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The phenomenon of artistic research attracts considerable attention because of the growing integration between art, design and science. At the same time, it remains a challenging research subject that is interpreted differently by various scientists, designers and artists. This paper presents an attempt to investigate the relationship between artistic research and artistic practice, and the role of artistic research in artists' books. It aims to present a brief history of artists' books and show how various artists have captured the complex creative and artistic processes, results or stories behind the works of art. The article also discusses the problem and potential of representation in artists' books and examines them as an effective mechanism for disseminating findings of artistic research. To present the multifaceted action behind a work of art implies challenges. The author's own attempt to capture knowledge from artistic research was challenged while working on a book project and will be part of the discussion. Finally, the study will illustrate how artists' books contribute to the process of capturing reflections of artistic research and make the manifestations accessible to people outside of the formal context of the lecture halls. [ABSTRACT FROM AUTHOR]

In this article, we explore artistic research methods by committing ourselves to writing in a sense Cixous is thematizing in her book Three Steps to the Ladder of Writing: a way of writing that includes what is banished, considered unclean, the mute and the missing, and by including drawing in the attempt. Our article's starting point is our experiences working with and producing conventional and publishable academic texts. Our experiences have, in ways that still are not transparent to us, made the transition towards achieving the right skills for producing orthodox academic texts more complicated and hurtful than we could imagine. The desired language, the academic, is a language created to represent reality in transparent ways; you are expected to be able to present the world as a series of findings. Our writing and drawing as creations are contrary to this reduction. The text and the drawings attempt to demonstrate and discuss the possibilities of engaging in writing and drawing as production on its own terms and stop regarding them as activities that mirror what already is. Instead, we aim to experiment and thus maybe create something that was not already there, something new, something that might be missing. [ABSTRACT FROM AUTHOR]