For many, artistic creation is considered as a complex process involving experimentation, reflexivity, trial and error, a process involving some form of “research” (Borgdorff, 2011). Reciprocally some academics consider their research activities as creative, analogous to an “artistic process” (Esclapez, forthcoming). At the same time, most seem consider these two practices as different, at least on an epistemological level, even though some analogies can be drawn between the two. This is especially true of practices involving the use of technology, such as record production: we rely on machines and techniques to conceive, produce and disseminate our works; we consider our creative process as one involving “research”; we rely on sociological, musicological, statistical studies to better understand the impact of our work.
In this paper, we would like to approach a very specific point of juncture between artistic creation and academic research: Research-Creation. Defined as a fruitful short-circuit where research and creation collide around a common goal and establish a dialogue in causal interaction, research- creation could help us give rise to academic and artistic results that could not have emerged otherwise. In order to exploit this fragile and (usually) evanescent point of juncture, research- creation will be presented as a methodological approach, most often involving a team of theorists and patricians united around a common project. After a detailed definition and characterization of the concept (Stévance & Lacasse 2018), some examples of research-creation in record production will be examined, hoping that this approach will lead to exciting new projects by our (somewhat) scattered community, composed of academics, artists, technicians and other hybrids.
