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Get PDFMDE 551 | Theory 3—Synthesis
The course materials posted here features a track record of pilot-course in theory, based on two principles: 1) Theory 3 is a logical concluding step from two previous theory courses [Theory 1 and Theory 2]; 2) it differs from the two preceding courses in that it involves the specialised staff, who have participated in establishing the framework, and contributed with tutorials in due course.
It also differs from the two previous theory-courses in that it is a final course, and that a resource (Prof. Bojana Cvejic, Dance) is brought in to insure 3rd party readability of the theory-assignments, submitted by the students at the end of the course, and to assess the assignments based on criteria that are established and submitted in the students’ final oral presentations.
The oral sessions thereby have the specific function, which is for the students to appropriate the learning-outcomes from having submitted their theory assignments, in the framework of their professional practice (with, at the horizon, their final practical projects for the MA in the spring). Though the theory-assignments are consistent in themselves, they are dovetailed to the MA.
This arrangement is catering to the different needs of our 3 specialisations—interior architecture & furniture design (IM), fashion & costume design (KK), graphic design & illustration (GI)—as well as to the needs of the students that have been working in trans disciplinary studios (groups of 3-4) to distill their needs before tutorials in the 5 weeks they have been working on their theory-assignments.
The course has been subdivided into 4 phases: a) a 2-week phase of looking into logged documentary materials that the students have gathered during 3 terms at school; b) a 1-week phase for experimental writing and composition ending up with a plan for the assignment; c) a 2-week phase for completing the assignments; d) one for preparing and giving oral presentations.
During the 5 first weeks the students have been having tutorials by zoom, on walks and in rooms at a Corona-safe distance. In the general tutorials, the students have been enjoined to prompt their theory topics with specific narratives, then draw up the cluster to topics constituting materials for a pro/con discussion, entering the core topic thus defined, claiming ownership.
The latter topic—ownership—has been central to this course for several reasons. Firstly, because to hand on a delivery is meaningful only if ownership has been claimed. Secondly, because using the theory assignment seeking to develop precision in ownership, is a key both the practical fruitfulness of the theory-assignment, and to hatching the ‘professional person’ at an MA-level.
The course has also sought tentatively to define a bridge between theory development (developing theory from practice, a well-timed conversation with researched references) and artistic research, by adding the element of criticality introduced by Maria Puig de la Bella Casa in Matters of Care (2017): thinking WITH, dissenting WITHIN and thinking FOR a field of research.
Essentially, the development of a form for the assignment is to reflect the theoretical substance that the students have been working on, which means that the visual and interactive formats used by the students to develop and make their points, is for each student to define. The tutorials offered to the students have been planned to support this process, and is reflected in the orals.
The students have been asked to deliver: 0) an oral presentation; 1) a letter of presentation in English [1A4 page]; 2) a theory-piece with references in APA7th [kildekompasset.no] Google translation was provided whenever the original piece was written in Norwegian; 3) a synthesis written by the course leader; 4) a sheet with assessment criteria, based on their preparations for the oral presentations [1A4 page]. The oral presentations are organised by specialisation, and the specialisation partake of the oral discussions.
The assessment of the theory assignment is done by Profs. Bojana Cvejic and Theodor Barth, based on criteria set in the context of oral presentations. The student also present a sheet with assessment criteria. The students receive each a written comment based on the theory assignment and the oral presentations. The assignments will be uploaded here on KHiODA.
The students’ files are zipped into their respektive studios, to avoid internet-trolling and to vouchsafe a real interest for the materials, to go in an read. Thereby creating access conditions similar to a physical library. By virtue of being presented in a public setting of a final course, the contributions are considered as de facto published.
[WALKABOUT: click file NAVIGATION EXHIBIT
Electrifying Opera: Amplifying agency for opera singers improvising with interactive audio technology
Get PDFpublishedVersio
Situating choreography
No full textBarth, Theodor. (2020). Situating choreography. Information unit (1HEX = flyer series #01-06 [artist book]), rejoinder to Bojana Cvejic. (2015). Choreographing problems—Expressive concepts in European dance and performance. [Performance philosophy. London & New York. Palgrave | Macmillan]. Oslo. KHiO
IMACLA IV [International Masterclasses in Printmaking and Drawing] February 24th-29th
No full textKHiO- Kunst og Håndverk, Kunsthøgskolen I Oslo (KHiO)publishedVersio
The Rainbow in the Room: Experiencing Space with Colours
Get PDFMasteroppgave Interiørarkitektur og møbeldesign, Avdeling Desig
Ecosophy q
Get PDF1 A4 sideArbeidet utforsker to eksempler på summering av erfaringer i design programmer—Norman Potter og Stefan Sagmeister—begrenset til 20 punkter (ett snes). Dokumentet utforsker også grunnleggende prinsipper i ‘nullstilling’: metodisk naivitet eller forutsetningsløshet overfor verden slik den er, og for andres arbeid, som et viktig prinsipp ved utdanningen ved KHiO, reflektert på et teoretisk/fenomenologisk nivå.draf
Modulær dagbok for uke 41
No full textFlyer-set of 6—1 HEX: 1) attempt; 2) try again; 3) do something else: 4) return: 5) unlearn: 6) crossover.[WALKABOUT: click file NAVIGATION EXHIBIT]
This flyer series (#01-06) is a modular diary for week 41. One of the topics is chance methods, and is reflected in the serendipitous progress of one flyer to the other. The topics linked together, by the walk and talk, are: a land art festival north of Oslo, climbing and archaeology 1, a walk in the mountain this summer (Tvergastein), climbing and archaeology 2, developing field-theory, a midterm evaluation of a project on wood-carving and furniture. With this foundation the serendipitous walk from a topic to the other, is accompanied with a query on the logic of serendipity, and series accordingly develops theory with and from an experimental basis
Disputas: Marte Johnslien - Circumstantial Sculpture
No full textVideoopptak av disputas.
Sted: ZOOM, Kunsthøgskolen i Oslo. Tid: 10. juni 2020.
Bedømmelseskomite:
Nina Malterud (NO), kunstner og tidligere professor og rektor ved Kunsthøgskolen i Bergen.
Camille Norment (US/NO), kunstner og tidligere professor i kunst ved Universitetet i Malmø.
Lars Bang Larsen (DK), kunsthistoriker og kritiker.
Veiledere:
Tiril Schrøder, kunstner og professor ved Kunsthøgskolen i Oslo, avdeling Kunst og håndverk.
Gerd Tinglum, kunstner og tidligere professor og rektor ved Kunsthøgskolen i Bergen, tidligere professor ved Kunsthøgskolen i Oslo.
Aslaug Nyrnes, professor ved Fakultet for kunst, musikk og design - Universitetet i Bergen, professor ved Musikkonservatoriet - UiT, professor ved Institutt for Kunstfag - Høgskolen på Vestlandet.Det kunstneriske utviklingsarbeidet Circumstantial Sculpture er en mangefasettert og eksperimentell undersøkelse av skulptur, med et spesielt fokus på keramiske objekter. Arbeidet baserer seg på en overbevisning om at kunst kan være et virkningsfullt middel til å belyse sammenhenger mellom materialer og fenomen, grunnet dens evne til å tale om det mellomliggende.
Prosjektet Circumstantial Sculpture forsøker å belyse problemstillingen: Hvordan kan kunst som uttrykkes gjennom skulptur og dens omstendigheter utfordre et dualistisk verdenssyn og fremme et perspektiv som fokuserer på forbindelser og sammenhenger? Bruk av keramikk som et utgangspunkt åpner for en bred diskusjon av temaet, siden man i keramikken benytter seg av både menneskeskapte og naturlige materialer og prosesser. Prosjektet vil undersøke hvordan keramiske objekter kan legemliggjøre sitt eget referansemateriale og danne syntese med et valgt tema.
Noen av kontekstene Johnslien knytter prosjektet opp mot er økologi, natur, persepsjon og system/nettverk. Fargers materialitet og leirens evne til å binde seg med andre materialer er to aspekter ved keramikk som hun undersøker. I arbeidet med pigmentet titandioksid eksperimenterer hun med virkningen stoffet har i keramikken og knytter dette til både måten stoffet fungerer som en agent på i den kommersielle verden, og den negative effekten det har på miljøet. Det dokumentariske materialet fra hennes undersøkelser av stoffet, og de praktiske erfaringene hun tilegner seg i bruken av pigmentet på keramiske objekter, foldes sammen i prosessen med å avdekke sammenhenger mellom de to formene for materiale.
I doktorgradsarbeidet inngår prosjektene White to Earth (2020) og A Square on a Sphere (2018), med tilhørende bokverk, begge presentert ved ROM, Oslo, januar 2020.
Bedømmelseskomiteen skriver i sin rapport:
The candidate situates her project between, on the one hand, forms of crafts and art that come with a luggage of tradition and art history, and on the other hand a contemporary interest in the thinking of networks and materials and their integrated, agentic relation to larger (environmental, economic, industrial, institutional etc.) ecologies, in the wide sense of this term. This is a productive tension that runs throughout Johnslien’s works and projects and her written reflection on them. In accordance with the aim of her investigation to focus on connections and relationships, process and context are aspects of the public presentation of works: “I consider the reference material an essential part of the project, and the sculptural works are usually accompanied by books, documents or photographs that present aspects of my research”. Overall, Johnslien aims for her project to be “en samfunnsorientert diskurs”, and “political at heart».
In this way the candidate’s «material investigations” have far-reaching practical, conceptual and philosophical implications, both in relation to larger socio-environmental contexts and at the level of her own artistic process
Improvisasjonsteater i dagens skole
Get PDFEmnekode og emnenavn/ fag: PPDPE Pedagogikk og PPDFD Fagdidaktikk.Avsluttende eksamensoppgave. Årsenhet, praktisk pedagogisk utdanning i teater ved Avdeling Dans, 2020
Interruptions
No full textPhoto documentationInterruptions, KODE3, Rasmus Meyers Samling, Bergen.
Christensen, Jeannette (Artistic production, 2020)
An intervention in the permanent presentation at Rasmus Meyer Collection. A continuation of my investigations into an Aesthetics of Interruption.
Whom do we encounter on the walls of a museum, and who is it that is being represented? How do you make a static image move and a moving image static?
Since the mid-1990s I have worked on the Polaroid series entitled The Passing of Time. The pictures are based on portraits by the Baroque master Jan Vermeer. I am preoccupied with the actions that the women in his paintings are performing. Vermeer has captured them in the middle of an activity – whether it is pouring milk, reading a letter or studying music. A Polaroid is a snapshot, and in Vermeer’s paintings you can find something similar, they depict a frozen moment in time. I have repeatedly photographed the same models, in the same postures. The models grow older and the formats have also changed. In this way process and time become integrated in the work.
The video portraits, Woman Interrupted, (8 in all) are adjusted down to an extremely slow speed as a logical continuation of the Polaroid series. A starting point for the videos is Vermeer’s painting Girl Interrupted at her Music (1660–61). In the everyday motif of the woman in the picture, something suddenly happens that makes time tangible. Interrupted in her earlier state of concentration, the sitting figure turns towards us. She exists partly in her own time, yet, when our gazes meet, also in ours