2.2.3.4. Problem solving: conclusion

(fig. 6 aRt&D Matrix reductive method)

This part of the chapter concludes that the problem solving approach is most relevant in a practical context. In an electronic art context (2.2.3.1.), the problem solving approach is mainly applied in parts of the work or to solve practical (material, technical) problems. This sometimes leads to small inventions, in particular in the field of tools or instruments, as it is mentioned (2.2.3.1.) that artists come up with other types of problems than technicians would. The artist as inventor of new technology (2.2.3.1.1.) is a widely acknowledged role, though it is strange that the background or the way it is achieved is never highlighted, as the mythical aspects seem to be part of the recipe for success. The artist in the role of innovator often has a different perspective on technological issues compared to the technological research objectives in other disciplines. Often the artist’s role in technological inventions stems from a fresh fascination about the technology or an artistic premise, and thus does not meet a market need. Moreover the artist’s technical requirements do often not meet the required stability for mass production. In these situations, a reductive approach is used to reach the core of the problem that needs to be solved. In collaborations among artists and engineers, the engineer often fulfils the role of problem solver. Latour (2.2.3.2.) states that, in the interdisciplinary context, artists are considered as ‘visualisers’ of abstract scientific research, which is in conflict with contemporary art practice where artists are, since the early 20th century, hardly ever concerned with representation anymore. He suggests that scientists take over this part of the art practice. Instead, artists have ‘taken over’ the abstract scientific visualisation software, and critiqued or re-purposed this for critiquing or visualising ‘invisible’ structures and processes. Problem solving, or puzzle solving as Kuhn refers to it, in science (2.2.3.3.) has a long tradition and is based on a reductive approach. ‘Normal’ science deals with innovation through building upon existing knowledge and thus also applies the ‘problem solving’ approach, though this is debated due to the slow incremental growth of knowledge and reduced chance for real breakthroughs. The reduction of the problem domain, as reflected in ‘normal’ science, brings forward the risk of isolation or self-referential practice, and according to Kuhn, this demands input from non-scientists to evoke paradigm shifts and scientific revolutions. To reposition the arts, the Bauhaus migrated its methods for problem solving to design practice, where problem solving has a longer instrumental tradition. This is in line with Edmonds and Candy who also borrow those approaches from design as this matches best with engineering approaches.

The problem solving approach is directly related to the instrumental and practical aspect of art and technology. All authors refer indirectly to the multidisciplinary collaboration model where another discipline is considered as a problem solver for them and not for establishing a common practice. The disadvantage of problem solving is that it conflicts with shifting goals or objectives during the course of a project.

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