Customized Realities
(2024)
author(s): Sorin
published in: Royal Academy of Art, The Hague
Thesis / Research Document of the Royal Academy of Art, The Hague, 2023.
Bachelor Interactive Media Design
In this paper I aim to reveal the influence of echo chambers and the use of echo chambers as a potential tool used as a defense mechanism by the emergent artificial intelligence. We also look at the impact of such defense against our social construct and the availability of genuine human interaction in a world that is
mostly digitally connected then physically .
We investigate in this thesis some contemporary ideas
about our current situation and or potential solution to pop up the bubble of i-reality, a term I used to refer to when thinking about customized reality bubble surrounding every digitally active person.
My research journey starts with reminding us why we do
this research, what is the urgency, and then delving into historical facts and researching contemporary or historical views, analyzing the algorithmic world of social networking and the surprising results
of digital isolation in tiny echo-chambers.
Thus , my research led to several conclusions of how we
might be able to pop up the i-reality bubble and change the grim potential outcome of a world dominated by synthetic life to a world in which we human can cohabitate with a potential self aware synthetic
life .
Graphic Storytelling
(2024)
author(s): Pinzón Lizarazo Oscar Daniel
published in: Research Catalogue
Esta página web recoge la memoria del proyecto narración gráfica a partir del proyecto Narración gráfica, laboratorio de objetos, cartografía digital y mediaciones en experiencias con comunidades de artistas migrantes, registrado con Cód. 10160180521 proyecto institucionalizado sin financiamiento del Centro de Investigaciones y Desarrollo Científico - CIDC de la Universidad Distrital Francisco José de Caldas.
Hace parte del proceso metodológico de desarrollo de la tesis doctoral Narración Gráfica de Experiencias: Intercambios en Imágenes de migración.
Como Laboratorio de investigación - creación ha indagado y trabajado en sus 17 años de existencia en procesos de creación, gestión, investigación, formación y producción de conocimiento desde tres líneas de trabajo:
- Imagen, arte y cultura: como campo de prácticas pedagógicas y estudios de la cultura; donde se cruzan diversos discursos sobre la identidad, los procesos de memoria, lo simbólico, es de interés la sistematización de prácticas artísticas en donde surgen experiencias generadoras de conocimiento sensible.
- El conocimiento libre: Trabaja en la elaboración conceptual de talleres y laboratorios de creación con procesos que se desarrollan desde el concepto de cultura hacedora, promueve el aprendizaje activo, la colaboración abierta, el D.I.Y. y su aplicación en diversos escenarios y contextos.
- La narrativa y la lectura: Se han trabajado procesos de mediación y agenciamiento desde hace mas de 15 años, acompaña sus procesos desde el estudio y elaboración de propuestas creativas que refieren a la narración gráfica y los cruces generados entre las nociones de objeto, plataforma, libro, público y sus relaciones en los procesos de difusión, promoción, producción, edición y diseño de piezas interactivas.
Este proceso fue concebido por Daniel Pinzón Lizarazo quien es Doctorando en Estudios Artísticos de la Universidad Distrital, Magíster en Escrituras Creativas de la Universidad Nacional de Colombia, Diplomado en Antropología del arte de Latir A.C. y el CIESAS en México, Diplomado en estudios editoriales por el Instituto Caro y Cuervo; Licenciado en educación artística de la Universidad Distrital, trabaja como docente, investigador y creador, ha sido gestor y asesor en el diseño de políticas referentes a las pedagogías del arte y la cultura.
Urgent Affairs, Strange Empathy
(2023)
author(s): Sveinung Rudjord Unneland
published in: Faculty of Fine Art, Music and Design, University of Bergen
In 2018, Kunst- og designhøgskolen i Bergen (KHiB) moved into brand new premises in Møllendalsveien, and at the same time changed its name and organizational affiliation to Kunstakademiet – Institutt for samtidskunst, Fakultet for kunst musikk og design, Universitetet i Bergen. At the same time, Sveinung Unneland began his work on the doctoral project Urgent Affairs, Strange Empathy. In the project, Unneland examines these structural and architectural changes, in parallel with that he explores how we can establish different autonomous spaces and practices within the institutional context as such.
Only by insisting on a radical openness about what art is or can be, is it possible, in my opinion, to maintain a meaningful relationship with the concept of art. An important question then becomes how we (as artists, researchers, and teachers) best cultivate and safeguard this openness, in our own practice and within the institutional framework many of us find ourselves in.
Urgent Affairs, Strange Empathy places itself in an institutional tradition that in Bergen goes back to the self-organized Vestlandets Kunstakademi (1973). Through practical collaborative projects, Unneland explores how this legacy can be continued within today's institutional framework. Parallel to this, he has worked with painting as an integral part of the research project; a personal practice where he can set up models for possible relationships between the fictional and the real, the personal and the common, the inside and the outside.
Bio
Sveinung Rudjord Unneland (1981, Farsund) is a visual artist and Ph.D. research fellow at the Art Academy – Institute of contemporary art, at the faculty of art, music and design, University of Bergen. He received his education at the Kunsthøgskolen i Bergen and Kunsthochschule Berlin-Weissensee (2007). Sveinung Rudjord Unneland has worked with Urgent Affairs, Strange Empathy since 2018 under the guidance of Eamon O'Kane and Ane Hjort Guttu.
Curating the Art School – Propositions for developing a collaborative art space in the intersection between art school and community
(2020)
author(s): Susanne Clausen
published in: Research Catalogue
This exposition presents the ongoing artistic research project ‘Curating the Art School – Propositions for developing a collaborative art space in the intersection between art school and community’ which has driven the creation of a new arts organisation at the University of Reading. I would like to offer an introduction to the research questions, a situational and theoretical background and present some of the artistic and curatorial explorations via photo documentation and links to the project pages as a running visual commentary.
‘Reading International’ was established to develop and test the creation of a liminal space between an art school, a regional arts community and an international contemporary art network. By inviting artists to respond to the specific social and historical framework offered by the art school and the town the project aims to explore how we can imagine the art school in a university as a public arena, which opens its life beyond the academic community and actively engages with a wider public? Could the art school become a catalyst to create a speculative thinking space, erasing hierarchical (and economic) divisions between the educational environment and wider publics? How can we create a space that is less separated from the professional public, where artists collaborate with students and the community to create a dynamic cultural space in a regional environment? I would like to set out these questions at an interim stage of the project as a way to invite further responses and discussion.
HISTORY NOTEBOOK
(2018)
author(s): Patti Fraser, Flick Harrison
published in: Research Catalogue
The question: whom do you walk with? Was put to me as a way to reflect on the history of my practice as a community engaged artist over the last part of the twentieth century living on the west coast of Canada. This interactive research space is an attempt to respond to an alternative notion of history and the influences on this art form over the course of thirty years. It also seeks to acknowledge the communities of people this art practice allied itself with. These people and their communities often lived outside and beyond the margins of the national narrative of history and its parade.
It is my hope this site offers a pedagogical space that invites students, researchers, educators, artists, and others to consider the questions that populate and characterize socially engaged arts practice and arts based research. The author’s reflections and writings captured at the roots of this reflection range from videos, poetic inquiry, reports, and scholarly essays on the nature of my experience of working in this field.
Mycological provisions
(2016)
author(s): Christopher Lee Kennedy
published in: Journal for Artistic Research
This exposition considers the use of mycology and chance operation as a method and material for arts-based research. The exposition details a series of mushroom hunting excursions designed to engage four artist-teachers in collaborative dialogue about their practice and identity. As participant and researcher converse, the hunts unfold as dérive-like encounters with a landscape interrupted through chance and embodied experience. The project draws from the work of artist and composer John Cage, who used fungi and mushroom hunting as one of many devices for exploring sound and its relationship to environment. Contextual research and documentation offer a glimpse into this process, while considering unstructured, kinetic, and uncertain ways of knowing in qualitative and arts-based research. The aim is to explore mycology as a post-formal lens for understanding the pedagogical and creative practices of the artist-teacher as a networked, fluid, and relational system.
Reconfiguring Think Tanks as a discursive, social model in contemporary art | Residencies as places of continuity, mutuality, free thinking and independent research
(2015)
author(s): Andrea Pagnes
published in: Research Catalogue
In general, art contains in itself a revolutionary quid, as the artist - through his/her work - provides an opportunity to look at the world in a different way from that to which one was used. The art has a function of perceptive awakening and therefore of sensorial activation. This is revolutionary, because it can change your perception of life that you have had up to that time. Out of this perspective, to reconsider artist in residencies as not mere hosting institutional containers, but as laboratories of continuative production of thoughts and ideas, might also reinforce the concept that a work of art is thus the end result of a specific process – possessing specific forms and aesthetic, and that it serves no purpose except that of channelling a very specific form of energy. It’s always a sort of communicative performance. It allows man to plumb his/her own conscience and to void it, as it’s only within empty spaces that energy can unleash its creative force. For it, it is required great effort and care not just from the artist who's temporarily involved, but from the ones who run the artist in residencies themselves.
Formless beginnings
(last edited: 2023)
author(s): Sjoerd Westbroek
This exposition is in progress and its share status is: visible to all.
What does it mean to begin something as an artist, to embark on a new project? How does a beginning materialise your beliefs, intentions, hopes for the future, as well as your indebtedness to what is there and what has happened before? What rituals do you design to prepare beginning? As an educator, to what extent can each class be seen as a new beginning, in a sense that the outcome can never be predicted? And, how do you support others in beginning?
These are some of the questions that guide me while exploring the practices at WdKA and PZI that I am involved in. Working for the Teacher Training Programme and the Master Education in Arts, I am interested in the question if there are specific pedagogical practices that prepare working artistically.
The complexity of beginning serves as a focal point that allows me to map how a nexus of art and pedagogy could materialise. An understanding of beginning as something that needs a preparation already shows its paradoxical nature, as beginning is also always continuing what is already there. My work on the topic involves theoretical study and writing, as well as developing a more practical approach, collecting stories and creating exercises around pedagogy and art as beginning.
Analyse en reflectie
(last edited: 2023)
author(s): Kesha Felipa
This exposition is in progress and its share status is: visible to all.
Een cartografie over de spanningsveld in mbo mode en beeldende vorming die tijdens mijn afstudeerstage van mijn docentenopleiding ervaarde.
Waar aan de ene kant de onderwijsinstelling vol inzet op nieuwe en innovatieve (fysieke) leeromgevingen. En aan de andere kant studenten behoefte hebben aan de menselijke maat bij docenten en meer aandacht willen voor creatieve vakken om zich te ontplooien, te experimenteren en vorm te geven aan hun eigen verhaal.
kartografie - Analyse en Reflectie - Ellen Dupré
(last edited: 2023)
author(s): Ellen Dupré
This exposition is in progress and its share status is: visible to all.
Spanning in de praktijk
vrouwonvriendelijkheid in theater
stereotype vrouwenrollen
gender ongelijkheid in theater
Scribbling While Walking Through Hybrid Arts-Based Research Methodologies
(last edited: 2022)
author(s): letbal
This exposition is in progress and its share status is: visible to all.
This article focuses on reflecting on my position as an artist-teacher-researcher and mother while conducting doctoral research studies through the arts in a multicultural educational international school. I present my visual and performative exploration of a multilayered dynamic arts-based research diagram including artistic research processes and a/r/tographic principles. I used the diagram to reflect on research methodologies in the arts that can help me to understand the multiple roles I inhabit and how this affects my praxis as a teacher of art. I also describe how designing and teaching an inquiry-arts-based curriculum addressing intersectionality and possible connections to the environment for middle school is entangled to roles, concepts, and the unfolding inquiry paths that surge from internal but also external factors within the research.
Kunstplan ArtScience KABK 2019/2020
(last edited: 2020)
author(s): ArtScience
connected to: Royal Academy of Art, The Hague
This exposition is in progress and its share status is: visible to all.
Kunstplan ArtScience KABK 2019
'Buurtte' Educational tool
(last edited: 2019)
author(s): Richard Meeuws
This exposition is in progress and its share status is: visible to all.
Dit is een onderzoek dat zich richt tot begleiding op een gezellige manier. Dit benoem ik tot buurtte.