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Since the 1990s, creative disciplines including art, design, architecture, and performance have increasingly engaged with academic research. The practitioners’ creative practices are employed as vehicles of theoretical inquiry and subjects for scholarly research, which has often been labeled practice-led or practice-based research3 (Nimkulrat, 2009b, p. 484; Rust, 2007; Scrivener, 2009,4 p. 69). This approach encourages the inclusion of the researcher’s creative practice. Its main concept concerns the researcher who simultaneously takes the role of an artist or a designer and carries out the creative process and production of artifacts as the target of the reflection. According to Rust (2007, p. 75), for artists and designers to be considered researchers, they must prove the ownership of their research by: (1) indicating the research problem and its rationale; (2) demonstrating a good understanding of the research context; (3) acquiring research methods and consolidating them in an explicit way that is understandable by other researchers; and
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