1,721,118 research outputs found
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
#01-06 the phygital
No full textDuring an Artistic Research day at KHiO’s dpt. of design (13.08.21), PhD fellow Ida Falck Øien asked the author (Theodor Barth) a direct question on how to incorporate diary-keeping into the practices of arenas devoted to the presentation and discussion of results and reflections from artistic research: for instance, the PhD viva.
Finding that the question was asked by Ida from a place of research practice, and my answer (Theodor Barth) was formulated within the constraints of the mentioned discussion-arena, there was a risk that the question remained substantially unanswered, or tautological, and rather reproduce the problem (if only moving it).
Which is why we took the initiative to let the question have the chance of being processed—and met—in a diary: that is, an experimental diary of exactly one-week duration, and posting it here on KHiODA one week after the question was asked during the gathering above.
Which means that the question was sought to be addressed, as different tasks conspired to (randomly) meet during this week, using them as occasions to process Ida’s question: we did this as a collaborative venture. She sometimes pitched the flyer entries, alternatively responded to them, with images from her own doctoral work.
In this way, we engaged a transaction in knowledge, design and ways of being-in-the world, the led us from criticality to critical theory, and also to some fundamental questions concerning the ethics of glass-plate media. The topics covered by me are representative for the type of exchange that I have at this time of the year (term startup).
The concept of ‘agentic’ used by Christina Lindgren in her exposé of the Costume Agency Project. Then an exchange with composer Henrik Hellstenius on Mette Kaabye’s MA thesis on Georges Aperghis (music theatre): discussing e.g. 3rd party readability and 3rd party stakes (ownership, use-value etc.).
How, the notion of the phygital—physical + digital = phygital—which gave name to the present flyer series. The borderland role of the unconscious in the edgeland between the physical and the digital. Along with the affordances of parcours (itinerancy) to map unto discours (the journey), in terms of evolving situations and shifting positions.
Things that are characteristic of creative processes, featuring design as the animating principle of such processes (in the delimited aspect discussed in the series). How the contingent, speculative and agentic become bundled in what can understand as signs, or sign-production (semiosis). Where specify, rather than generality, is a virtue.
What is the contribution of artistic research to contemporary knowledges? In which aspects are these portable and transportable into other disciplines as archaeology, architecture and anthropology? In other words, what is the AR defence, that can also be brought down to a viva. Bringing STEAM to the controversies from the STEM-subjects.
In the “crack” between environmental humanities and science technology studies (STS) lays buried a question of how we conceive explanation, and explanatory mechanisms. Can we argue that the STEM subjects—environmentally—is in a state of flux, lateral drift and fragmentation? What can artistic research do that philosophy doesn’t?
Whoever is looking for definitive answers to these questions in the present series will find none. But you will find that they are processed in terms that are rich in implications for criteria we may want to discuss, that are critical to what we call a viva in Artistic Research. Essentially, a contribution to an ongoing discussion on the subject matter.
The last flyer in the series attempts to deconstruct the phygital down to its workings, as one that is facilitated by a particular work of illustration, to which my attention was drawn by Prof. Andreas Berg. This flyer therefore crosses over from design thinking to a discussion with methodological implications for visual methods in archive studies
EXPERIMENTAL diary/DIARY experiment
No full text1 cover_descriptor, 6 flyers (1HEX): #01—attempt; #02—try again; #03—do something else; #04—return; #05—unlearn; #06—crossover.During an Artistic Research day at KHiO’s dpt. of design (13.08.21), PhD fellow Ida Falck Øien asked the co-author (Theodor Barth) a direct question on how to incorporate diary-keeping into the practices of arenas devoted to the presentation and discussion of results and reflections from artistic research: for instance, the PhD viva.
Finding that the question was asked by Ida from a place of research practice, and my answer (Theodor Barth) was formulated within the constraints of the mentioned discussion-arena, there was a risk that the question remained substantially unanswered, or tautological, and rather reproduce the problem (if only moving it).
Which is why we took the initiative to let the question have the chance of being processed—and met—in a diary: that is, an experimental diary of exactly one-week duration, and posting it here on KHiODA one week after the question was asked during the gathering above.
Which means that the question was sought to be addressed, as different tasks conspired to (randomly) meet during this week, using them as occasions to process Ida’s question: we did this as a collaborative venture. She sometimes pitched the flyer entries, alternatively responded to them, with images from her own doctoral work.
In this way, we engaged a transaction in knowledge, design and ways of being-in-the world, the led us from criticality to critical theory, and also to some fundamental questions concerning the ethics of glass-plate media. The topics covered by me are representative for the type of exchange that I have at this time of the year (term startup).
The concept of ‘agentic’ used by Christina Lindgren in her exposé of the Costume Agency Project. Then an exchange with composer Henrik Hellstenius on Mette Kaabye’s MA thesis on Georges Aperghis (music theatre): discussing e.g. 3rd party readability and 3rd party stakes (ownership, use-value etc.).
How, the notion of the phygital—physical + digital = phygital—which gave name to the present flyer series. The borderland role of the unconscious in the edgeland between the physical and the digital. Along with the affordances of parcours (itinerancy) to map unto discours (the journey), in terms of evolving situations and shifting positions.
Things that are characteristic of creative processes, featuring design as the animating principle of such processes (in the delimited aspect discussed in the series). How the contingent, speculative and agentic become bundled in what can understand as signs, or sign-production (semiosis). Where specify, rather than generality, is a virtue.
What is the contribution of artistic research to contemporary knowledges? In which aspects are these portable and transportable into other disciplines as archaeology, architecture and anthropology? In other words, what is the AR defence, that can also be brought down to a viva. Bringing STEAM to the controversies from the STEM-subjects.
In the “crack” between environmental humanities and science technology studies (STS) lays buried a question of how we conceive explanation, and explanatory mechanisms. Can we argue that the STEM subjects—environmentally—is in a state of flux, lateral drift and fragmentation? What can artistic research do that philosophy doesn’t?
Whoever is looking for definitive answers to these questions in the present series will find none. But you will find that they are processed in terms that are rich in implications for criteria we may want to discuss, that are critical to what we call a viva in Artistic Research. Essentially, a contribution to an ongoing discussion on the subject matter.
The last flyer in the series attempts to deconstruct the phygital down to its workings, as one that is facilitated by a particular work of illustration, to which my attention was drawn by Prof. Andreas Berg. This flyer therefore crosses over from design thinking to a discussion with methodological implications for visual methods in archive studies.draf
Adaptations to the Corona/Covid-19 Pandemia
No full textProtocol 1 (deep ecology): 1) initiate an operation A; 2) identify an obstacle B; 3) determine a path A' around B; 4) record reactions B'; 5) conceive the whole [1-4]; 6) take stock of what is actually achieved.
Protocol 2 (ecosophy): 1) attempt; 2) try again; 3) do something else; 4) return/come back; 5) unlearn; 6) cross over.The flyer-series develops an experimental companionship with Spinoza's Ethics, under the conditions of the Corona pandemia (Spring 2020). On this backdrop a 'plateau-assemblage' of learning-outcomes and reflections on multi-video conference is developed. And also a list of questions preparing a forthcoming situated and positioned reading of Spinoza's Ethics (Ethica,1677).publishedVersio
Tvergastein HEX
No full textEn modulær tilnærming til dagboken som format til 1) dokumentere prosess; 2) utvikle teori; 3) instansiere informasjonsdybde. Settet består av: #01) forsøk; #02) prøv igjen; #03) gjør noe annet; #04) kom tilbake; #05) avlær; #06) kryss over. Poenget med dette settet er å gi et praktisk eksempel (i sann tid) på forskning, veiledning/undervisning og formidling i sann tid. I løpet av uka fra 02.08-09.08.2020 har dagbok-innføringen blitt postet og vært kommentert på Facebook.[WALKABOUT: click file NAVIGATION EXHIBIT]
Flyer serien på 6 — #01-#06 —er skrevet dag for dag under en fjelltur på Ustaoset. Turene gir materiale for en eksperimentell undersøkelse av Arne Næss (Det frie mennesket), den lille boken til Deleuze om Spinoza’s praktiske filosofi, og Spinoza’s hebraiske grammatikk. Serien heter Tvergastein, fordi den drøfter Arne Næss’ praktisk-eksperimentelle måte å utvikle teori på, som har sitt utspring på denne hytta
MDE 504 | Theory 1—Theory in Design Practice
Full text link2 Flyer-sets (2 HEX), 4 lectures w/notesThis collection of elements documents an introductory course in theory at KHiO’s MA in design. In this course, the students are required to: 1) develop a reflection logbook with weekly inserts, called a Black Book; 2) a design comment developed in a media chosen by each student, based on an interview that they have done; 3) a presentation of a book, selected by each student, in which the story of the selection, the encounter with the book as an aesthetic object, mining images and text, and reaping a learning outcome is part of the assignment. The book presentations are built on the simile of opening, walking through and closing a door.
The 12 flyers (2HEX) included in the upload are developed to phase in the topics programmed for the course in the context developing in the class during the course’s 10 sessions. This flyer-set feature the curriculum described in the study plan, as processed by the course with a new class each year. For this reason these flyers are never twice the same, from year to year. The course is framed by a curriculum of 4 lectures based on 4 books: one featuring a biographic project log, one ethnographic account of maker-spaces, one on AI vs. VR, one on design as programming. The book-authors are: Norman Potter, Sarah Davies, Jaron Lanier and Karl Gerstner.
The notes to each lecture and the adjoined slides are included in the present documentation. The name of the course is Theory 1 | Theory in Design Practice (T1). The purpose of the course is to stir up a potential of theoretic reflection—within the practical curriculum of the MA-programme—and wake it as a “sleeping beauty”. The course is a preparation for a similar course module in the spring term called Theory 2 | Theory Development (T-2 in which the practices needed for the student move on from reflecting to developing theory are taught). This closes the theory in MA1. The students receive feedback on their Black Books in T1 (and on essays written in T2).
The full cycle is concluded in the third term in the MA byTheory 3—Synthesis, in which the MA students develop their own theories. Here the aim is to hatch a new repertoire within the ideas they are developing for their final projects, based on a theoretical work that rests on its own sets of premises: a) thinking with-; b) dissenting within- and c) thinking for design. This tripartite phasing of the final theory curriculum is referred to Maria Puig de la Bella Casa’s (2017) ideas for a culture of ethics (ethos) developed in Matters of Care: Speculative Ethics in More than Human Worlds. The documentation on KHiODA concludes a 4-year cycle of an MA in review.updatedVersio
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
EKSPERIMENTELL MEREOLOGI
No full textArbeidsnotatet 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
TROLLING WORDS
Full text linkHandout, 2A4 pages, text and images, references, hyperlinksShould CULTURAL HISTORY today include a reflective foundation on IP-addresses and metadata? In the adjoined handout (left), two very different types of archival documents (as of date belonging to a private collection) are discussed as an ensemble. They lend themselves to the discussion of the above question in a contemporary DESIGN in TECHNOLOGICAL & TRANSACTIONAL terms.
The documents are:
A) documents from international diplomacy in energy-trade politics selected and collected by the diplomat K [from the early 80s to the late 90s];
B) diaries written by La Kahina who was married to K, and working with him in a husband-and-wife team [71 diaries written over a period of 40 years].
The case focuses on the Troll-agreement (1986), -platform (1995) and field (1996): the public aesthetics of a huge engineering project, and the political aesthetics of the Troll negotiations and projects grown in a diplomatic domestic unit. The handout has a dual purpose:
1) communicating the project at a workshop organised by Critical Petroaesthetics [OSEH].
2) rounding up learning outcomes from engagements of the National Library of Norway’s §112-series [§112 is the Norwegian Constitution’s environmental paragraph].
The context of this interfacing is the author’s research residency at the National Library of Norway (NLN). It is also pledged to the interfacing of different kinds of archival resources available internally at the library, and other institutions.
The argument pursued in the handout is in line with Jaron Lanier’s understanding og hive minds (AI) as ‘metadata without an address’, and the relations of appropriation entailed by this (Stephen Wright)
Tactical work with an artistic core—w/3rd party readability as an environmental vantage point
Full text linkImages, text and photos.Report from the Saint Phalle Games 2023 in the Theory 2 classes (MA in design). MA students, a team from the operations unit, and from the National Library of Norway.
Materials: paper-sheets, school gouache in different hues, air-rifle and pellets, various security arrangements, setup and rules.
Activity: the teams mounted balloons filled with selected colour and air on large paper sheets, and then took turns shooting at the balloons with air guns.
Purpose: exploring activities within and beyond art-school, in the use of artistic methods to non-artistic purposes.updatedVersio
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