Ceramics is an extraordinary craft-based discipline. It is also an art and a science. The materials that ceramicists use have changed over the last century, but many of the core creative methods remain the same. None of what I have just said would be possible without some research into the history and practices of ceramic artists and the technologies they use. So, for example when I mention to people that ceramic engineering is a crucial part of the digital age, they don’t know what I am talking about. Optical fibers make use of ceramic materials. The tiles which cover the bottom of the Space Shuttle are made of ceramic materials shaped and formed using a variety of heating and manufacturing methods.
Ceramics is increasingly being used in the creation of products (other than the traditional ones) and is linking itself to product and industrial design. There are medical applications and so on.
I mention this to point out that research is fundamental to any creative exploration and that research may take any form — and make use of any number of different materials. A reductive approach will not recognize the rather extensive way in which the practice of creation is deeply involved with everything from theory through to reflection and self-criticism. For too long, universities in particular have maintained distinctions between their professional and non-professional disciplines as a way of differentiating between applied and pure research. The latter is supposed to reflect a disinterested approach to knowledge in the hope that over time the research will produce some results. The former is supposed to direct itself towards results from the outset and to be more directly connected to industry and the community. Engineering schools for example, are cloistered in separate buildings on university campuses and generally develop an applied approach to learning. In neither case, applied or pure can the distinctions I have just mentioned work since by its very nature research is **always** both applied and pure.
Creative practices are generally seen as applied because the focus is on materials even if they are virtual. The standardized and by now clichéd image of creative people driven by intuitions and/or inspiration actually covers up the years of apprenticeship that every artist has to engage in to become good at what they do.
Every creative discipline involves many different levels of research, some of which is directly derived from practices in the social sciences, as well as the sciences. In the next installment of this article, I will examine how creative practices are at the forefront of redefining not only the nature of research but the knowledge base for many disciplines.