4.3. aRt&D Methods overview
This investigation reveals the groundless devaluation of the arts in interdisciplinary collaborations. The explicit electronic art methods, provided as an outcome of this research, contribute to an improved profile of the electronic art contribution in multi- and interdisciplinary collaborations.
In electronic art, the collaborative aspect is unavoidable, and the next generation of artists will be teamworkers. The overview in the aRt&D Matrix is available for future collaborators as a guide to interdisciplinary collaboration between artists, technicians and (computer) scientists. Future collaborators have three categories to consider as the preferred method(s). Processpatching, as a method to support interdisciplinary collaborations between artists, (computer) scientists, and technicians, is a valuable addition to the widely used instrumental (multidisciplinary) problem solving approach. DIY reflects the independent artist’s attitude.
The Final aRt&D Matrix (fig. 35) serves as a reference framework for multi- and interdisciplinary collaboration, and articulates different angles and objectives towards technology development, as represented in technology-driven R&D and experience-oriented aRt&D, as a contribution to the shared knowledge among the participants.
The three major aRt&D methods contribute to an outspoken role of the artist in collaborations and thus to a higher profile for the electronic artist. The aRt&D Matrix reflects assimilation (rather than integration) of the arts in dynamic contexts, as the premise of this research. This is the next step in the process of gaining full recognition for artistic research and development as a valuable contribution in collaborative projects with (computer) scientists and technicians.
As shown in the aRt&D matrix above, connecting or processpatching is the support method for interdisciplinary collaboration that enables the collaborators to connect different research fields (technological and non-technological) and to exchange knowledge between the technical and/or scientific research and other fields. It offers a reference to the most frequently used methods and approaches to include the audience or participant in the creation process. The final aRt&D Matrix also emphasises the ‘meta’ view and iterative approach of the intrinsic electronic art processpatching method, which contrasts the tunnelled and reductive approach. I believe that the processpatching method offers a significant contribution to the renewal of all involved disciplines through the re-contextualisation of aRt&D and R&D activities. Processpatching is a supporting method for the transvergence practice. The electronic artist now has a toolset and several aRt&D methods at their disposal for effective collaboration and mediation between the disciplines.
Art practice, as discussed in this study, directed me to user-centred and experience design. Interface design and knowledge representation have been identified as today’s two main research areas of interest for interdisciplinary collaboration. These research and development areas offer plenty of opportunities for renewal in the arts, (computer) science, and technical research, through the potential for wider application. In these areas, the artist acts as an aRt&D researcher in his/her own right; the role of the artist is complementary to the scientists or technicians. Artists, as specialists in this area, now have their own formalised tools and methods to build their practice, to share this practice and to take the lead in the transvergence zone.
The aRt&D methods as outlined in the aRt&D Matrix provide the basic parameters to establish a convenient interdisciplinary or multidisciplinary collaborative project, where the sum is more than the parts and where shared interest leads to something none of the individuals would have been able to realise.
