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archaeology of point d’ironie (homage to Mette Edvardsen)
No full text1 HEX (dataset): #01 attempt; #02 try again; #03 do something else, #04 return; #05 unlearn; #06 crossover.[WALKABOUT—Click NAVIGATION EXHIBIT]
The flyer series (1 HEX) seems to etablish and develop the relation between ethics and dialectical materialism. New spectral perspective on Marx. A non-corporatist exploration of mereology (the relation between parts and whole) taking stock of emergence in dynamic systems, and the consequence for how we conceive work.draf
Altmodern saddlepoints
No full textData-set of interceptions developed according to the logic of flyers: 1) attempt; 2) try again; 3) do something else; 4) return; 5) unlearn; 6) crossover.The present flyer series #01-#06 springs from a distiction between the current and the present in a family-portrait by Wilhelm Bendz of the Waagepetersens in 1836.
Based on an understanding of a Biedermeier interior and the ways adults and children are portrayed in that painting, a broader exploration of the relation between children and adults in built/settled human environments is engaged: with the painting as a contraption featuring more than one time-zone—here the current, present, past and future—and the opportunity for developing an anthroponomic understanding of role of design in shaping public culture, based on a notion of saddle-points referred to Reinhart Koselleck’s notion of possible alternative futures.
The anthroponomic venture proposes to bundle art, science, history, mathematics in an attempt to model the human life-form, under impact of paradigmatic constraints (such as, currently, the pandemic).
The topic of verticality relates to what is present to us, and the experience that public culture traverses a variety of spaces (of which the private, or domestic space is but one example).
Within this framework verticality is not explored in above/below relations, as in hierarchies, but in scope of lifelong learning: in the sense of rising to the task and growing by the challenge.
ANTHROPONOMY is proposed as an alternative framework—both artistic and scientific—to research and discuss design in the scope of prototypical life-worlds, rather than stereotypical presets. An Altmodern framework.draf
Chance Modus
Get PDFEn fysisk/praktisk utforskning av metoder for utøvelse av skapende virksomhet i dansekunst.I prosjektet Chance Modus vil fire av avdeling DANS’ fagpersoner samarbeide om prosjektets faglige kjerne, utførelse og dokumentasjon. Fra våre spesialiserte faglige ståsteder vil vi sammen utforske hvordan øyeblikk av ’sjanse modus’ i det skapende arbeidet utløser valg som blir bestemmende for komposisjonen. Øyeblikkets impulser som sanseopplevelser, teorier, forestillingskraft og minner fargelegger vår praksis. Hvordan vi utfra våre spesifikke kunstneriske kompetanser sammen kan skape en dialogisk prosess som fremmer det skapende, en ’Chance Modus’ i kunstutøvelsen, som kan dyrkes videre, er kjernen i prosjektet. Intensjonen for prosjektgruppen er å foreta praktiske undersøkelser og sammen fordype oss i eksperimentelle oppgaver og dele erfaringsmessig opplevelse som utfordrer språk og artikulasjon.
I Chance Modus dokumenteres kunstnermøter/samtaler hvor enkelte aspekter ved prosjektet åpnes for fagfeller fra det lokale kunstmiljøet og det eksterne profesjonelle miljøet nasjonalt og internasjonalt.
Kunstnermøtene som planlegges midtveis i prosessen bidrar til å tilføre våre samtaler nye dimensjoner som vi tar med oss i inn i den aktuelle praktiske fordypningsprosessen.
Resultatene fra Chance Modus knyttes til utvikling av avanserte skapende prosesser og bidrar til å styrke kvaliteten både på vårt arbeid som kunstnere, formidlere og pedagoger
Aufstellung/oppstilling
No full text6 flyers (1 HEX): #01—attempt; #02—try again; #03—do something else; #04—return; #05—unlearn; #06—crossover.The lineup explores reflection in an aspect that is constructed, involves the work of time (process) and design. This flyer-series queries the potential of the lineup to feature a construct of this kind. That is, a design method aimed at coming up with a design theory. Not a theory on design, but a theory developed from applying design-principles that are as old as the subject.
The lineup is discussed based on a layered approach to the relation between image and writing (in a visually oriented perspective on where writing begins and ends), it discusses a gathering where the use of print signatures were discussed (based on a lineup of books), then proceeds to the vastly different learning styles traversing humans, discusses individuation & quantum theory.
The emphasis is on lineup (Germ. Aufstellung) as an educational tool. In regular parlance, the lineup is most commonly used in football and identification of criminals. However, as a tool linked to how adding and removing elements have been taught in design, the lineup features a layered approach to factors requiring technical attention and a broader walkabout in the contemporary.
The roundup of the series poses the question whether abstract theory (“academic”)—a kind of citational frame of reference—is a sequel to the type of reflection taught along with the practical subjects, which extends from a crafts tradition (more than from design). An alternative is explored in which theory and practice manage to tease out the x-factors of individuation.
Here, individuation (Simondon) is explored at a collective level—in the common of classes, specialisation and staff—and at the singular level of each person involved. The ability to move with the subject, the circulation of messages and the hit-and-impact of causes in what one could call the happening of work: ranging from the workshop, the lineup, to performance/exhibit
Hvordan kan jeg bidra til kollektiv og individuell opplevelse av undring og refleksjon - og konfrontere “virkeligheten” med noe grunnleggende menneskelig?
Get PDFSkriftlig del av masterprosjekt, MA Billedkunst, 202
We go around in circles at night and are devoured by fire
Get PDFAudiovisuell og skriftlig del av masterprosjekt, MA Koreografi 202
DE 551 Theory 3—Synthesis (2021)
No full textSituation, class-list, theory essays, oral presentations.The final theory course (DE 551—Theory 3, Synthesis) in 2021 was held under the conditions of the lockdown: we had learned a number of useful lessons from 2020, when the same course was run under the same conditions (Covid 19 lockdown).
As during the previous year, the course was organised in small groups of 4 (Quads), to maintain face-to-face teaching and learning processes managed independently by the students themselves, within the bounds of small cohorts.
As in the previous year, all the students had mandatory tutorials with professionals from each their specialisations (Fashion and Costume design, Graphic Design and Illustration, Interior Architecture and Furniture design). With a maximum of 3 tutorials.
The course had 4 milestones: 1) a kickoff with the transdisciplinary QUAD groups in a domestic setting with the course leader; 2) a synthesis of the idea for an essay: 3) a detailed structure for the essay; 4) exams with oral presentations w/the specialisations.
The students had a regular day-structure in which they started with morning meetings in the QUADs (emulating a transdisciplinary design studio). Worked independently during most of the day. Developed a panel to develop a visual concept for their projects.
Tutorials with the course leader was organised with the QUADs, and also represented a continuous course evaluation since we had to take decisions within constraints the evolved in real time, and without secure information of how the exams would be.
The exams were were organised by specialisation and were held in a studio arrangement built in the MediaLab Black box, that we also used the previous year. The final presentation took place 15-17th December. And relied on a hybrid arrangement.
Which means that a limited number of people could be present at each presentation, due to the Covid 19 restrictions, and there was some traffic in/out for each presentation. Those present were:
—the candidate and their QUADs
—the professional staff
—the exam committee (Håkon Caspersen and Theodor Barth)
The rest of the class and the staff were present on Zoom. Which means that all of the students had both a local and remote interface with the exam and its contents. The exam had a fixed structure:
1) the course leader (Theodor Barth) delivered a précis presenting and discussing the contents of the students’ theory essays.
2) the students gave each their oral presentation where their task was to transpose in the terms of their specialisations, where they surfaced after working with the essay.
3) the external examination (Håkon Caspersen) engaged a discussion with the students based on what he had seen and heard.
4) the professional staff/specialised teachers engaged a conversation with Q&A with the students.
5) the course leader summarised the discussion.
6) the panels that the students had developed to conceptualise their process, where lined up at the entry so that the audience could spend some time with these elements, in dialogue with the students, on their way out.
7) the arrangement used for the above programme was that of the learning theatre [two facing rows of chairs, the candidate and committee in a panel with an orthogonal orientation to the audience, and the projection surface at the opposite end of the space]
In a final round, the students were asked to proof their theory essays, and asked for permission to publish the theory essays and the presentations. From what appeared in the final projects, it was clear that the collaboration between theory and the specialised teachers had resulted in professional independence of students who stand in their work.
The QUAD groups were dynamic in a professionalising fashion, the students and course evaluator agreed, in particular the ones who keep to this work-form all the way to delivery and final presentation.
The decision was made to keep the concept (derived from Bruno Latour and Samuel Beckett), as a stable element in the MA courses, also after the lockdown.acceptedVersio
#01-06 wheeling
No full textFlyer set—#01 attempt; #02—try again; #03—do something else; #04—return; #05—unlearn; #06—crossover.This flyer-series features the collection (X) as an intermediary between content (A) and container (B). That is, a triangular relationship as an alternative to our binary notion of content and container. ‘Wheeling’ determines when the container—from acting as a wrapper—starts acting as an axle of the content. Thereby collecting and multiplying the rolling capability of the compound.
Such turns are routine to designers, and a key to what they deliver to projects. However, routinely it may be, the principle is little understood. It harks back to the Renaissance and Giorgio Vasari’s idea of design as the animating principle of all creative process: placing design at the core of artistic practice—rather than its margins or outskirts—in a precinct headlined today as artistic research.
The instances that contribute to the dynamic turn—in the relation between content and container—may be multiple and distributed and, as such, constitute material for research and discussion. The turn itself, however, features as this material comes through as a collection (X). As a material it can be compared to a set of rollers used to move a heavy object. As a collection it turns into a wheel.
Gilbert Simondon understood the wheel as the application of the double application of the moving principle of a roller: at the rim and the hub—the latter constituting the axle of a wheel. Here the collection is understood as the multiplying (rim) and unifying (hub) principle of rotation. It gathers and distributes at the same time. The fascination of the collector as featured by Walter Benjamin.
What interests us here—beyond this enclosure—is, however, the dissipation of information that comes out of the collected instance (X) between the content (A) and container (B) considered as a concrete individual, or a communicating process of individuation. The compound, then, is “rolling”: whether the instance is concrete as individual (wheel) or communicative individuation (process).
This should allow us to distinguish snowballing dynamics from designed ones; which is what is ventured here. Whether we are considering snowballing in the are of statistic measurements, art projects the include administrative governance as aesthetic materials, critical thresholds in the hatching of group intelligence, slippery slopes of deregulation, environmental design, and money.
The present flyer collection, hopefully, manages to demonstrate and not only argue the point. The function of a 6-flyer set (a HEX) is to collect, and always relates to a case-base of contingent elements (touching each other as our day-to-day business regularly does). In this particular collection a proposition is made on the container as a coordinate entity to the content.draf