Didaktikk – i spennet mellom klassisk formidling og performativ praksis

Denne artikkelen argumenterer for at overgripende vitenskapsteoretiske forhold ligger til grunn for forståelser av kunst og kunnskap. En eksponent for dette synet er Martin Jay slik han klassifiserer ulike former for kunstoppfatninger med utgangspunkt i disse forståelsesformenes vesensforskjellige epistemologiske tilhørighet (Jay 1995). Å vise til nivåsammenhengen mellom epistemologi og kunnskaps- og kunstforståelse kan vel nærmest fremstå som innlysende. Likevel er det sjelden å se at dette synspunktet, som vanligvis uttrykkes på et metaplan med generelle formuleringer om nivåsammenhenger, blir fulgt opp i form av mer spesifikke analyser av de påståtte relasjonene. Derfor vil jeg i denne innledende artikkelen konkret analysere og utvikle et teoretisk rammeverk for å undersøke sammenhengen mellom kunstdidaktiske forhold og epistemologi. Intensjonen er å bidra til en drøfting av hva en didaktikk på kunstens premisser kan innebære. Avslutningsvis sees dette temanummerets øvrige artikler i tilknytning til det teoretiske rammeverket som presenteres

Didaktikk – i spennet mellom klassisk formidling og performativ praksis

This article argues that overarching epistemological relationships form the basis for understandings of art and knowledge. One exponent of this view is Martin Jay (1995) who classifies various understandings of art based on their different epistemological foundations. Pointing to the relationship between epistemology and conceptions of art and knowledge, may perhaps seem obvious. However, this view, which often is expressed on a meta-level referring to general connections, is only rarely dealt with through more specific analyses of the alleged relationships.Therefore, the intention of this introductory article will be to analyze and develop a theoretical framework for investigating the relationship between the didactics of art and epistemology, hopefully contributing to discussions concerning the development of a didactics on the conditions of art itself. Finally the other articles in this special issue are related to this theoretical framework presented.Denne artikkelen argumenterer for at overgripende vitenskapsteoretiske forhold ligger til grunn for forståelser av kunst og kunnskap. En eksponent for dette synet er Martin Jay slik han klassifiserer ulike former for kunstoppfatninger med utgangspunkt i disse forståelsesformenes vesensforskjellige epistemologiske tilhørighet (Jay 1995). Å vise til nivåsammenhengen mellom epistemologi og kunnskaps- og kunstforståelse kan vel nærmest fremstå som innlysende. Likevel er det sjelden å se at dette synspunktet, som vanligvis uttrykkes på et metaplan med generelle formuleringer om nivåsammenhenger, blir fulgt opp i form av mer spesifikke analyser av de påståtte relasjonene. Derfor vil jeg i denne innledende artikkelen konkret analysere og utvikle et teoretisk rammeverk for å undersøke sammenhengen mellom kunstdidaktiske forhold og epistemologi. Intensjonen er å bidra til en drøfting av hva en didaktikk på kunstens premisser kan innebære. Avslutningsvis sees dette temanummerets øvrige artikler i tilknytning til det teoretiske rammeverket som presenteres

Kunstdidaktikkens møte med marginale røster

Artikkelen utforsker kunstdidaktikken fra et teoretisk begrepsutviklingsperspektiv og fremviser temanummerets fokus på marginale røster i og gjennom kunsten. Forfatterne belyser hvordan kunsten kan bidra med et mulighetsrom for å realisere et reelt kulturelt demokrati i samfunnet ved hjelp av samtidskunsteksempler og forslag om å utvikle en estetisk vitenskapsteori

Møter med marginale røster i kunstdidaktikken

The article explore arts didactics from a theoretical perspective with the purpose of developing concepts and focus on marginal voices in the arts. The researchers highlights how arts can contribute to a room of possibilities in order to realize cultural democracy, by contemporary art examples and further development of an aesthetic epistemology.Artikkelen utforsker kunstdidaktikken fra et teoretisk begrepsutviklingsperspektiv og fremviser temanummerets fokus på marginale røster i og gjennom kunsten. Forfatterne belyser hvordan kunsten kan bidra med et mulighetsrom for å realisere et reelt kulturelt demokrati i samfunnet ved hjelp av samtidskunsteksempler og forslag om å utvikle en estetisk vitenskapsteori

Kunstdidaktikkens møte med marginale røster

Artikkelen utforsker kunstdidaktikken fra et teoretisk begrepsutviklingsperspektiv og fremviser temanummerets fokus på marginale røster i og gjennom kunsten. Forfatterne belyser hvordan kunsten kan bidra med et mulighetsrom for å realisere et reelt kulturelt demokrati i samfunnet ved hjelp av samtidskunsteksempler og forslag om å utvikle en estetisk vitenskapsteori

The Third Site: Blending Polyphonic Methodology and Epistemology

This article discusses how art and academia can intervene in what the authors call the third site. The authors’ common ground lies in an interest in artistic encounters between people where art and academia bring new discoveries on both the personal and the professional level. The core of this article is the lecture performance in which the authors explore boundaries of the personal, academia and art. By using artistic, art-based, and scientific approaches, they explore how established positions in art and academia can blend polyphonic methodology and epistemology. In their performative writing they use this artistic competence as their starting point, using performativity as an active event that produces representations of lived lives, the production of existential empiricism. Their endeavour is to illuminate value-related and new questions through art making and establish an epistemological and methodological basis for working with art and academia. The authors believe that the blurring of borders between art and academia contributes to epistemological and methodological pluralism. Through artistic experiences, academia becomes vital and varied, creating a diversity of ways in which knowledge and the meaning of life can be represented.This article discusses how art and academia can intervene in what the authors call the third site. The authors’ common ground lies in an interest in artistic encounters between people where art and academia bring new discoveries on both the personal and the professional level. The core of this article is the lecture performance in which the authors explore boundaries of the personal, academia and art. By using artistic, art-based, and scientific approaches, they explore how established positions in art and academia can blend polyphonic methodology and epistemology. In their performative writing they use this artistic competence as their starting point, using performativity as an active event that produces representations of lived lives, the production of existential empiricism. Their endeavour is to illuminate value-related and new questions through art making and establish an epistemological and methodological basis for working with art and academia. The authors believe that the blurring of borders between art and academia contributes to epistemological and methodological pluralism. Through artistic experiences, academia becomes vital and varied, creating a diversity of ways in which knowledge and the meaning of life can be represented

Artists and gentrification in specific urban contexts. A case study from Wiliamsburg, New York

This article present a case study of artists' role in urban development processes. The focus is upon an evacuation process from a factory building where about 250 artists lived and worked, and how they managed to get back into the building some months later. We put this event into the context of social and urban development processes in Williamsburg, New York. We know well how artists often are looked upon as "pioneers" in gentrification processes, but we know less about how artists are "thrown" into different positions: as victims, as creative resources in cultural strategies, innovation, and so on. There is a need for an analysis on artists' possible role as "brakes" in gentrification processes, in the meaning of not having the means for physical upgrading the residential and industrial sites. Most often artists let buildings and facilities keep the state just necessary for living and working. This also means that non- affluent people can stay in the neighborhood, because living costs in the area are kept to an acceptable level. In this case, we find that artists and a local community in Williamsburg together may represent a brake for gentrification. As research methods we use personal interviewing of artists and representatives of community organizations, document analysis, and visual documentation of the urban landscapes in question (photo, video). This article, which is is the first publication from this study, will be followed by a deeper analysis and dissemination later on

Artists and gentrification in specific urban contexts. A case study from Wiliamsburg, New York

This article present a case study of artists' role in urban development processes. The focus is upon an evacuation process from a factory building where about 250 artists lived and worked, and how they managed to get back into the building some months later. We put this event into the context of social and urban development processes in Williamsburg, New York. We know well how artists often are looked upon as "pioneers" in gentrification processes, but we know less about how artists are "thrown" into different positions: as victims, as creative resources in cultural strategies, innovation, and so on. There is a need for an analysis on artists' possible role as "brakes" in gentrification processes, in the meaning of not having the means for physical upgrading the residential and industrial sites. Most often artists let buildings and facilities keep the state just necessary for living and working. This also means that non- affluent people can stay in the neighborhood, because living costs in the area are kept to an acceptable level. In this case, we find that artists and a local community in Williamsburg together may represent a brake for gentrification. As research methods we use personal interviewing of artists and representatives of community organizations, document analysis, and visual documentation of the urban landscapes in question (photo, video). This article, which is is the first publication from this study, will be followed by a deeper analysis and dissemination later on

Retten til byen. En studie av byutviklingsprosesser i New York og Oslo

En studie av byutviklingsprosesser i New York og Oslo. (english text i part II of the report) Utgivelsesdata Tittel:Retten til byen. En studie av byutviklingsprosesser i New York og OsloForfatter(e):Oddrun Sæter, Venke Aure, Kristin BergaustSerie:HiOA rapportIssn:1892-9648Nr:2013 nr 10Utgiver:HiOAAvdeling/fakultet:FoU StorbyprogrammetSider:241Pris:400,– ISBN-print:978-82-93208-45-

Artistic and Art-Based Research Methods: The Mutual Developments of Theory and Practice in Contemporary Art Research

This special issue is intended as a contribution to the field of artistic research with a particular focus on artistic and art-based methods. Finding that reflections and scientific articles on artistic research often argue for the relevance and position of artistic research as research in itself, it is here the intention to promote and develop the variety in artistic research methodology and also discuss the relations between artistic practice and research practice. The issue consists of one previously published video work and 12 original articles – 11 are written in English and one in Danish, the latter will appear in an English translation later this year. The presented methods cover conceptual, material, analytical and observational modes of research, and most of the authors are both artists and researchers – that is, working in higher education and holding PhDs or positions as professors. Table of contents 1. Forms of artistic and art-based research Listening to the Forest Ellen Johanne Røed Penance Practices Used as an Artistic Research Method Gunhild Vatn Artistic Research in Artists’ Books Ingeborg Stana Dogma Film and Ceramic art: The Case of ‘Blue Collar – White Collar’ Arild Berg 2. Material constrictions and relations AestPra – a Meta-methodology for Art and Craft Astrid Heimer To Research by Two Hands Vibeke Sjøvoll, Geir Grothen Co-designed Embroidery Student Projects in Art and Design Education Randi Veiteberg Kvellestad 3. Artistic research in a social context Border Threads How Ethical Dilemmas of User Involvement in Art Become a Driving Force for Developing Artistic Practice Camilla Dahl Research Innovation: Advancing Arts-based Research Methods to Make Sense of Micro-moments Framed by DementiaLilli Mittner, Rikke Gürgens GjærumHelene Illeris, Kristian Nøh3veh3 Knudsen, Lisbet Skregelid A/r/tografi som Tilgang til Udvikling af en Sanselig Bæredygtighedsdidaktik i KunstfageneHelene Illeris, Kristian Nøh3veh3 Knudsen, Lisbet Skregelid 4. Extended conceptions of knowledge in an art-related research context Enabling Knowledge: The Art of Nurturing Unknown Spaces Cristina Archetti, Camilla Eeg-Tverbakk Choreographic Principles in 'Affective Choreographies' Ingri Midgard Fiksdal The Third Site: Blending Polyphonic Methodology and EpistemologyMimesis Heidi Dahlsveen, Venke AureThis special issue is intended as a contribution to the field of artistic research with a particular focus on artistic and art-based methods. Finding that reflections and scientific articles on artistic research often argue for the relevance and position of artistic research as research in itself, it is here the intention to promote and develop the variety in artistic research methodology and also discuss the relations between artistic practice and research practice. The issue consists of one previously published video work and 12 original articles – 11 are written in English and one in Danish, the latter will appear in an English translation later this year. The presented methods cover conceptual, material, analytical and observational modes of research, and most of the authors are both artists and researchers – that is, working in higher education and holding PhDs or positions as professors. Table of contents 1. Forms of artistic and art-based research Listening to the Forest Ellen Johanne Røed Penance Practices Used as an Artistic Research Method Gunhild Vatn Artistic Research in Artists’ Books Ingeborg Stana Dogma Film and Ceramic art: The Case of ‘Blue Collar – White Collar’ Arild Berg 2. Material constrictions and relations AestPra – a Meta-methodology for Art and Craft Astrid Heimer To Research by Two Hands Vibeke Sjøvoll, Geir Grothen Co-designed Embroidery Student Projects in Art and Design Education Randi Veiteberg Kvellestad 3. Artistic research in a social context Border Threads How Ethical Dilemmas of User Involvement in Art Become a Driving Force for Developing Artistic Practice Camilla Dahl Research Innovation: Advancing Arts-based Research Methods to Make Sense of Micro-moments Framed by DementiaLilli Mittner, Rikke Gürgens GjærumHelene Illeris, Kristian Nøh3veh3 Knudsen, Lisbet Skregelid A/r/tografi som Tilgang til Udvikling af en Sanselig Bæredygtighedsdidaktik i KunstfageneHelene Illeris, Kristian Nøh3veh3 Knudsen, Lisbet Skregelid 4. Extended conceptions of knowledge in an art-related research context Enabling Knowledge: The Art of Nurturing Unknown Spaces Cristina Archetti, Camilla Eeg-Tverbakk Choreographic Principles in 'Affective Choreographies' Ingri Midgard Fiksdal The Third Site: Blending Polyphonic Methodology and EpistemologyMimesis Heidi Dahlsveen, Venke Aur