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En kritisk drøfting av undersøkelser med allmenn redegjørelse for utdanning som alternativ
No full textFlyveblader: data sett utviklet i 6 trinn—#01 forsøk; #02 prøv igjen; #03 gjør noe annet; #04 vend tilbake; #05 avlær; #06 kryss over.Samlingen undersøker redegjørelsen som alternativ til utredninger—undersøkelser og evalueringer—i virksomheter som KHiO. Med basis i en kritikk av programvare som regneark, tekstbehandler og lysbilder (Office pakken til Microsoft).
Det argumenteres for at Office pakken—i sitt forhold til underliggende spesialisert programvare—har et liknende forhold til saksbehandling, som media offentligheten har til politikken. Man må være øvd i å lese mellom linjene.
Videre diskuteres bruken av eksterne konsulenttjenester v/undersøkelser og evaluering. Hvorav også bruken av statistisk visualisering, uten underliggende statistisk metode. Noen ganger er det universiteter med ellers høye standard krav som brukes.
Det blir videre drøftet ulike tall-kulturer ved KHiO: metrikk og målinger som brukes i forbindelse med tegning og produksjon, vs. de som benyttes i undersøkelser. I den ene kulturen gir tall et midlere mål i arbeid som utvikler seg til det oppstår i egen målestokk. I den andre kulturen er ikke slike resultater fraværende, men langt svakere.
Videre drøftes spørsmålet om kunstnerisk kvalitet i arbeid—som henger på at det opptrer i egen målestokk—har et potensial for en bredere anvendelse i redegjørelsen for arbeidet som gjøres ved skolen.
En del av konteksten for serien er diskusjonen om formal- vs. realkompetanse. Og hvilke verktøy man har for å betone/styrke sistnevnte. Denne diskusjonen baserer seg på en drøfting av realkompetanse blant utøvere/praktikere og teoretikere/akademikere som jobber med konvergente mål, under samme tak.
På dette bakteppet legges det an til en diskusjon/debatt om utviklingen av realkompetanse i relasjonen mellom forskning og kunst v/PhD stipendiatene arbeid, og tendensen at de i etterkant av graden søker arbeid ved skolen. Denne utviklingen dras opp i forhold til DORA-erklæringens mulige relevans for skolen.draf
Tidligere Ghost in the machine
No full textKortfilmManifest handler om en kunstskole som på overflaten ser ut som et Institute of Fine Arts i et stort universitet. I hemmelighet opererer denne avdelingen imidlertid som en autonom, eksperimentell skole med egne regler for undervisning, evalueringer, rapportering, planlegging og administrasjon. For eksempel har skolen en «skinndekan» som agerer leder for instituttet, mens studenter og ansatte har valgt en egen, uoffisiell rektor. Kurs annonseres på den digitale læringsplattformen, mens studentene egentlig deltar i helt andre, hemmelige prosjekter.
Manifest iscenesetter en alternativ skole som, istedenfor å bryte ut av institusjonen, tar plass som en slags parasitt inne i den. Filmen stiller derfor også allmenne filosofiske spørsmål om frihet og selvbestemmelse i et samfunn preget av usynlig kontroll og en stadig mer markedsorientert utdanningssektor.195590
On lineups and the Covid19 estate
No full textA 6 flyer-set (1HEX): #01—attempt; #02—try again; #03—do something else; #04—return; #05—unlearn; #06—crossover.In this flyer-series, content is queried as a vectored relationship between image and writing. The reference framework is Samuel Beckett’s queries in the “novellas” Ill Seen Ill Said/Company/ Worstward Ho/Stirrings Still (FF—faber & faber).
The concept of excavation determines the hatching of content through a work of staging: the performed container. A ontological status is ascribed to such containers: they feature a category of dis/play which is neither an exhibit, nor a show.
The lineup (Germ. Ausstellung, Norw. Oppstilling) is discussed as a dis/play in which the nature of what is seen and said is yet undetermined, or uncertain. From this basis the notion that the Beckett estate clusters the signature, event and context—rather than being external to Beckett’s work—is suggested.
From this ground the possibility that Covid19 (pandemic and the lockdown as life-work) can fruitfully be considered an estate, is tentatively demonstrated and argued, from the vantage point of terrestrial estates, that may hatch and develop in the wake of Bruno Latour’s work, and Donna Haraway’s scheme of staying with the trouble.
Which is also why the geological time-frame (cf, anthropocene) is discussed. Hereby, the /Covid-19 estate/ is launched
Semiosis #01-#06
No full textA set of 6 flyers (1HEX): #01—attempt; #02—try again; #03—do something else; #04—return; #05—unlearn; #06 crossover.This flyer-series of 6 elements (1HEX) features 6 contrastive panels, conceived as scenographic elements for theory development from, in and for performance.
The series departs from reasoned learning outcomes from a conference: Renewing Opera, hosted by PhD fellow Kristin Norderval on behalf of the Academy of Opera at KHiO.
It ends up with some considerations on an ongoing/preparatory study of Aby Warburg’s Mnemosyne, with some methodological considerations on a workable approach.
The series is itself conceived in performance, as a performance, and with performative outcome: panels as trace and score. And it seeks to propose a foundation for a re-started theory of signs, or semiotics.
What a performance can do—which an argument cannot—is to demonstrate a point by relying on how elements work together (the truth of that), and does not rely merely/exclusively on logic.
Departing from a workshop on stage the final outcome of the series, aims at exposing the readers to the panels (how they work together) and not only to convince/persuade them.
The assumption is that the panels are viewed within an arms-length distance to a screen, or printout, and that signs are the signifying elements of agency. Pay attention to how you produce the signs to receive them as you intercept this set.draf
PHONOTOPE 4. Elementære undersøkelser av et verk (2015-2022)
Get PDFPHONOTOPE 4 - elementære undersøkelser av et verk, er Carle Langes første forskningsprosjekt på Kunsthøgskolen med støtte fra det interne KUF-programmet. Prosjektet tar utgangspunkt i en komposisjon av Rolf Wallin, og omfatter mangeårig videreutvikling av verket PHONOTOPE, i samarbeid med Rolf Wallin og Tomas Nilsson i SISU Slagverkensemble. Resultatet er vist i live-konserter under KUF-uka på Kunsthøgskolen i Oslo og i sammenheng med Ultima Academy
Wo(rk)manship: Transforming reduction into tessellating multi-block relief prints
Get PDFThis article documents practice-led research from the artist’s position as print ‘maker’ within contemporary craft. The methodology embodies David Pye’s first-hand account of the workmanship of risk. The project integrates Computer Numerical Control (CNC) milling to overcome process limitations; to realise scalable complex multi-block relief prints and to allow further exploration in colour printing. The report reflects on the process of transforming reduction relief prints into tessellating multi-block relief prints, as well as commenting on the situation and timescale in which the research took place. The outcome delivers new insights into the author’s artistic practice.publishedVersio
Resilience and Ethics in Dance Education - Scoping Review
Get PDFForskningsrapport - systematisk oversiktThe REDE Scoping review is an initially step towards creating a research -based foundation for future REDE studies, and aim to answering broad questions and describe existing literature on REDE relevant topics of a) teaching and learning in dance (pedagogy), and b) dance and mental health (dance science).
In the examination of how research was conducted, it was clear that the research within the two main topics of teaching and learning in dance (pedagogy) and dance and mental health (dance science) were methodological heterogeneous and positioned within quite different methodological research paradigms, affecting both the research quality and the applicability of the research.
A key finding in the first theme in the topic of 'teaching and learning in dance', dance culture, showed that dance practice is highly cultural constituted, affected by the worldviews of the two main teaching paradigms of traditionalism and progressivism, implicitly influencing the assumptions, beliefs, structures, power relations, ethics, aesthetics, and behavior of the dance teachers, dance students, and dancers.
These overarching paradigms in the dance culture set important frameworks of teaching and learning in dance. In turn, affecting the learning-processes into being mainly teacher-centered in line with the more traditional, individualized, and authoritarian conservatoire model on the one hand, or in line with a student-centered model based on more democratic, authoritative, and collaborative ways of learning on the other hand. The latter was proved to be more beneficial in relation to the third theme of being, as it seemed to nurture enhanced motivation, enjoyment, achievements, health, and well-being.
Considering the second topic, dance and mental health, the scoping review identified that there exist a set of stressors as determinants related to mental health (i.e., cultural-, interpersonal-, environmental-, situational-, and personal), affecting the mental health of dance students, dancers, and dance teachers. A key finding was that tradition is running deep in the dance culture, and that stressors such as cultural-, interpersonal-, and environmental- are mainly culturally embedded, which link the review’s first topic of teaching and learning in dance directly to the topic of dance and mental health. Another key finding was the identification of a range of personal stressors, that revealed that the dance students and dancers themselves, in many cases were their own worst enemy, adding a lot of pressure from within in addition to contextual and external stressors.
In light of the second identified theme, coping with stressors, the scoping review identified some important general coping variables such as motivational quality, creativity, and emotional intelligence, which seemed important either for the development or the promotion of coping strategies and coping processes when faced with a range of different stressors. Key findings were that adaptive coping is linked with agency, autonomy, meaning and purpose, as well as social support, care, and student-centered teaching and learning. On the other side, maladaptive coping is related to external control, performance-orientation, contingent self-worth, stress, pressure, anxiety, and risk behavior such as perfectionism, obsessiveness, and overtraining.
A key conclusion is that the evidence-based need for a paradigmatic shift into a more student-centered teaching and learning in dance are overdue. Performance culture and teaching paradigms are controllable and changeable, and hence, teacher education in dance is a key, which should be evidence-based. Also, a key could be to do more research-based pilot projects and practice-based interventions from ‘within’ to aid the implementation process and to systematically learn from best practice
QUAD
Get PDF1HEX flyer set of 6 elementary flyers: #01 attempt; #02 try again; #03 do something else; #04 return; #05 unlearn; #06 crossover.This flyer series is part of the QUAD-quadrilogy from the summer 2021. QUAD contains a double reference: 1) Samuel Beckett’s choreography named QUAD; 2) A set of positions posited by Bruno Latour to explore and map a territory of the terrestrial, as opposite to global, conditions that we may currently have to determine/invent.
QUAD is composed of 4 flyer-sets of 6—4HEX—with each their different positions cast as roles: I) someone makes a statement based on assumption: II) someone else forwards knowledge in support of the assumption; III) a third role lies in coming up with a critique of that knowledge; IV) a fourth instance has/claims to have the know-how.
This flyer-series spans a set of assumptions and assertions made by Bruno Latour in his book After Lockdown, which is presently only available in French (but is scheduled to appear in English copy in 1-2 months at the publication date of this flyer set). We are locked in is his assertion: in the universe above us and below is, about 3km up/down.
That is, a thin varnish if measured by the Earth surface (510 million square km) which—by the standards of the universe—is an artefact. How do we move in this textured surface, made up of the living (the terrestrials), as we move laterally (mapping and discovering) according to laws of perception and movement that we yet have to make/develop. We are in a metamorphosis.
The 4 sets in the QUAD series are true to my movements this summer: in a variety of situations and positions, that start out—as here—with the geological scale of the the terrestrial: indeed, how can we comprehend this scale without taking stock of the rock around us, and what it means (as in Norway) that what we see is 1000 million years?
On the drifting continental shield called Baltica, that in times of yore was south of the Equator. This is the geological scale. And this is also the scale of the anthropocene. What we have caused, yet cannot comprehend. At the micro scale the same is true of the metamorphosis (change): the alternative of anamorphosis (formed anew) is explored.
In the last flyer #06 there is a hyperlink, at the bottom, allowing you to return to QUAD II.draf
#01-#06 Crabwise
No full textFlyer set of 6 (1 HEX):
#01—attempt;
#02—try again;
#03—do something else,
#04—return;
#05—unlearn;
#06—crossover.By moving sideways, this flyer series (1HEX), queries the possibility of “terrestrial” mapping (Bruno Latour) as a contemporary bid on Ethics. The series proposes—moving crabwise—an query of Baruch Spinoza’s notion of substance, from a vantage point of furniture.
More specifically, Bjørn Jørund Blikstad’s PhD project ‘level up’. The flyers explore the potential of disjuncture and exchange between writing and making, theory and practice, cabinet and wardrobe (exploring the latter in their potential as theoretical actants).
The flyer-set is a complex result of a journey with Bjørn Jørund Blikstad to Tørberget—the place of his family-origins in Trysil—where his parents, Elisabeth and Vidar, currently reside. A region where bears and wolves still thrive, and given to experiments in living.
It was implicit that this journey (June 5th-7th 2021) would be our new ground zero. Also in the sense of providing a fresh start—after Covid 19—from the queries in a number of other flyer sets (HEX) on KHiODA, enfolded. Concluding with a reflection from resilience in the archive.
Though the query is devoted to design—in the relation between art and craft—the final flyer (#06) is devoted to resilience and the archive: featuring an illustration, with credits given to the National Library, included this year in the Catalogue of Art & Craft,
This is partly due to the occasional teaching I do with Prof. Jan Pettersson in his printmaking class. And partly owing to engagements this year with the Dpt. of images, conservation and special prints at the National Library archive this year.
Theory, in this way it is explored here—as theory development—is at once discrete and conjoint, in a methodological framework conversing not only with Spinoza, but with Agamben’s ideas on animality and signatures. With a bid on art as a ‘first theory’.
A key-stone for the query featuring in this set is Bjørn Jørund Blikstad’s research on Renaissance artist Tilman Riemenschneider, which resulted in our coining a glossary of a phenomenon—the Riemenschneider effect—featuring the tangle of the crafts(wo)man, the artist and the designer.acceptedVersio