The study of creativity in the arts provides an opportunity to present the ways in which new tech... more The study of creativity in the arts provides an opportunity to present the ways in which new technology has placed new demands on artists. It can also open up new possibilities for the expression of creativity by artists. It expands on the ways in which technology is used by artists as a tool to reflect on the human aspiration for a better future. The artists' collective localStyle is presented as a case study to demonstrate how collaborations between artists, scientists and technologists has led to multidisciplinary and transdisciplinary projects. Keywords Artists • Scientists • Research • Artists technologist • Collaboration • Digital artwork 3.1 Introduction The development of new technologies in the 1960s prompted a new generation of artists to experiment with the new media, thus transforming understandings of art. New media art is the term given to all forms of contemporary art made, altered, or transmitted using technologies developed since the 1980s. It is ever-expanding and defies categorization. It includes artists using a range of 'off the shelf' software or learning coding to make artworks that are contained only in digital files. Unlike painting, which has an historic established lineage, new media art has attracted artists from different disciplines and with divergent viewpoints. For example, some artists in the field of music, dance and sculpture have used video as medium to forge new strategies for art making [1]. 3.2 Origins of Art and Technology A characteristic of twentieth century art has been its questioning of painting as a privileged medium for making art. As early as the late nineteenth century the artist Eadweard Muybridge (1830-1904) was a pioneer in manipulating photographic
The relationship between the real world and the internet is explored. The real and the virtual ar... more The relationship between the real world and the internet is explored. The real and the virtual are separate but intersecting and overlapping worlds as far as audiences are concerned. What is the effect of a work created on the internet on the real world, and vice-versa? The rise of the internet and its effect on creativity is examined. Technology has changed the production and distribution of artworks to audiences. Repositories such as art galleries and museums can exist as virtual entities and enable audiences to view, and interact with, artifacts and artworks. Such repositories can change the ways in which audiences view and perceive artworks.
There are numerous theories of creativity from different academic fields, but an overarching unif... more There are numerous theories of creativity from different academic fields, but an overarching unifying theory is almost impossible. Such theories may be specific to a particular context, or they attempt to generalize, with differences in particular disciplines. For example, in psychology the focus is on a micro level with the study of individuals; whereas in the field of innovation research it is on a macro level and often disregards the individual by focusing more on the context. Creativity on a micro level is examined through revealing the process of an individual artist. It introduces 'material thinking'; an intellectual pursuit specific to the making process and reflects on what may be learned from the process of making art. Art can create knowledge that constructs environments and changes lives. This personal knowledge and the work of the hand is sometimes at odds with the technological world, but a study of artistic practices enables us to see and think differently. Artworks have impact beyond the esthetic to influence social, political, and economic spheres.
Collaboration can increase creativity when the interactions are supportive and facilitative. In t... more Collaboration can increase creativity when the interactions are supportive and facilitative. In the real world this could be a group discussion or a collaboration on a particular artwork or project. The computer is increasingly in the loop on these collaborations because it can bring together both local and distant collaborators. In addition, the artwork or project can be displayed on computer screens and the partners can discuss it and work together in real-time. The computer program may also be able to make suggestions to the partners about design options, just as spell-checkers can make suggestions to authors about the grammar and spelling in an article or paper they are writing. The software works in the background and can add value to the overall process of creation, whether this is for a document or an artwork. In this case, the software is working according to predetermined rules. If the program is allowed to modify itself by taking in input from its own processes, then the rules may change as the program is running. This may be useful in some situations but not in others. The increasing use of artificial intelligence techniques in science, technology, and the arts is reviewed and assessed, and the implications for creativity are presented. Keywords Artificial intelligence and creativity • Computational creativity 7.1 Enhancing Creativity An art exhibition is a place where audiences meet works of art that are themselves a form of exposition. In the past, such exhibitions have been static and for a particular time-period and therefore had to be viewed by visitors within that time frame. They have also been mainly works of art such as pictures and drawings, sculptures, or installation art which contained various object components. For groups of people who have common interests, but no opportunity to meet due to geographical separation, online collaboration can provide new opportunities and new environments for sharing and creating. Art galleries are able to move from static displays fixed in time and space to more flexible virtual environments capable of attracting visitors on a global basis. They can also receive input from visitors from their interaction with the displays. This can provide feedback to the artists which could be useful in the creation of future
sharing, adaptation, distribution and reproduction in any medium or format, as long as you give a... more sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons license and indicate if changes were made. The images or other third party material in this book are included in the book's Creative Commons license, unless indicated otherwise in a credit line to the material. If material is not included in the book's Creative Commons license and your intended use is not permitted by statutory regulation or exceeds the permitted use, you will need to obtain permission directly from the copyright holder. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use.
The relationship between the real world and the internet is explored. The real and the virtual ar... more The relationship between the real world and the internet is explored. The real and the virtual are separate but intersecting and overlapping worlds as far as audiences are concerned. What is the effect of a work created on the internet on the real world, and vice-versa? The rise of the internet and its effect on creativity is examined. Technology has changed the production and distribution of artworks to audiences. Repositories such as art galleries and museums can exist as virtual entities and enable audiences to view, and interact with, artifacts and artworks. Such repositories can change the ways in which audiences view and perceive artworks.
The exhibition was part of the seventh International Conference on Internet Technologies and Appl... more The exhibition was part of the seventh International Conference on Internet Technologies and Applications (ITA17), held at Wrexham Glyndwr University from Tuesday 12 to Friday 15 September in 2017. The exhibition bought the work of fifteen diverse artists, scientists and technologists working in a range of media who have all in some way collaborated via ideas with specialist outside of their immediate field of enquiry. International artists from Chicago, Italy and Denmark met with UK artists from Wales, Salford and Bristol to reflect on the global nature of ‘Carbon Meets Silicon’. All of the artworks in the exhibition were about making connections and every artist involved had collaborated in some way. The exhibition theme uses carbon and silicon as metaphors for the changing face of art practice in the digital age. Carbon references the materiality of the art object and silicon references how an artworks physical presence is questioned in the light of new media, resulting in the di...
The role of the exhibition in overcoming interdisciplinary communication challenges is explored. ... more The role of the exhibition in overcoming interdisciplinary communication challenges is explored. The meaning of interdisciplinary communication is established, alongside the challenges it brings, where their route causes lie and the extent to which the exhibition is equipped to address them. It concludes that exhibitions of a particular nature are uniquely equipped to facilitate better quality interdisciplinary communication in certain contexts, but that further work is needed to develop mature curatorial models to facilitate this. A structure for such models is proposed, alongside the steps that now need to be followed if exhibitions are to fulfil this untapped potential at the interface of art and technology.
Hawliau Cyffredinol / General rights Copyright and moral rights for the publications made accessi... more Hawliau Cyffredinol / General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim.
Play Serious is an innovative, seriously playful and playfully serious event for practitioner-res... more Play Serious is an innovative, seriously playful and playfully serious event for practitioner-researchers. An explosion of art, critical insight and creative activity where participants will be encouraged to share their unresolved work, ask each other questions, reflect critically on how practice and research inform one another, develop connections and seed collaborations for the future. The atmosphere will be friendly, fun and fascinating and the event will be a rare and exciting opportunity. So bring your paintbrushes, modelling clay, 4b, 2b and Hb pencils, crayons, camera, 16mm projector or computer and join up to play serious! Who will gain from the event? The participants … and hopefully this will lead to exciting collaborations either through studio practice, producing more traditional academic texts, forging links to other institutions etc.
Research in the visual arts has contributed to the creation of environments that involve cross-di... more Research in the visual arts has contributed to the creation of environments that involve cross-disciplinary, multidisciplinary and interdisciplinary or transdisciplinary projects in departments within and across universities. An overview is provided of the historical context of doctoral awards in the arts with a definition of the terms practice-based, practice-led, and practice as research discussed. It articulates the challenges when acquiring explicit and exact knowledge alongside more subjective approaches that utilize tacit knowledge from artistic practice in research projects. Drawing on examples from art practice and doctoral students work, it analyzes objective, subjective, empirical, and hermeneutic paradigms, as described by Pierre Bourdieu, which can combine empirical approaches and individual understandings to re-enforce our understandings of the world. Keywords Practice-based research • Practice-led research • Practice as research (PaR) creative arts Ph.D. • Collaboration • New technologies • Cross-disciplinary • Interdisciplinary 2.1 Introduction Most researchers are aware of the need to position themselves in relation to other fields or disciplines in order to reveal the particular characteristics of their research findings. At the start of the research process, usually in writing the proposal, it can be challenging for artists when "oneself" often plays a significant role in the object of an enquiry. Research in the arts can be largely hermeneutic; that is the understanding and interpreting of it exposes the subjective limits of the artists' ways of doing and seeing. It is this epistemological method of socially constructing meaning that gives the arts authority within a process of enquiry. However, it is all too easy for knowledge gained tacitly to be "overlooked because it is subsumed into the rational logic of discursive accounts of artistic production" [1]. The articulation of possibilities of artists for shaping consciousness and providing cultural capital can be difficult even
use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you g... more use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons license and indicate if changes were made. The images or other third party material in this book are included in the book's Creative Commons license, unless indicated otherwise in a credit line to the material. If material is not included in the book's Creative Commons license and your intended use is not permitted by statutory regulation or exceeds the permitted use, you will need to obtain permission directly from the copyright holder. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use.
Art, Design and Technology: Collaboration and Implementation, 2017
There are a growing number of research projects in the UK in the field of health and wellbeing th... more There are a growing number of research projects in the UK in the field of health and wellbeing that involve artists utilising new technologies. This chapter explores current examples of nationally funded projects, exhibitions, and artworks that directly relate to public perceptions of mental health. Lessons learnt from the problems and difficulties encountered by artists collaborating with medical professions are a focus, as is the importance of the medium of video and the use of new technologies such as virtual reality in facilitating the implementation of innovative ideas that have made a significant contribution to the field of arts in health. Anguish and distress are fundamental characteristics within the Western artistic tradition, particularly since the Enlightenment. The visual arts offer opportunities to explore inner personal experiences. Psychiatry has historically used reductionist methods to measure some of these experiences such as mental disorder. Although there has been progress, there has also been an increasing dissatisfaction with the way that reductionist science can drain meaning and lived experience out of its understanding of mental illness. Artists acknowledge that much of our emotional experience is pre-verbal or non-verbal and occupies an experiential space that is dream-like and difficult to express through words. This chapter investigates the work of several contemporary international artists-individually, and collectively in exhibitions. These include artists using multimedia and those exploring the use of technology in remote locations with vulnerable adults and young people. Several films, videos, animations, documentaries and online projects involving various public sector organizations and groups of people are also discussed. The lessons learned from collaborative and cross-disciplinary projects are summarized. A research project on art and science continues earlier work where the authors were part of an interdisciplinary research team which completed a pilot study with people attending a mental health outpatient clinic called In-between-ness (www.in-between-ness.co.uk). The original objective was to develop and test methods which could be used to explore the experience of people with a diagnosis of depression as their perception of themselves and the world around them changed through the course of antidepressant treatment. During the pilot, the method was refined and improved, largely as a response to the research participants, who had a strong and distinctive voice. Guided by experts, dialogues and engagement within the collaboration created added value. The chapter concludes by discussing how an expanded team is now ready to conduct a large-scale study using the method they have developed. Keywords Inter-disciplinarity, Practice-based research, Practice-led research, research impact, innovation in art and design, collaboration in the visual arts, art/science, artists moving image, virtual reality (VR) and the arts, arts in health, visual arts and healthcare, post-traumatic stress disorder (PTSD), In-betweenness: Windows Within.
The study of creativity in the arts provides an opportunity to present the ways in which new tech... more The study of creativity in the arts provides an opportunity to present the ways in which new technology has placed new demands on artists. It can also open up new possibilities for the expression of creativity by artists. It expands on the ways in which technology is used by artists as a tool to reflect on the human aspiration for a better future. The artists' collective localStyle is presented as a case study to demonstrate how collaborations between artists, scientists and technologists has led to multidisciplinary and transdisciplinary projects. Keywords Artists • Scientists • Research • Artists technologist • Collaboration • Digital artwork 3.1 Introduction The development of new technologies in the 1960s prompted a new generation of artists to experiment with the new media, thus transforming understandings of art. New media art is the term given to all forms of contemporary art made, altered, or transmitted using technologies developed since the 1980s. It is ever-expanding and defies categorization. It includes artists using a range of 'off the shelf' software or learning coding to make artworks that are contained only in digital files. Unlike painting, which has an historic established lineage, new media art has attracted artists from different disciplines and with divergent viewpoints. For example, some artists in the field of music, dance and sculpture have used video as medium to forge new strategies for art making [1]. 3.2 Origins of Art and Technology A characteristic of twentieth century art has been its questioning of painting as a privileged medium for making art. As early as the late nineteenth century the artist Eadweard Muybridge (1830-1904) was a pioneer in manipulating photographic
The relationship between the real world and the internet is explored. The real and the virtual ar... more The relationship between the real world and the internet is explored. The real and the virtual are separate but intersecting and overlapping worlds as far as audiences are concerned. What is the effect of a work created on the internet on the real world, and vice-versa? The rise of the internet and its effect on creativity is examined. Technology has changed the production and distribution of artworks to audiences. Repositories such as art galleries and museums can exist as virtual entities and enable audiences to view, and interact with, artifacts and artworks. Such repositories can change the ways in which audiences view and perceive artworks.
There are numerous theories of creativity from different academic fields, but an overarching unif... more There are numerous theories of creativity from different academic fields, but an overarching unifying theory is almost impossible. Such theories may be specific to a particular context, or they attempt to generalize, with differences in particular disciplines. For example, in psychology the focus is on a micro level with the study of individuals; whereas in the field of innovation research it is on a macro level and often disregards the individual by focusing more on the context. Creativity on a micro level is examined through revealing the process of an individual artist. It introduces 'material thinking'; an intellectual pursuit specific to the making process and reflects on what may be learned from the process of making art. Art can create knowledge that constructs environments and changes lives. This personal knowledge and the work of the hand is sometimes at odds with the technological world, but a study of artistic practices enables us to see and think differently. Artworks have impact beyond the esthetic to influence social, political, and economic spheres.
Collaboration can increase creativity when the interactions are supportive and facilitative. In t... more Collaboration can increase creativity when the interactions are supportive and facilitative. In the real world this could be a group discussion or a collaboration on a particular artwork or project. The computer is increasingly in the loop on these collaborations because it can bring together both local and distant collaborators. In addition, the artwork or project can be displayed on computer screens and the partners can discuss it and work together in real-time. The computer program may also be able to make suggestions to the partners about design options, just as spell-checkers can make suggestions to authors about the grammar and spelling in an article or paper they are writing. The software works in the background and can add value to the overall process of creation, whether this is for a document or an artwork. In this case, the software is working according to predetermined rules. If the program is allowed to modify itself by taking in input from its own processes, then the rules may change as the program is running. This may be useful in some situations but not in others. The increasing use of artificial intelligence techniques in science, technology, and the arts is reviewed and assessed, and the implications for creativity are presented. Keywords Artificial intelligence and creativity • Computational creativity 7.1 Enhancing Creativity An art exhibition is a place where audiences meet works of art that are themselves a form of exposition. In the past, such exhibitions have been static and for a particular time-period and therefore had to be viewed by visitors within that time frame. They have also been mainly works of art such as pictures and drawings, sculptures, or installation art which contained various object components. For groups of people who have common interests, but no opportunity to meet due to geographical separation, online collaboration can provide new opportunities and new environments for sharing and creating. Art galleries are able to move from static displays fixed in time and space to more flexible virtual environments capable of attracting visitors on a global basis. They can also receive input from visitors from their interaction with the displays. This can provide feedback to the artists which could be useful in the creation of future
sharing, adaptation, distribution and reproduction in any medium or format, as long as you give a... more sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons license and indicate if changes were made. The images or other third party material in this book are included in the book's Creative Commons license, unless indicated otherwise in a credit line to the material. If material is not included in the book's Creative Commons license and your intended use is not permitted by statutory regulation or exceeds the permitted use, you will need to obtain permission directly from the copyright holder. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use.
The relationship between the real world and the internet is explored. The real and the virtual ar... more The relationship between the real world and the internet is explored. The real and the virtual are separate but intersecting and overlapping worlds as far as audiences are concerned. What is the effect of a work created on the internet on the real world, and vice-versa? The rise of the internet and its effect on creativity is examined. Technology has changed the production and distribution of artworks to audiences. Repositories such as art galleries and museums can exist as virtual entities and enable audiences to view, and interact with, artifacts and artworks. Such repositories can change the ways in which audiences view and perceive artworks.
The exhibition was part of the seventh International Conference on Internet Technologies and Appl... more The exhibition was part of the seventh International Conference on Internet Technologies and Applications (ITA17), held at Wrexham Glyndwr University from Tuesday 12 to Friday 15 September in 2017. The exhibition bought the work of fifteen diverse artists, scientists and technologists working in a range of media who have all in some way collaborated via ideas with specialist outside of their immediate field of enquiry. International artists from Chicago, Italy and Denmark met with UK artists from Wales, Salford and Bristol to reflect on the global nature of ‘Carbon Meets Silicon’. All of the artworks in the exhibition were about making connections and every artist involved had collaborated in some way. The exhibition theme uses carbon and silicon as metaphors for the changing face of art practice in the digital age. Carbon references the materiality of the art object and silicon references how an artworks physical presence is questioned in the light of new media, resulting in the di...
The role of the exhibition in overcoming interdisciplinary communication challenges is explored. ... more The role of the exhibition in overcoming interdisciplinary communication challenges is explored. The meaning of interdisciplinary communication is established, alongside the challenges it brings, where their route causes lie and the extent to which the exhibition is equipped to address them. It concludes that exhibitions of a particular nature are uniquely equipped to facilitate better quality interdisciplinary communication in certain contexts, but that further work is needed to develop mature curatorial models to facilitate this. A structure for such models is proposed, alongside the steps that now need to be followed if exhibitions are to fulfil this untapped potential at the interface of art and technology.
Hawliau Cyffredinol / General rights Copyright and moral rights for the publications made accessi... more Hawliau Cyffredinol / General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim.
Play Serious is an innovative, seriously playful and playfully serious event for practitioner-res... more Play Serious is an innovative, seriously playful and playfully serious event for practitioner-researchers. An explosion of art, critical insight and creative activity where participants will be encouraged to share their unresolved work, ask each other questions, reflect critically on how practice and research inform one another, develop connections and seed collaborations for the future. The atmosphere will be friendly, fun and fascinating and the event will be a rare and exciting opportunity. So bring your paintbrushes, modelling clay, 4b, 2b and Hb pencils, crayons, camera, 16mm projector or computer and join up to play serious! Who will gain from the event? The participants … and hopefully this will lead to exciting collaborations either through studio practice, producing more traditional academic texts, forging links to other institutions etc.
Research in the visual arts has contributed to the creation of environments that involve cross-di... more Research in the visual arts has contributed to the creation of environments that involve cross-disciplinary, multidisciplinary and interdisciplinary or transdisciplinary projects in departments within and across universities. An overview is provided of the historical context of doctoral awards in the arts with a definition of the terms practice-based, practice-led, and practice as research discussed. It articulates the challenges when acquiring explicit and exact knowledge alongside more subjective approaches that utilize tacit knowledge from artistic practice in research projects. Drawing on examples from art practice and doctoral students work, it analyzes objective, subjective, empirical, and hermeneutic paradigms, as described by Pierre Bourdieu, which can combine empirical approaches and individual understandings to re-enforce our understandings of the world. Keywords Practice-based research • Practice-led research • Practice as research (PaR) creative arts Ph.D. • Collaboration • New technologies • Cross-disciplinary • Interdisciplinary 2.1 Introduction Most researchers are aware of the need to position themselves in relation to other fields or disciplines in order to reveal the particular characteristics of their research findings. At the start of the research process, usually in writing the proposal, it can be challenging for artists when "oneself" often plays a significant role in the object of an enquiry. Research in the arts can be largely hermeneutic; that is the understanding and interpreting of it exposes the subjective limits of the artists' ways of doing and seeing. It is this epistemological method of socially constructing meaning that gives the arts authority within a process of enquiry. However, it is all too easy for knowledge gained tacitly to be "overlooked because it is subsumed into the rational logic of discursive accounts of artistic production" [1]. The articulation of possibilities of artists for shaping consciousness and providing cultural capital can be difficult even
use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you g... more use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons license and indicate if changes were made. The images or other third party material in this book are included in the book's Creative Commons license, unless indicated otherwise in a credit line to the material. If material is not included in the book's Creative Commons license and your intended use is not permitted by statutory regulation or exceeds the permitted use, you will need to obtain permission directly from the copyright holder. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use.
Art, Design and Technology: Collaboration and Implementation, 2017
There are a growing number of research projects in the UK in the field of health and wellbeing th... more There are a growing number of research projects in the UK in the field of health and wellbeing that involve artists utilising new technologies. This chapter explores current examples of nationally funded projects, exhibitions, and artworks that directly relate to public perceptions of mental health. Lessons learnt from the problems and difficulties encountered by artists collaborating with medical professions are a focus, as is the importance of the medium of video and the use of new technologies such as virtual reality in facilitating the implementation of innovative ideas that have made a significant contribution to the field of arts in health. Anguish and distress are fundamental characteristics within the Western artistic tradition, particularly since the Enlightenment. The visual arts offer opportunities to explore inner personal experiences. Psychiatry has historically used reductionist methods to measure some of these experiences such as mental disorder. Although there has been progress, there has also been an increasing dissatisfaction with the way that reductionist science can drain meaning and lived experience out of its understanding of mental illness. Artists acknowledge that much of our emotional experience is pre-verbal or non-verbal and occupies an experiential space that is dream-like and difficult to express through words. This chapter investigates the work of several contemporary international artists-individually, and collectively in exhibitions. These include artists using multimedia and those exploring the use of technology in remote locations with vulnerable adults and young people. Several films, videos, animations, documentaries and online projects involving various public sector organizations and groups of people are also discussed. The lessons learned from collaborative and cross-disciplinary projects are summarized. A research project on art and science continues earlier work where the authors were part of an interdisciplinary research team which completed a pilot study with people attending a mental health outpatient clinic called In-between-ness (www.in-between-ness.co.uk). The original objective was to develop and test methods which could be used to explore the experience of people with a diagnosis of depression as their perception of themselves and the world around them changed through the course of antidepressant treatment. During the pilot, the method was refined and improved, largely as a response to the research participants, who had a strong and distinctive voice. Guided by experts, dialogues and engagement within the collaboration created added value. The chapter concludes by discussing how an expanded team is now ready to conduct a large-scale study using the method they have developed. Keywords Inter-disciplinarity, Practice-based research, Practice-led research, research impact, innovation in art and design, collaboration in the visual arts, art/science, artists moving image, virtual reality (VR) and the arts, arts in health, visual arts and healthcare, post-traumatic stress disorder (PTSD), In-betweenness: Windows Within.
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