust: Fostering Research Integrity in Canada. Ottawa: Council of Canadian Academies. http://www.deslibris.ca/ID/225704
  • Chaîné, F. 2015. “Autoethnographie d’une Recherche En Art Dramatique: Effets Sur La Posture Enseignante.” Performance 2 (1). http://www.p-e-r-f-o-r-m-a-n-c-e.org/?lang=fr&paged=2
  • Chapman, O., and K. Sawchuk. 2012. “Research-Creation: Intervention, Analysis and ‘Family Resemblances’.” Canadian Journal of Communication 37 (1): 5. doi:10.22230/cjc.2012v37n1a2489.
  • Chapman, O., and K. Sawchuk. 2015. “Creation-as-Research: Critical Making in Complex Environments.” RACAR: Revue d’art Canadienne/Canadian Art Review 40 (1): 49–52.
  • Choinière, I. 2015. “The Complexification of Self: At the Crossroads of Concepts of Flux and ‘Living at Risk.’.” Technoetic Arts 13 (1–2): 25–44. doi:10.1386/tear.13.1-2.25-1.
  • Coen, P.-F. 2007. “La Place de La Recherche Dans Les Hautes Écoles de Musique de Suisse Romande.” Recherche En Éducation Musicale, no. 26: 159–175.
  • Conrad, D. 2006. “Entangled (In The) Sticks Ethical Conundrums of Popular Theater as Pedagogy and Research.” Qualitative Inquiry 12 (3): 437–458. doi:10.1177/1077800405284364.
  • Croft. 2015a. “Composing, Researching and Ways of Talking.” Tempo (United Kingdom) 70 (275): 71–77. doi:10.1017/S0040298215000649.
  • Croft. 2015b. “Composition Is Not Research.” Tempo 69 (272): 6–11. doi:10.1017/S0040298214000989.
  • Cruz, R. F., and L. W. Hervey. 2001. “The American Dance Therapy Association Research Survey.” American Journal of Dance Therapy 23 (2): 89–118. doi:10.1023/A:1013041723005.
  • Darras, B. 2015. “La recherche doctorale en art face aux changements. Étude du cas de l’université Paris 1 Panthéon-Sorbonne”. Hermès, La Revue, no. 72 (October): 179–186.
  • de la Durantaye, F. 2012. “La Théorisation de La Créativité Au Service de L’éducation En Art.” Éducation Et Francophonie 40 (2): 6–22. doi:10.7202/1013811ar.
  • de Vries, P. 2014. “Conscience.” Cultural Studies - Critical Methodologies 14 (6): 606–609. doi:10.1177/1532708614548132.
  • Donovan, K. 2012. “The Ethical Stance and Its Representation in the Expressive Techniques of Documentary Filming: A Case Study of Tagged.” New Review of Film and Television Studies 10 (3): 344–361. doi:10.1080/17400309.2012.693791.
  • Eaves, S. 2014. “From Art for Arts Sake to Art as Means of Knowing: A Rationale for Advancing Arts-Based Methods in Research, Practice and Pedagogy.” Electronic Journal of Business Research Methods 12 (2): 147–160.
  • Edwards, J. 2015. “Getting Messy: Playing, and Engaging the Creative, within Research Inquiry.” Journal of Music Therapy 52 (4): 437–440. doi:10.1093/jmt/thv015.
  • Eglinton, K. A. 2013. “Between the Personal and the Professional: Ethical Challenges When Using Visual Ethnography to Understand Young People’s Use of Popular Visual Material Culture.” Young 21 (3): 253–271. doi:10.1177/1103308813488793.
  • Eisner, E. 2006. “Does Arts-Based Research Have a Future?” Studies in Art Education 48 (1): 9–18. doi:10.2307/25475802.
  • Elmer, G. 2012. “Collaboration-Led Research.” Canadian Journal of Communication 37 (1): 189–192. doi:10.22230/cjc.2012v37n1a2520.
  • Enigbokan, A. 2015. “Work Ethics: On Fair Labour Practices in a Socially Engaged Art World.” Art & the Public Sphere 4 (1–2): 11–22. doi:10.1386/aps.4.1-2.11_1.
  • Evans, M. 2010. “Researcher Practice: Embedding Creative Practice within Doctoral Research in Industrial Design.” Journal of Research Practice 6 (2): 17.
  • Evans, M., and S. Foster. 2009. “Representation in Participatory Video: Some Considerations from Research with Métis in British Columbia.” Journal of Canadian Studies/Revue d’études Canadiennes 43 (1): 87–108.
  • Findeli, A., and A. Coste. 2007. “De La Recherche-Création à La Recherche-Projet: Un Cadre Théorique et Méthodologique Pour La Recherche Architecturale.” Lieux Communs 10: 139–161.
  • Fisher, C. 2015. “Mentoring Research-Creation: Secrets, Strategies, and Beautiful Failures.” RACAR: Revue d’art Canadienne/Canadian Art Review 40 (1): 46–49.
  • Fleischer, A. 2015. “Le Fresnoy : la recherche en acte”. Hermès, La Revue, 72 (October): 68–72.
  • Forinash, M. 2016. “On Supervising Arts-Based Research.” Music Therapy Perspectives 34 (1): 41–45. doi:10.1093/mtp/miv048.
  • Fornssler, B., H. A. McKenzie, C. A. Dell, L. Laliberte, and C. Hopkins. 2014. “‘I Got to Know Them in a New Way’: Rela(y/t)Ing Rhizomes and Community-Based Knowledge (Brokers’) Transformation of Western and Indigenous Knowledge.” Cultural Studies - Critical Methodologies 14 (2): 179–193. doi:10.1177/1532708613516428.
  • Foster, V. 2007. “‘Ways of Knowing and Showing’: Imagination and Representation in Feminist Participatory Social Research.” Journal of Social Work Practice 21 (3): 361–376. doi:10.1080/02650530701553732.
  • Fourmentraux, J.-P. 2007. “Governing Artistic Innovation: An Interface among Art, Science and Industry.” Leonardo 40 (5): 489–492. doi:10.1162/leon.2007.40.5.489.
  • Fourmentraux, J.-P. 2011. “« Oeuvres frontières » de l’art numérique: Des actes de cocréation interdisciplinaire.” Anthropologie Et Sociétés 35 (1–2): 187. doi:10.7202/1006386ar.
  • Fournier, M., Y. Gingras, and C. Mathurin. 1989. “Création artistique et champ universitaire : Qui sont les pairs?” Sociologie et sociétés 21 (2): 63. doi:10.7202/001251ar.
  • Frisk, H., and Ö. Stefan. 2013. “Beyond Validity.” Swedish Journal of Music Research/Svensk Tidskrift För Musikforskning 95 (August): 41–63.
  • FRQ (Fonds de recherche du Québec). 2014. Policy for the Responsible Conduct of Research. http://www.frqs.gouv.qc.ca/documents/10191/186005/Policy+for+the+RCR++FRQ+2014.pdf/c531b847-b95e-4275-a97d-421248178236
  • Gauthier, P. 2015. “Création Contre Science En Design, Les Conditions d’un Vrai Débat: Réponse à Lysianne Léchot Hirt.” Sciences Du Design, no. 2: 65–70.
  • Glashan, A. A. M. 2010. “Designer Stories: A Commentary on the Community of Design Practice.” International Journal of Technology and Design Education 21 (2): 235–260. doi:10.1007/s10798-010-9116-6.
  • Goldstein, T. 2008. “Multiple Commitments and Ethical Dilemmas in Performed Ethnography.” https://tspace.library.utoronto.ca/handle/1807/25142
  • Gray, C. M., and E. Boling. 2016. “Inscribing Ethics and Values in Designs for Learning: A Problematic.” Educational Technology Research and Development 1–33. August. doi:10.1007/s11423-016-9478-x.
  • Greff, J.-P., L. Léchot Hirt, and A.-C. Sutermeister. 2015. “Les défis de la recherche en art et en design en Suisse. Un cas d’école : la HEAD—Genève”. Hermès, La Revue, no. 72 (October): 75–84.
  • High, S. 2015. “« Au-Delà Du Syndrome de La ‘“citation payante”” »: Les Archives Vivantes et La Recherche Réciproque En Histoire Orale1.” Revue d’histoire de l’Amérique Française 69 (1–2): 137–163. doi:10.7202/1034592ar.
  • Hodgins, M. J., and K. M. Boydell. 2014. “Interrogating Ourselves: Reflections on Arts-Based Health Research - ProQuest.” http://search.proquest.com/openview/bb828672563f294473ff88ba38fc529d/1?pq-origsite=gscholar
  • Horowitz, R. 2014. “Introduction: As if from Nowhere … Artists’ Thoughts about Research-Creation.” RACAR : Revue d’art Canadienne/Canadian Art Review 39 (1): 25–27. doi:10.7202/1026194ar.
  • Hunter, W. 2018a. “Biomateria: Biotextile Craft.” In Ammerman Center for Arts & Technology, Connecticut College, “16th Biennial Symposium on Arts & Technology Proceedings.” Symposia, no. 5: 37–42.
  • Hunter, W. 2018b. “Biomateria [Internet].” Accessed 28 September 2018. https://whitefeatherhunter.com/section/426154-Biomateria.html
  • Irwin, R. L. 2013. “Becoming A/r/Tography.” Studies in Art Education 54 (3): 198–215. doi:10.1080/00393541.2013.11518894.
  • Irwin, R. L., R. Beer, S. Springgay, K. Grauer, G. Xiong, and B. Bickel. 2006. “The Rhizomatic Relations of A/r/Tography.” Studies in Art Education 48 (1): 70–88. doi:10.2307/25475806.
  • Johnston, K. 2010. “Grafting Orchids and Ugly: Theatre, Disability and Arts-Based Health Research.” Journal of Medical Humanities 31 (4): 279–294. doi:10.1007/s10912-010-9119-z.
  • Jones, K., and P. Leavy. 2014. “A Conversation between Kip Jones and Patricia Leavy: Arts-Based Research, Performative Social Science and Working on the Margins.” Qualitative Report 19 (19): 1–7.
  • Kaine, É., P. De Coninck, and D. Bellemare. 2010. “Pour Un Développement Social Durable Des Individus et Des Communautés Autochtones Par La Recherche Action/Création.” Nouvelles Pratiques Sociales 23 (1): 33–52. doi:10.7202/1003166ar.
  • Kay, L. 2016. “Research as Bricolage: Navigating In/Between the Creative Arts Disciplines.” Music Therapy Perspectives 34 (1): 26–32. doi:10.1093/mtp/miv041.
  • Keys, K., and A. S. Guyas. 2006. “What We Can’t Say: Ain’t We Artists?” Studies in Art Education 48 (1): 123–128. doi:10.1080/00393541.2006.11650503.
  • Kirk, C., and J. Pitches. 2013. “Digital Reflection: Using Digital Technologies to Enhance and Embed Creative Processes.” Technology, Pedagogy and Education 22 (2): 213–230. doi:10.1080/1475939X.2013.768390.
  • Koski, K. 2012. “Ethics and Data Collection in Arts-Based Inquiry: Artist-Researcher Embedded in Medical Education.” International Journal of the Creative Arts in Interdisciplinary Practice 11 (1). http://www.ijcaip.com/archives/IJCAIP-11-paper4.html
  • Kubik, C. 2015. “Violoniste et chercheuse : à propos du doctorat de musique « Recherche et pratique »”. Hermès, La Revue, no. 72 (October): 157–163.
  • La Jevic, L., and S. Springgay. 2008. “A/r/Tography as an Ethics of Embodiment.” Qualitative Inquiry 14 (1): 67–89. doi:10.1177/1077800407304509.
  • Lafrenière, D, V. Menuz, T. Hurlimann, and B. Godard. 2013. “Knowledge Dissemination Interventions.” http://www.ijcaip.com/archives/IJCAIP-11-paper3.html 3 285 doi:10.1177/2158244013498242
  • Lapointe, F.-J. 2014. “Hybrids are Hubs: Transdisciplinarity, the Two Cultures and the Special Status of Artscientists.” Leonardo 47 (3): 277. doi:10.1162/LEON_a_00780.
  • Lapointe, F.-J. 2015. “On the Role of Experimentation in Art (And Science).” NMC Media-N (blog).http://median.newmediacaucus.org/research-creation-explorations/6095-2/
  • Laurier, D., and N. Lavoie. 2013. “Hors Thème Le Point de Vue Du Chercheur-Créateur Sur La Question Méthodologique: Une Démarche Allant de l’énonciation de Ses Représentations à Sa Compréhension.” http://www.recherche-qualitative.qc.ca/documents/files/revue/edition_reguliere/numero32(2)/rq-32-2-laurier-lavoie.pdf
  • Leblanc, G. 2015. “Enseignement, recherche et création”. Hermès, La Revue, no. 72 (October): 214–216.
  • Léchot Hirt, L. 2015. “Recherche-création en design à plein régime : un constat, un manifeste, un programme.” Sciences du Design, no. 1: 37–44.
  • Ledger, A., and T. McCaffrey. 2015. “Performative, Arts-Based, or Arts-Informed? Reflections on the Development of Arts-Based Research in Music Therapy.” Journal of Music Therapy 52 (4): 441–456. doi:10.1093/jmt/thv013.
  • Leroux, L. P. 2012. “Theatre Production, Experiential Learning, and Research-Creation in the Academy: An Anti-Manifesto of Sorts.” Canadian Theatre Review, no. 150: 97–99. doi:10.3138/ctr.150.97.
  • Levac, D., H. Colquhoun, and K. K. O’Brien. 2010. “Scoping Studies: Advancing the Methodology.” Implementation Science : IS 5 (September): 69. doi:10.1186/1748-5908-5-69.
  • Loveless, N. S. 2012. “Practice in the Flesh of Theory: Art, Research, and the Fine Arts PhD.” Canadian Journal of Communication 37 (1): 93–108. doi:10.22230/cjc.2012v37n1a2531.
  • Loveless, N. S. 2015a. “Introduction.” RACAR : Revue d’art Canadienne 40 (1): 41. doi:10.7202/1032750ar.
  • Loveless, N. S. 2015b. “Towards a Manifesto on Research-Creation.” RACAR: Revue D’art Canadienne/Canadian Art Review 40 (1): 52–54.
  • Lowry, G. 2015a. “Props to Bad Artists: On Research-Creation and a Cultural Politics of University-Based Art.” RACAR: Revue d’art Canadienne/Canadian Art Review 40 (1): 42–46.
  • Lowry, S. 2015b. “Project Anywhere: The Challenge of Evaluating and Disseminating Art and Artistic Research outside Traditional Exhibition Environments.” Muséologies: Les Cahiers D’études Supérieures 8 (1): 33. doi:10.7202/1034609ar.
  • MacCallum, M. 2014. “Dissemination as an Integral Component of the Creative Cycle.” RACAR: Revue d’art Canadienne/Canadian Art Review 39 (1): 28–29.
  • Macneill and Bolt. 2011. “The ‘Legitimate’ Limits of Artistic Practice.” RealTime 104. http://www.realtimearts.net/article/issue104/10384
  • Macneill, P. U., and B. Ferran. 2010. “Art and Bioethics: Shifts in Understanding across Genres.” Journal of Bioethical Inquiry 8 (1): 71–85. doi:10.1007/s11673-010-9279-6.
  • Mäkel, M. 2007. “Knowing through Making: The Role of the Artefact in Practice-Led Research.” Knowledge, Technology & Policy 20 (3): 157–163. doi:10.1007/s12130-007-9028-2.
  • Manhas, K. P., and K. Oberle. 2015. “The Ethics of Metaphor as a Research Tool.” Research Ethics 11 (1): 42–51. doi:10.1177/1747016114523421.
  • Mannay, D. 2015. “Making the Visual Invisible: Exploring Creative Forms of Dissemination that Respect Anonymity but Retain Impact.” Visual Methodologies 3 (2): 67–76. doi:10.7331/vm.v3i2.47.
  • Marcalo, R. 2009. “Failing to Do Without: Writing as Classical Documentation of Post-Classical Choreographic Documentation.” Journal of Writing in Creative Practice 2 (1): 105–116. doi:10.1386/jwcp.2.1.105_1.
  • Mekdjian, S. 2016. “Les Récits Migratoires Sont-Ils Encore Possibles Dans Le Domaine Des Refugee Studies? Analyse Critique et Expérimentation de Cartographies Créatives.” ACME 15 (1): 150–186.
  • Moukarzel, J. 2015. “L’architecture, un art qui embrasse la science”. Hermès, La Revue, no. 72 (October): 226–231.
  • Mykitiuk, R., A. Chaplick, and C. Rice. 2015. “Beyond Normative Ethics: Ethics of Arts-Based Disability Research.” Ethics, Medicine and Public Health 1 (3): 373–382. doi:10.1016/j.jemep.2015.07.005.
  • National Healthcare Group (NHG). n.d. “Responsible Conduct of Research Manual”. Accessed 10 December 2018 https://www.research.nhg.com.sg/wps/wcm/connect/571864804f1cdfc3bd0aff2ebdfc782a/NHG+RCR+Full+Manual.pdf?MOD=AJPERES
  • Niedderer, K. 2013. “Explorative Materiality and Knowledge. The Role of Creative Exploration and Artefacts in Design Research.” FORMakademisk–research Journal for Design and Design Education 6 (2). https://journals.hioa.no/index.php/formakademisk/article/view/651
  • Ninacs, A.-M. 2014. “Considérations Débutantes.” Inter: Art Actuel, no. 116: 19–21.
  • Noury, C., M. Cloutier, and M.-C. Roy. 2018. Toolkit for RCRC: Summary of Issues in Responsible Conduct in Research-Creation and Proposed Tools for Reflection. Montréal, Québec: Research Project on Responsible Conduct in Research-Creation: Providing Creative Tools to Meet the Challenges of an Emerging Field. http://hdl.handle.net/1866/20924
  • Osei-Kofi, N. 2013. “The Emancipatory Potential of Arts-Based Research for Social Justice.” Equity and Excellence in Education 46 (1): 135–149. doi:10.1080/10665684.2013.750202.
  • Pace, I. 2016. “Composition and Performance Can Be, and Often Have Been, Research.” Tempo (United Kingdom) 70 (275): 60–70. doi:10.1017/S0040298215000637.
  • Paltridge, B., S. Starfield, L. Ravelli, and S. Nicholson. 2011. “Doctoral Writing in the Visual and Performing Arts: Issues and Debates.” International Journal of Art and Design Education 30 (2): 242–255. doi:10.1111/j.1476-8070.2011.01700.x.
  • Paquin, L.-C., and C. Noury. 2018. “Définir la recherche-création ou cartographier ses pratiques?” Acfas. http://www.acfas.ca/publications/decouvrir/2018/02/definir-recherche-creation-cartographier-ses-pratiques
  • Paquot, T. 2015. “Godard n’a pas de doctorat !”. Hermès, La Revue, no. 72 (October): 73–74.
  • Parr, M., T. A. Campbell, and C. Richardson. 2012. “Performance as Inquiry: Engaging in Impassioned Conversation Instead of Hearing Polite Applause.” Reflective Practice 13 (2): 295–309. doi:10.1080/14623943.2011.626027.
  • Pawson, R., T. Greenhalgh, G. Harvey, and K. Walshe. 2005. “Realist Review–A New Method of Systematic Review Designed for Complex Policy Interventions.” Journal of Health Services Research & Policy 10 Suppl 1 (July): 21–34. doi:10.1258/1355819054308530.
  • Pentecost, C. 2007. “Quand l’art c’est La Vie.” Multitudes 28 (1): 19–30. doi:10.3917/mult.028.0019.
  • Perez Lopez, J., A. Munoz Garcia, and N. Lloret Romero. 2007. “An Audiovisual Database for Artistic Musical Research: Enhancing Research Exchange within European PhD Programmes in Music through an Audiovisual Tool.” International Journal of Technology, Knowledge and Society 3 (2): 73–78. doi:10.18848/1832-3669/CGP/v03i02/55732.
  • Piatti, A. 2015. “The Contemporary Art Museum as a Time-Space for the Participatory Creation and Production of Complex Works of Art: Some Examples from the Italian Scene.” Muséologies: Les Cahiers D’études Supérieures 8 (1): 115. doi:10.7202/1034613ar.
  • Piché, C. 2009. “Des pratiques d’artistes et de chercheuses en écologie sonore.” Recherches Féministes 22 (1): 27. doi:10.7202/037794ar.
  • Pinto, L. E. 2015. “A Flow for the Social Sciences and Humanities: Storying the Struggle of High-Stakes Financialization in the Academy.” Tamara Journal for Critical Organization Inquiry 13 (1/2): 15–24.
  • Poissant, L. 2014. “Research-Creation: Methodological Issues.” Leonardo 47 (1): 2. doi:10.1162/LEON_e_00694.
  • Quéinnec, J.-P. 2012. “Pour une ouverture aux recherches créations en théâtre.” L’Annuaire théâtral: Revue québécoise d’études théâtrales, no. 50–51: 205. doi:10.7202/1017322ar.
  • Rae, J., and B. Green. 2016. “Portraying Reflexivity in Health Services Research.” Qualitative Health Research 26: 1543–1549. doi:10.1177/1049732316634046.
  • Rashid, A. 2014. “Gender and Genocide: A Research-as-Creation Project.” Canadian Journal of Communication 39 (2): 263–273. doi:10.22230/cjc.2014v39n2a2854.
  • Rees, J. 2010. “Art Education in Canada: Reflections from Scholars Impacting the Field.” International Journal of Education through Art 6 (1): 25–40. doi:10.1386/eta.6.1.25_1.
  • Renucci, F., and R. Jean-Marc. 2015. “Introduction Générale.” Hermès, La Revue, no. 2: 14–17.
  • Rice, C., E. Chandler, E. Harrison, K. Liddiard, and M. Ferrari. 2015. “Project Re•Vision: Disability at the Edges of Representation.” Disability & Society 30 (4): 513–527. doi:10.1080/09687599.2015.1037950.
  • Rowe, N., and R. Buck. 2013. “Moths, Candles and Fires: Examining Dance as Creative Practice Research in a Master’s Degree.” Higher Education Research & Development 32 (6): 1022–1036. doi:10.1080/07294360.2013.806440.
  • Rüdiger, B. 2015. “Le temps présent de la recherche en art”. Hermès, La Revue, no. 72 (October): 53–61.
  • Sauzedde, S. 2012. “L’Artiste, Le Chercheur et La Prochaine École.” Critique D’art. Actualité Internationale de La Littérature Critique Sur l’art Contemporain (40). http://critiquedart.revues.org/5669
  • Sauzedde, S. 2015. “Inventer Le Diplôme Supérieur de Recherche En Art.” Hermès, La Revue, no. 2: 91–97.
  • Sawchuk, K. 2011. “Bio-Art and the Feminist Politics of Hands-On Knowledge: An Interview with Tagny Duff.” N.Paradoxa: The Only International Feminist Art Journal 28 (July): 68–79.
  • Schiller, G. 2015. “Grasping Gestures. Practice-Based Research”. Hermès, La Revue, no. 72 (October): 98–102.
  • Shanken, E. A. 2005. “Artists in Industry and the Academy: Collaborative Research, Interdisciplinary Scholarship and the Creation and Interpretation of Hybrid Forms.” Leonardo 38 (5): 415–418. doi:10.1162/leon.2005.38.5.415.
  • Siegesmund, R. 2014. “The N of 1 in Arts-Based Research: Reliability and Validity.” International Journal of Education & the Arts 14. October.
  • Simons, H., and B. McCormack. 2007. “Integrating Arts-Based Inquiry in Evaluation Methodology.” Qualitative Inquiry 13 (2): 292–311. doi:10.1177/1077800406295622.
  • Smith, E., and B. Williams-Jones. 2009. “Legalistic or Inspirational? Comparing University Conflict of Interest Policies.” Higher Education Policy 22 (4): 433–459. doi:10.1057/hep.2009.3.
  • SRCRC (Secretariat on Responsible Conduct of Research of Canada), Conseil de recherches en sciences naturelles et en génie du Canada, Conseil de recherches en sciences humaines du Canada, and Instituts de recherche en santé du Canada. 2016. Tri-Agency Framework, Responsible Conduct of Research. http://epe.lac-bac.gc.ca/100/201/301/weekly_acquisitions_list-ef/2017/17-17/publications.gc.ca/collections/collection_2017/crr-rcr/RR4-1-2016-eng.pdf
  • Steneck, N. H., and R. E. Bulger. 2007. “The History, Purpose, and Future of Instruction in the Responsible Conduct of Research.” Academic Medicine: Journal of the Association of American Medical Colleges 82 (9): 829–834. doi:10.1097/ACM.0b013e31812f7d4d.
  • Stévance, S. 2012. “À La Recherche de La Recherche-Création : La Création d’une Interdiscipline Universitaire.” Intersections 33 (1): 3–9. doi:10.7202/1025552ar.
  • St-Hilaire, E. 2018. “Who Should Care about Responsible Conduct of Research in Research-Creation?” RACAR: Revue d’art canadienne/Canadian Art Review 43 (1): 25–38.
  • Szoke, D. 2014. “Researchify: Immanence and the Artist-Researcher.” RACAR: Revue D’art Canadienne/Canadian Art Review 39 (1): 34–35.
  • Tackels, B. 2015. “Faire laboratoire : art, université, recherche”. Hermès, La Revue, no. 72 (October): 117–124.
  • Tamas, S. E. 2010. “Walking the Lines.” Creative Approaches to Research 3 (2): 5–20. doi:10.3316/CAR0302005.
  • Thiollent, M. 2011. “Action Research and Participatory Research: An Overview.” International Journal of Action Research 7 (2). http://search.ebscohost.com/login.aspx?direct=true&profile=ehost&scope=site&authtype=crawler&jrnl=18611303&AN=67658136&h=B8EaAtWO96a1%2BojAc%2B%2Fg4pB4pa0zCHBG83b3Tg2sdGbTydQMU%2B5mcYwH%2F%2B14nGmEf6Td%2F4n5K8dyZgcr%2BoWDkQ%3D%3D&crl=c
  • Thomas, D. R. 2006. “A General Inductive Approach for Analyzing Qualitative Evaluation Data.” American Journal of Evaluation 27 (2): 237–246. doi:10.1177/1098214005283748.
  • Throp, M. 2016. “Correlating Theory and Practice in Fine Art Research: Understanding Practice as Research; Seminars for First Year PhD Students.” Journal of Visual Art Practice 15 (1): 4–9. doi:10.1080/14702029.2016.1141567.
  • Ulmer, J. B. 2015. “Embodied Writing: Choreographic Composition as Methodology.” Research in Dance Education 16 (1): 33–50. doi:10.1080/14647893.2014.971230.
  • Vaage, N. S. 2016. “What Ethics for Bioart?” NanoEthics 10 (1): 87–104. doi:10.1007/s11569-016-0253-6.
  • Vaughan, K. 2005. “Pieced Together: Collage as an Artist’s Method for Interdisciplinary Research.” International Journal of Qualitative Methods 4 (1): 27–52. doi:10.1177/160940690500400103.
  • Vial, S. 2015. “Qu’est-Ce Que La Recherche En Design? Introduction Aux Sciences Du Design.” Sciences Du Design, no. 1: 22–36.
  • Viega, M. 2016. “Science as Art: Axiology as a Central Component in Methodology and Evaluation of Arts-Based Research (ABR).” Music Therapy Perspectives 34 (1): 4–13. doi:10.1093/mtp/miv043.
  • von Stebut, Y. 2015. “Création Artistique et Enracinement Social. Portrait de l’artiste En Résonateur.” Spécificités 7 (1): 128–150. doi:10.3917/spec.007.0128.
  • Wall, G. 2012. “Interdisciplinary Research: Practising the In-Between.” International Journal of Art & Design Education 31 (3): 276–285. doi:10.1111/j.1476-8070.2012.01763.x.
  • Ward, A. 2011. “‘Bringing the Message Forward’: Using Poetic Re-Presentation to Solve Research Dilemmas.” Qualitative Inquiry 17 (4): 355–363. doi:10.1177/1077800411401198.
  • Wei, S. X. 2011. “The Atelier-Lab as a Transversal Machine.” Revue Française d’études Américaines, no. 2: 62–78.
  • Woo, Y., and Y. Joyceln. 2008. “Engaging New Audiences: Translating Research Into Popular Media.” Educational Researcher 37 (6): 321–329. doi:10.3102/0013189X08324229.
  • Wright, D. G., D. Bennett, and D. Blom. 2010. “The Interface between Arts Practice and Research: Attitudes and Perceptions of Australian Artist-Academics.” Higher Education Research & Development 29 (4): 461–473. doi:10.1080/07294361003717911.
  • Wyatt, J. 2007. “Research, Narrative and Fiction: Conference Story.” Qualitative Report 12 (2): 318–331.
  • Yassi, A., J. B. Spiegel, K. Lockhart, L. Fels, K. Boydell, and J. Marcuse. 2016. “Ethics in Community-University-Artist Partnered Research: Tensions, Contradictions and Gaps Identified in an ‘Arts for Social Change’ Project.” Journal of Academic Ethics 14 (3): 199–220. doi:10.1007/s10805-016-9257-7.
  • Younès, C. 2015. “L’intranquillité de la recherche architecturale”. Hermès, La Revue, no. 72 (October): 85–90.
  • Zeilinger, M. 2014. “Live Coding the Law: Improvisation, Code, and Copyright.” Computer Music Journal 38 (1): 77–89. doi:10.1162/COMJ_a_00231.

Reprints and Corporate Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

To request a reprint or corporate permissions for this article, please click on the relevant link below:

Academic Permissions

Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?

Obtain permissions instantly via Rightslink by clicking on the button below:

If you are unable to obtain permissions via Rightslink, please complete and submit this Permissions form. For more information, please visit our Permissions help page.