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Triologen 2021
Get PDFVideoopptak av forestilling, program, tekstEt samarbeidsprosjekt mellom studenter fra Operahøgskolen, Designhøgskolen, Norges Musikkhøgskole og Institutt for Scenekunst ved Høgskolen i Østfold.
Visninger på Scene 6, Kunsthøgskolen i Oslo 04. juni 2021.
Faglig ansvarlige: Anna Elisabeth Einarsson og Toril Carlsen.
Medvirkende: Pauline Aase, Nina Alexandra Barretto, Aleksander Skovly, Larissa Tereščenko, Guoste Tamulynaite, Marte Røyeng, Frederikke Hooge, Thea Brix, Penelope Spanou, Benjamin Knutsen, Lærke Bang Barfod, Viktoria Joner, Simon Thorbjørnsen, Åsmund Soldal, Martin Korssletten, Fredrik Storsveen, Madelen Larsen, Alexandra Olsson, Clara Nergårdh, Hedda Lund, Øystein Dulsrud Klungnes, Andrine Erdal, Jonas Evenstad, Sunniva Norberg, Tomas Laukvik Namnestad
Tatjanas valg. En utforskning av rollen Tatjana i Tsjajkovskijs Bugen Onegin fra en moderne, kvinnelig operasangers perspektiv
Get PDFSkriftlig del av masterprosjekt, MA Opera, 202
—aktivitetsrapport og visjon for teori v/avd. Design
Get PDFLysbildeserie på 18, m/manuskriptArbeidsnotatet har utgangspunkt i et presentasjonsbidrag Onstag 10.03.21 da avdeling Design holdt en intern KUF dag (KUF = Kunstnerisk utviklingsarbeid og forskning) og alle ansatte med forskningstid var invitert til å presentere. Arbeidsnotatet har denne funksjonen og en annen: å utvikle en plattform for teoriutvikling i utdanning og forskning ved design, med interesse for den større diskusjonen om undervisning og forskning ved KHiO. Lysbildene og teksten er slik tenkt som et visjonsnotat.draf
Undervisningsformer i språk-, tale- og stemmedannelse. - En kartlegging av studentenes erfaringer og innspill
Get PDFKartleggingen av undervisningsformer brukt i emnet «Språk-, tale- og stemmedannelse» ble gjort i samarbeid med høgskolelektor Miriam Sogn våren 2018. Behovet for kartleggingen oppsto da Teaterhøgskolen økte sin årlige opptaksmasse fra 8 til 10 studenter på BA skuespill. Dette fikk konsekvenser for timeplanen og en redusert kapasitet for å gi individualundervisning. Individualundervisningen ble halvert i omfang og minigrupper ble innført i steden. Kartleggingen ble gjort for å innhent studentenes erfaringer og innspill knyttet til alle undervisningsformene som ble benyttet i emnet «Språk, tale og stemmebruk». Det gjaldt både individualundervisning, undervisning i mini-grupper og full gruppe.
Presentasjonen av kartlegging av undervisningsformer ble holdt intern 21.04.18. Den ble holdt for arbeidsgruppa for studieplanrevisjon. Gruppa besto av alle emneansvarlige, samt studiekonsulent og studiekoordninato
Artists' Publishing Photobooks: Gösta Flemming
No full textGösta Flemming is an editor, designer, publisher and writer based in Sweden. In 1991 he founded the photo book publisher Journal, leading to the international dissemination of over one hundred and sixty titles. Current photo books include Terje Abusdal's Hope Blinds Reason (Awarded Gold in the Artists' Books category Årets vakreste Bøker, Norway 2020), Therése Olsson’s Meandering, Angelica Elliott’s Rågsved, Katinka Goldberg’s Bristningar, Adrian Øhrn Johansen’s Grenseeksaminasjon / Gränsundersökning / Border Inspection 2021 and Helga Härenstam’s Ylandet & Människan / Howling & Humans. Gösta Flemming was the Editor-in-Chief for f / Fotografisk tidskrift between 1987-2007, a magazine published by the association for Swedish professional photographers. He has also written and compiled Andreas Feininger – Stockholm 1933-1939; Foto i bok, a survey of photo books published in Sweden; and Centennium, fotografi i Sverige, del 1: 1985-1974
#01-06 panels
No full text6 flyers (1 Hex): #01—attempt; #02—try again; #03—do something else; #04—return; #05—unlearn; #06—cross over.This flyer-series explores som aspects of flat media that are implicit, readily escape our attention and are largely unplanned. That is, the liminal aspects of flat media featuring interactive affordances of doors, corridors, wanderings and remembrance: interactive aspects of such media which we here—for convenience—call panels (with an intellectual provenance from Aby Warburg’s Mnemosyne).
Flat media that are verging unto the conceptual and documentary, without taking neither the full step to a concept nor a document: because they remain receptive to—and convey—a certain inaction and passivity. Of course, they are not defined completely in this way, since they are active up to a point. And then something else takes over, which is inert and resists till accepted.
What they resist is interpretation. And thereby feature a non-symbolic, non-semiotic and non-linguistic terrain—beyond this dominion—for a receptivity that will be summoned only on condition that interpretation is left behind, with a prompt addressing the bewildering human ability to experience. Areas in which human beings have an intellectual ability close to a cephalopod.
That is, the ability to cleave to reality: to stick—as by suction—and feel, at once very accurately and with no blueprint/construct for it. Of course, we are not defined completely in this way, since we are symbolic, semiotic and linguistic up to a point. Then something else takes over. The panel is the telescoping door, giving unto corridors in wandering remembrances tangential to this experience.
There is no way around it. Sensitive as we are to the deeper motions of the self: an agent intellect within and beyond us. Our ability and sensitivity to collective learning: its movement, content and level of excellence: above all, the twists and turns of individuation—whether the individual is an entire class (at certain turns), a book, numeric individuals, an exam situation or school norms.
In the two first flyers, written approval has been requested from Ilayda Keskinaslan and Pinelopi Spanou to have their names mentioned. They have both approved in writing.draf
From analytical philosophy to activism (Arne Næss’ ecosophy T)
No full textData-set defined the intrinsic logic of 6 operations: 1) attempt; 2) try again; 3) do something else; 4) return; 5) unlearn; 6) crossover.The flyer-series [1HEX] explores the potential of activism to yield clarification, expanding clarification from the context of language to that of action. It queries whether teaching, researching and disseminating—if different modes of a unified activity field, rather than administered separately—can turn clarification into an organising dynamic, distinct from what we regularly understand as management.
The framework used to inquiry on this possibility is Arne Næss’ ecosophy T (T deriving from the name of a mountain resort where he built his cabin, Tvergastein). Clarification is here seen here to be self-organising in two ways: 1) steps to an ecology with its own intrinsic logic; 2) organising according to a self rather than identity, of belonging and connection.
The activism inquired into here, queries criticality under immersive conditions: what does it mean to articulate a critique—whereby clarification triggers something in/with the environment, beyond the clarify of mind. What is it to be part of something (situated and positioned) and make a difference, by bringing clarity to the situation and our own position? Does it prepare the grounds for activism in a more political sense?
In the flyer-set a comparison is ventured between the Zen of the Japanese wabi-sabi, and the terms of intimacy that come from accepting the ephemeral. The comparison between ecosophy T and wabi-sabi is conceptually expressed in the motto:
REPAIR also writes RE-PAIR.
A scenario for a possible alternative theory curriculum is explored on this basis. It is based on the query of what a landmark might be if we add time to space, and a hatching ground for learning outcomes after the pandemic, in the design field.publishedVersio
Learning Environments and Motivations: Photopolymer Course
No full textThe digital embodiment of a craft process requires comprehensive knowledge and experience to master a hybrid form of art production; in which some of the operations have predetermined results whilst others depend on the care, judgement, and dexterity of the workman (Pye 1968). In a post-digital learning situation this demands a diverse range of skills, attention, and self-motivation to integrate new technology into traditional craftsmanship. I wanted to develop an active learning situation to motivate a diversity of learners through the intersection of tacit knowledge, machine tools and digital technology; where the master guides the apprentice through a series of demonstrations in a printmaking workshop, a photomechanical darkroom, and a digital media suite
Publishing, Mediating and Archiving Artists’ Books
Get PDFArticle commissioned by Codex Polaris; creating opportunities and exhibiting platforms for artists who work with books in Norway and the Nordic countries. https://www.codexpolaris.com/texts.htmlpublishedVersio