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Stephen A.R. Scrivener
exhaust the surprising element. In projective artistic design making and thinking… (see image – bottom QR code), my co-author and I describe two modes of material production that can be understood as generative of new knowledge and understanding: problemsolving and (what we are calling for the moment) creative production. Our primary focus in the paper is on the latter, which we argue prioritizes the creation of positive surprising material conditions. This means that understanding the surprising artefact can only begin after the fact of surprise, in contrast to problem-solving (as described in our paper) where artefacts are pre-conceived and pre-understood. We speculate that creative production requires strategies that loosen the relation between making and prior knowledge, habit, and observed problem. So, to finish where we began, play, such as in the making of Arlo’s fort, might be one kind of human activity where, in the making of a thing, the desired uncoupling of relations between the already thought and presently made is sometimes achieved. — — Selected publications 2012 ‘Projective artistic design making and thinking: the artification of design research’. Contemporary Aesthetics, Special Volume 4. www.contempaesthetics. org/newvolume/pages/article. php?articleID=638 2011 ‘Part 1: Reflections on interactive art and practitioner research: establishing a frame’. Research and the Creative Practitioner. Faringdon, Oxfordshire: Libri Publishing. 2011 ‘Part 2: Reflections on interactive art and practitioner research: interpretation’. Research and the Creative Practitioner. Faringdon, Oxfordshire: Libri Publishing. 2010 ‘Transformational practice: on the place of material novelty in artistic change’. The Routledge Companion to Research in the Arts. Oxford: Routledge. 2010 ‘Triangulating artworlds: gallery, new media and academy’. Art Practice in a
digital Culture. Aldershot: Ashgate Publishing Ltd. 2010 ‘The roles of art and design process and object in research’. Reflections and Connections: On the Relationship Between Creative Production and Academic Research [e-book]. University of Art and Design Helsinki. 2009 ‘Connections: A personal history of computer art making from 1971 to 1981’. White Heat Cold Logic: British Computer Art 1960–1980. Massachusetts, USA and London: MIT Press. Selected exhibitions 2011 Csepel Works. Labor Gallery, Budapest. Peer esteem and appointments 2011 International Expert, Research Assessment Exercise, Romania. 2010 Referee for practice-based research grant proposals for the Austrian Research Council. 2009 Referee for practice-based research grant proposals for the Danish Research Council. 2009 Panel B Chair, AHRC. 2009 Research Committee Member, Kunsthogskolen: Bergen National Academy of the Arts. Acquisitions 2011 Eighteen computer-generated drawings, V&A, London.