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KAPTUR, DHC 2012

examining the importance and effective management of research data in the visual arts [Leigh Garrett and Marie-Therese Gramstadt]
by

Marie-Therese Gramstadt

on 7 September 2012

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Transcript of KAPTUR, DHC 2012

1. Introductions 2. Learning Outcomes




4. Project Overview




6. Project Direction User requirement
Systems evaluation
Pilot research data management system
Deadline: October 2012 Partner institutional working groups established
Recommendations made to respective Research Committees
High level strategy based on the University of Edinburgh model
Deadline: December 2012 Internal Dissemination
Creation of toolkits and training materials for researchers and professional support staff
External Dissemination
Partner institutional case studies
Project Conference
Deadline: March 2012 > Leigh Garrett: lgarrett@ucreative.ac.uk
> Marie-Therese Gramstadt: mgramstadt@ucreative.ac.uk
> blog:
> website:
> events:
> outputs:
> SlideShare.net:
> Facebook page:

> Twitter: @MTG_work and @UALKaptur https://kaptur.wordpress.com http://vads.ac.uk/kaptur/ http://vads.ac.uk/kaptur/events.html http://vads.ac.uk/kaptur/outputs/ http://www.slideshare.net/kaptur_mrd/ http://www.facebook.com/pages/JISC-Kaptur/277914272231913 https://twitter.com/MTG_work https://twitter.com/UALKaptur examining the importance and effective management of research data in the visual arts KAPTUR Digital Humanities Congress, 8th September 2012, University of Sheffield Leigh Garrett and Marie-Therese Gramstadt
Visual Arts Data Service, University for the Creative Arts Research Centre of the University for the Creative Arts
Established in 1997
Focus on the visual and creative arts
National repository for images
120,000 images; 300 collections and educational resources
Free for educational purposes
Research and consultancy services Appreciate the context and rational for the project
Understand the method used during the project
Recognise the diverse and complex nature of visual arts research data
Appreciate the complexities involved in managing research data in the visual arts
Be aware of the project's future direction Value and potential of research data
Research management in the visual arts is ad hoc; none of the specialist arts institutions have policies, procedures or systems
Appropriate curation and preservation of research outputs in the visual arts is highly complex and therefore it was anticipated that issues around research data were expected to be equality challenging This question could be a separate research project in its own right, so for the purposes of the KAPTUR project visual arts was defined by the original collecting areas of the Visual Arts Data Service: Visual Arts Research Data Questions Therefore,
how do you define
visual arts research data? How do you define visual arts research? How do you define the visual arts? (cc) photo by theaucitron on Flickr (cc) photo by theaucitron on Flickr what is visual arts research data? An internationally debated topic; literature such as The Routledge Companion to Research in the Arts (2010) has been covered in the KAPTUR Environmental Assessment report: http://www.research.ucreative.ac.uk/1054/ The onus is on the funders of visual arts research and the doctoral awarding institutions to define visual arts research. Our aim is therefore not to define it but rather to investigate its nature through examples arising out of the Environmental Assessment through the literature review and interviews with visual arts researchers. We have a working definition of visual arts research data published in a peer reviewed journal (section 5.2 Findings): University of the Arts London, one of the KAPTUR project partners, is also looking into this through the Digital Curation Centre University Engagement programme. http://ewic.bcs.org/upload/pdf/ewic_ev12_s5paper1.pdf University of Edinburgh has a useful definition of research data: http://bit.ly/aGXhiY For the purposes of the KAPTUR project our focus is necessarily on externally funded research projects undertaken by visual arts researchers. Research Data in the Visual Arts? funders' requirements Open Access demystify methods and outputs maximise value of limited public funding discoverability leading to future collaborations enable use of semantic web tools to make connections re-use enables new interpretations and research track impact of published research data additional value from re-use research data is a valuable asset Contacts and links To investigate the nature of research data in the visual arts
To consider the application of technology to support collection, discoverability, usage and preservation of research data in the area
To establish appropriate policies, procedures and systems within the four partner institutions
To demonstrate a model of good practice Environmental analysis
User requirement, systems evaluation and piloting
Policy formation
Toolkits and training materials
Dissemination


Model of good practice developed within the four partner institutions
Application for reuse more widely across the sector, particularly when working within complex multi-media objects 3. Research Data in the Visual Arts? 5. The Nature of Visual Arts Research Data Visual Arts Data Service Learning Outcomes Background Objectives Method Anticipated Outcomes User Requirement, Systems Evaluation and Piloting Policy Formation Capacity Building http://web.archive.org/web/20040202075157/http://www.vads.ahds.ac.uk/about/index.html "Research data can be described as data which arises out of, and evidences, research. This can be classified as observational, including: sensor data; experimental; simulation; derived or compiled data for example databases and 3D models; or reference or canonical for example, a collection of smaller datasets gathered together (University of Edinburgh 2011a). Examples of visual arts research data may include sketchbooks, log books, sets of images, video recordings, trials, prototypes, ceramic glaze recipes, found objects, and correspondence.

The project team found that the nature of visual arts research data can be both: tangible and intangible; digital and physical; heterogeneous and infinite; and complex and complicated (Garrett et al. 2012)." Quoted from:

References

Garrett, L., Gramstadt, M-T, Burgess, R., Murtagh, J., Spalding, A. and Nadim, T. (2012) JISC funded KAPTUR project environmental assessment report. Visual Arts Data Service (VADS), a Research Centre of the University for the Creative Arts. http://www.research.ucreative.ac.uk/1054/ (retrieved 3 April 2012).

University of Edinburgh. (2011a) Defining research data. http://www.ed.ac.uk/schoolsdepartments/informationservices/services/research-support/datalibrary/research-data-mgmt/data-mgmt/researchdata-definition (retrieved 3 April 2012). http://ewic.bcs.org/upload/pdf/ewic_ev12_s5paper1.pdf Paul Hurley’s ‘Becoming Snail’.
© University of Bristol 2009. Photo of studio space
© Goldsmiths, University of London Colour exercise: Exploration of secondary central hues, 1960. Basic Design Collection. © National Arts Education Archive Non-commercial. Available from: www.vads.ac.uk http://www.vads.ac.uk/resources/CF.html
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