The Norwegian Artistic Research School

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Seminar 2

Learning outcomes

On completing of the seminar, the fellow:

• can contribute to the discourse on artistic research
• can share artistic research in relevant national and international contexts 
  

This includes that the fellow:

Working methods

Seminar leaders and contributors

• Annette Arlander (seminar leader)

• Caroline Slotte

• Knut Olaf Sunde
• Yuka Oyama 
• Tijs Ham
• Linda Lien  

Preparations and seminar program

Preparations

Documenting and sharing your research process:

Before the seminar, all participants need to: 

1) Read the literature on the mandatory reading list. 

2) Make yourself familiar with the work of the fellows in your group (the groups will be annonced before the seminar). Submit one image, sound (max 30 seconds), or video (max 30 seconds) that gives us a glimps into your work. 

3) Reflect on how you work as an artist and how those methods could be articulated and used as research methods. Be prepared to discuss this with the others.

4) Create a plan (in English) with two parts, one for sharing and the other for documenting your process. Please make one document for each of the parts. The plan can be based on your current practice or it can be a speculative plan, for an ideal situation, a future development. Consider the customary strategies within your field, and whether you want to change them in some manner. Use no more than approximately one A4 for each part (500 words). If your plan is longer, share only a summary of it. You can include links to websites with images, sounds, etc. Please take care, however, that the main plan is understandable without them.     

Part one: Plan for sharing your artistic research process:

• Draft a strategy for sharing your process, rather than the final results. Which parts of your work do you want to share with others, with whom, when and where, how often, in what media, for what purpose? What are your most important research methods, and how do your methods influence the potential of sharing outcomes along the way? (Add questions as needed).    

Part two: Plan for documenting your artistic research process: 

• Draft a strategy for documenting and recording your process, rather than the final results. Which parts of your work do you want to document and keep a record of, with what media or tools, when and how detailed, to be shared or private, for what purpose? (Add questions as needed).   

Please prepare and submit this assignment to pku@hkdir.no no later than 29 January at 10:00. Include the image, video, or sound as alink or separate file. 

At the seminar:

1) Please be prepared to introduce one of the other participants, based on their pre-shared material (max. 90 seconds):

• Who is the person?
• In what field does the person work?
• What is the name of the research project?
• How does the person work?

2) Please be prepared to introduce us to your project by sharing images, videos, performances, and/or sound. Maximum 4 minutes, including talking. We do not expect to understand your project fully, but to get an idea or feeling about what you are working within. The sharing can be less than 4 minutes, but not more.

3) Please be prepared to present your plans for documenting and sharing your work in small groups, which are formed based on your assignments. The presentations should take no longer than 10 minutes. 

The material you provide will in a any case be shared with all participants.

References 

Mandatory, general:

• Appadurai, A. (2006): “The Right to Research,” in Globalisation, Society and Education, Vol.4, No. 2, July 2006, p. 167-77 (pdf below)

• Arlander. A. (2022): “How should I write about my work? Notes on publishing artistic research.” jar-online.net. 29/12/2022
• Arlander. A (2014): “Om metoder i konstnärlig forskning / On methods of artistic research” in Torbjörn Lind (ed.) Metod – Process – Redovisning Konstnärlig Forksning Årsbok 2014 Vetenskapsrådet 2014, Method – Process – Reporting Artistic Research Yearbok 2014 Swedish Research Council 2014, 13-25 / 26-39.
• Stockhausen, K. H. (1972): Lecture 5 – Four Criteria of Electronic Music (KONTAKTE) Sharing research. Video, 55 min.
• Dax, M.(2012): Éliane Radigue: An Interview. On her method to create music that had not existed, but that she wanted to hear. Electronic Beats
• Cage, J. (1961): Composition as process: III Communication, from the book Silence, p. 41-56. Wesleyan University Press (pdf below)
  
  

Mandatory, to be discussed in groups:

Discussion lead by Annette Arlander: 

• Auslander, P. (2006): The Performativity of Performance Documentation. PAJ 84, vol. 28, Issue 3, p.1-10
• Groys, B. (2013): Art in the Age of Biopolitics: From Artwork to Art Documentation, Art Power MIT Press (pdf below).

Discussion lead by Caroline Slotte and Yuka Oyama: 

• Bärtås, M. (2010): About Methodology. Chapter 3 of You told me. Thesis for the degree of Doctor of Philosophy in Fine Art. Valand School of Fine Arts, Faculty of Fine, Applied and Performing Arts, University of Gothenburg, p. 43-64 
• Svenungsson, J. (2007): An Artist Text Book, Finnish Academy of Fine Arts, p. 7-45

Discussion lead by Knut Olaf Sunde and Tijs Ham: 

• Crispin, D. (2019): Artistic Research as a Process of Unfolding. Unfolding the Process, An International, Peer-Reviewed Issue, Published by Norwegian Academy of Music

Optional:

• Arlander. A. (2018): The Shore Revisited. Journal of Embodied Research 1(1): 4 (30:34)

• Arlander, A. (2023): Writing with a Pine: Addressing a Tree as Audience.” Näyttämö Ja Tutkimus, 9, 2023, 103–120. Retrieved from https://journal.fi/teats/article/view/127615 (pdf below)

• de Maria, W. (1980): The lightning field (pdf below). Artforum. See also Walter De Maria, The Lightning Field | Visit Our Locations & Sites | Visit | Dia (diaart.org)
• Diamond, J. (1997): Våpen, pest og stål. E-book p. 521-526, on method – in Norwegian (pdf below)
• Gray, C. &  Malins, J. (2004): Visualizing Research: A Guide to Research Process in Art and Design. Ashgate Book. Extract (pdf below)
• Habbestad, B, M. Duch, L. Grenager and H. S. Tafjord (2018): Å LAGE ET LEMURIA, VIS - Nordic Journal for Artistic Research (sharing insights on method and collaborative composition) 
• Hübner, F. (2020): Against Method? Common Ground?  Conference proceedings for CARPA 6
• Licht, A. (2018): A Conversation with La Monte Young, Marian Zazeela and Jung Hee Choi. On collaborative work with the Dream House and towards a unique musical approach
• Primosch, C. and Swarowsky, D. (2009): Éliane Radigue – IMA fiction portrait #04. Video, 15 min. On listening and searching as method
• Sunde, K. O. (2019): "Site Awareness in music – Part II: Chasing an idea" p. 64-81. Example of documenting process
• Thwaites, T. (2011): The Toaster Project - or a Herois Attempt to Build a Simple Electric Appliance form Scratch (New York: Princeton 

Program

7 February

Room: Lillesalen

8 February

Room: Lillesalen (group rooms G, H, I, J and Møtesuiten)

9 February

Room: Lillesalen (group rooms G, H, I, J and Møtesuiten)

Please note that the program might also be adjusted during the event.