If the operation of visual intelligence in art practice is often in part at least instinctive, intuitive and closely related to particular aims, materials, methods and sensibility, that is, embedded in the texture of a particular practice itself, what is the best way to research into it? To what extent are practitioners able to reflect on and describe processes of contextual decision-making? Are such processes evident, directly or indirectly, in the appearance of the pieces that result from them? What methodologies are best suited to documenting the creative process? If visual intelligences are highly specific to particular practices to what extent is generalisation possible, and what might be the implications for the studio curriculum of art education?  Please see work in this area in the symposia & exhibition sections of this site.