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No full textEmnekode og emnenavn/ fag: PPDPE Pedagogikk og PPDFD FagdidaktikkAvsluttende eksamensoppgave. Årsenhet, praktisk-pedagogisk utdanning i dans ved Avdeling Dans, 202
Den metafysiske skraphaugen
No full textSkriftlig del av masterprosjekt. Avdeling Kunst og håndverk, 202
Det som blir igjen
No full textProsjektet «Det som blir igjen» fokuserer på emaljens egenskaper som kunstnerisk medium. Gjennom farge, tekstur og komposisjon, skapes en mutasjon av malerisk substans og teknikk. Ved fordypning i de forskjellige forbindelsene, både kjemiske og mekaniske, og kontrollerbare variabler som temperatur, metaller, legeringer og etterbehandling gjenoppdages emaljens egenskaper som relevant kunstnerisk virkemiddel på todimensjonal og tredimensjonal form, og i varierende format og størrelse. Prosjektet har er det hentet inspirasjon fra antikke greske og romerske gulvmosaikker der matrester og søppel er avbildet. Disse ble kalt ufeid gulv (asàrotos òikos) og kan ha vært et visuelt bevis på overflod og rikdom. Andre tolkninger kan være at det var mat for de døde, som et tidlig eksempel på memento mori.
Konkret har prosjektet materialisert seg i to installasjoner som har blitt presentert på fire utstillinger, en artist book og ble tildelt Kunsthåndverksprisen fra BKH i 2022
sensorial hangout on writing as a possible subject in dance/choreography
Get PDFCover image, memo and process documentation..In preparation of interaction with MA students at the performing arts departments—starting with dance—the present piece features a scenario, in which a group of MA students in dance/choreography are nominated readers of a piece, with contents at a speculative stage: the piece is intended as a scenario. Prefiguring our first encounter.
Question: how is it possible to take a surface in possession, for the initially non-segmented purposes of writing and theorising, based on an already acquired surface: the floor (black box)? How to establish languages that are connective the practices hatched and developed from the floor? If not now, when?
In the present scenario we are at a place and a time that do not allow us to know whether the cut up pieces that are materially the same as the adjoined piece (ET PAF preparations) came about from the pieces, or were produced after the fact. We do not know whether the cut-outs came before or after the written piece. Which means that we are in the middle of a highjacking (détournement).
They are not part of the same narrative, there is no montage, because there is no first nor second: it can go both ways, depending on the choices we make and the abilities we have. Whatever choice is made the basis situation—of indeterminacy—is made, only now another choice is made and adds to the previous one. In sum, there will be a track record of choices that will be as unique as your fingerprints.draf
IMPACT 12: Printmaking Post-Graduates' Artistic Research
No full textNavn på arrangementet: IMPACT 12
Sted: Bristol
Dato fra: 21. september 2022
Dato til: 25. september 2022
Arrangør:
Arrangørnavn: University of the West of EnglandRecent International MFA Printmaking Graduate Presentations: Adrian Ranger, Oliver Hambsch, Ellen Burroughs, Fungai Marima, Saskia Morris, Helen Elizabeth, Stephen Fowler
DE 504—theory in design practice (Theory 1)
No full textLEARNING OUTCOMES in a time of transition/s:
This upload is for coming MA students to get an impression of the introductory in theory on the MA-programme in design: theory in design-practice, or simply theory 1 (T1).
The aim of the course is simply that: to establish a platform—the student’s own foundation—to identify opportunities for reflection and theorising, in one’s own specialised professional practice.
It is not a foundation course in the sense of a curriculum with predetermined assumptions of what the students need to know, in order to see their designs in an historical context.
Which means that it is the acquisition of certain working habits—for instance, to see and read enough to get reflection going, taking notes, processing them in a logbook, keeping a calendar.
Time, date and place are key for all these entries: when did you study that volume, look at that video, this exhibit, pick up on ideas in class, and on ideas of how develop a logbook?
For many students, these working habits are completely new. And as all new practices they need to be done in order to stick. Keeping track is an individual obligation: a contract with the school.
It is much like driving a car: to be part of the community of drivers—to move and live on the road—there are certain things you need to know and do. It is an individual non-individualistic duty.
To successfully complete an MA you need, as early as possible, to place yourself in the driver’s seat AND be part of a community with multiple drivers. How this works varies from year to year.
During the Covic19 pandemic, for instance, hosting classes, meetings and tutorials on Zoom was the name of the game: people read e-mails differently (in more detail) than when back at school.
In the design-field we should be particularly aware of such variations because, in one way or the other, we are all working with communication. Differently located material/digital communication.
During the pandemic it was our entire work-landscape that changed. Once we had solved that challenge we had to change once more: coming back to school was not like flipping a switch.
Presently, this is the challenge we are facing: learning to work, live and party anew. So, during the two last years, we have been part of two major relocation processes at a planetary scale.
As design-people it is our duty to learn from this. Since what is presently happening is not a return to normal, but a global re-design process: we are creating the foundations for a new society.
Questions of environmental change, social change and security will come to us, time and time again. Which is why keeping track, in an expanded sense, and doing design are closely linked.
We are part of change. We are agents of change. We have to cultivate our responsibility by building a foundation for the ability to respond. We start this work in T1: theory in design practice.
__________
In T1 last year (2021) 5 MA candidates that were examined and passed before the summer came to talk to the MA1 class, in this order: a) Ilayda Keskinaslan [MA interior architecture and furniture design]; b) Pinelopi Spanou; c) Karianne Haagensen; d) Tiril Haug Johne & Victoria Ydstie Meyer.
The attached flyers are examples of a logbook at a class level, kept by the course leader Theodor Barth. Because the hinge on what happens in class, and who the students are, it changes from year to year. However, it gives an impression of a track record of the kind outlined here.
Please mind this: if the two flyer series are conceived as a floor and a roof—the thematic flyers the rood, and the synoptic flyers the floor—then the path of your reflection will catch on and take form in between.updatedVersio
Kunstakademiet MA Avgang 2022 - Soloutstillinger
No full textFotodokumentasjon fra utstillinger av avgangsstudenter ved Kunstakademiets sine masterprosjekt. Fotograf: Istvan Virag
Studenter: Benedict Beldam, Patricia Carolina, Tansiyu Chen, Henrik Follesø Egeland, Chloe Elgie, Makda Embaie, Cirenia Escobedo Esquivel, Mattias Hellberg, Kaja Krakowian, Eli Mai Huang Nesse, Jonatan Nilsson, Hanne Nilsen Nygård, Lesia Vasylchenko, Hamid Waheed, Annalise Wimmer