Transatlantic Reflections on the Practice-Based PhD in Fine Art

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All of which mediate our mis understandings of these objects, and the biodiversity that they were taken from. They interrogate how we engage with and witness difficult issues such as the effects of climate change, questioning what we need to preserve and remember in the Anthropocene Age. Key words: climate change, witness, Anthropocene Age, translocation.

Dr Melanie Jackson

This includes climate change. The recurring theme is loss and becoming lost. I investigate what happens when someone who is lost attempts to navigate and find parallels between Terra Incognita and the art archive, and explore the points where mapping, archiving and collecting intersect.

Once something is perceived to be at risk, the fear of loss and the impulse to preserve emerges. I investigate why in the Anthropocene Age we have a stronger impulse to the archive and look to the past, rather than face the unknowable effects of climate change.

The art archive is explored from multiple perspectives — as an artist, an art archive user and an archivist — noting that the subject, the consumer and the archivist all have very differing agendas. I question who uses physical archives today and how we can retain our sense of curiosity. I conclude with a link to an interactive artwork, which visualises, synthesises and expands this research See Prezi on the right.

It is available from Amazon. Wilding the Edges. There has been a plethora of interest in psycho geography over the last 6 years, which has crossed from popular literature into the art domain. The following best selling authors write about the landscape from a personal and itinerant perspective, yet are regularly being referenced by postgraduate students and researchers: George Monbiot, Paul Kingsnorth, Rebecca Solnit. How proactive should we be in regards to both the landscape and the city?

It was followed by a BarCamp taking the themes encounter, experience and enchantment as starting points for a subsequent exhibition at Wimbledon.

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It was co-convened with Geraint Evans. Why this title? In: Stansbie L Pan-demonium. Stansbie L Connecting the Unconnected. Platform Arts:. Ackworth School Sixth Form. East Street Arts. Stansbie L 'Extreme Exposures: The practice and narratives of channel swimming as a methodology for the creation of contemporary art'. Headingley Carnegie Stadium, Leeds.

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The University of Warwick. Ermysteads Grammar School, Skipton.

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Stansbie L Spitfire Beach. University of Huddersfield Research Festival:.

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Stansbie L Breeze mentoring project Young Hunters linking artists and young people. Project Space Leeds:. East Street Arts:. Stansbie L 'The Fluid Archive'. UCD Dublin Nanyang Academy of Fine Art, Singapore. Stansbie L Zeppelinbend: Making digital connections. Stansbie L Using Interactive Screens. Leeds Metropolitan Gallery, Leeds. Leeds Metropolitan University.

Stansbie L Lecture on my own research: Multiplicity Practice. Stansbie L Connecting the unconnected. Stansbie L Landscapes and communities -? Stansbie L In press , Spitfire Beach. Borgdorff, , few have explored the potential of institutional performance-based research funding systems PRFSs as a platform to debate and discuss the definitions and demarcations of what constitutes artistic research.

As autonomous institutions, they are not included in university PRFSs—contrasting contemporary evaluation frameworks in some other European contexts e. By expanding on the ongoing stakeholder-driven development of this model and a test case undertaken to gauge its performance, the paper shows how a culture of evaluation hinges on the generation of a culture of registration.

This, in turn, offers crucial resources for disciplinary meta-reflection in the form of a centralized database of artistic research output. As the test case shows, the demand for registration and disclosure associated with quality assessment encourages the disclosure and accessibility of artistic research outcomes. The accessibility hereof is indispensable to the articulation of a new paradigm on artistic research. Simply put, the registration of artistic research outcomes for evaluation and subsequent funding allocation simultaneously furnishes a necessary overview of the output of artistic research as a field in Flanders, which benefits a deeper understanding of its disciplinary ontology.

In some national contexts—particularly in Nordic countries, but to an extent in Flanders too—this ongoing discussion has led to an intermediary, dualistic evaluation culture that expects both artistic and scientific excellence Laermans, Put bluntly, the current lack of clarity on how artistic research should be evaluated and assessed means that researchers might have to put in twice the time and effort in their work— further exasperated by the presence of both artistic and academic assessors in the examination committees for artistic PhDs.

The current dualism is then mediated by conceiving of artistic research as a new, autonomous discipline. This fosters attention both for the implications of the introduction of a research component to artistic practices and for the heterogeneity of its perspectives and outcomes.

In short, artistic research outcomes should not be assessed by purely artistic nor by purely scientific standards, but by standards particular to the field of artistic research. Establishing artistic research as a new and autonomous discipline supposes not only a collaborative effort of those involved in artistic research—whether as practitioners, as assessors or as philosophers and critics engaged in theory and reflection.

First and foremost, time and the space to engage in a collective effort of discipline-building in the first place is a stringent prerequisite. Suddenly, most institutions offering tertiary artistic education were merged with established universities in Europe. Many European institutions for higher arts education were met with the expectation to develop research agendas. Their faculty members precipitously entered a competitive funding environment based on peer-reviewed research output. Consequently, it is not far-fetched to characterize artistic research in Europe— both as a policy concept and an applied or even embodied practice—as an artificial construct Vanhaesebrouck, It did not develop organically out of a perceived need for systematic reflection and academization at IHAEs—let alone the art world in general—but rather as a consequence of an inter-European effort towards the harmonization of higher education Lesage, ; Gielen, Hence, reflection on artistic research has little resources to draw from but traditional, scientific conceptualizations of research and how it is to be evaluated—which is exemplified by many essays and papers exploring interlinkages and parallels between characterizations of scientific research and artistic practice e.

Given that artistic research has now become an institutionalized discipline, regardless of whether this evolution was desired by those now expected to conduct it, it merits from an exploration of the resources and conditions currently at hand to better understand and define its disciplinary orientations and demarcations. However, a particularly tangible result of both the sudden institutionalization of artistic research and the discretion of a defined or formalized research tradition in artistic practice is the absence of an overarching perspective on the evaluation and assessment of artistic research output.

Borgdorff, The value of these in-depth explorations of the assessment and evaluation of artistic research to disciplinary reflection is manifest, in that they locate particular tensions between certain quality expectations e. How artistic research can be articulated as an autonomous discipline, and what the prerequisites are to do so, are understandably beyond their scope.

Unlike individual assessments and evaluations—be it doctorates, research projects or publications, the potential of institutional performance-based research funding systems PRFSs for discipline-building is rarely explored.

Art & Research : Bryndis Snæbjörnsdóttir

These systems, which organize and allocate the research funding of institutions like IHAEs are rarely discussed with regards to artistic research. When mentioned, they are generally criticized for their homogenizing and constraining influence on its envisioned outcomes e. Gielen, ; Laermans, ; Jewesbury, Indeed, the expectation for individual faculty members to register research outcomes to facilitate institutional research performance evaluation seems to evoke dystopian images of neoliberal rationalization efforts e. Gielen, ; Laermans, ; Vanhaesebrouck, This inhibits a candid exploration of how the registration and aggregation of artistic research outcomes could potentially produce a shared body of works recognized as representative outcomes of artistic research practices.

Such views, however, cannot be dislodged from the fact that the Bologna Process has effectively subjected higher art education to university standards in many European countries—leaving little to no room for those involved to establish artistic research as a discipline on its own, autonomous terms.

Pat B. Allen PhD interview with Art 4 All People, LLC

In Flanders, the view that higher art education was effectively subjected to university standards by the implementation of the Bologna Process is not entirely justifiable—notwithstanding that some do characterize the situation as such e. Laermans, ; Vanhaesebrouck, , and the academization of higher art education in general has garnered mixed responses at best. Indeed, it could be argued that the intermediary status of Flemish IHAEs is a defining factor to this problem, seeing that academic assessors are generally absent from the doctoral program in the arts, but do reside in the doctoral examination committee as a sine qua non to grant the title of doctor in the arts.

While the framework for doctoral programs tends to differ from association to association i. In some cases, it deprives doctoral candidates from direct access to the expectations and considerations fostered by academic members in their examination committees. There is another side of the coin to this intermediary solution for the academization of higher art education, however.

go here Among other implications less important to the scope of this paper, this model precludes the output of Flemish IHAEs from the PRFSs used for the allocation of institutional research funding used for Flemish universities—which tend to emphasize quantitative, scientometric evaluation methods and conceptualize research output exclusively as publications Engels et al. The research funding model for the Schools of Arts is independent from that of universities, meaning that the former are not expected to conform to the standards of the latter.

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This differs crucially from, for instance, the REF-system used in the United Kingdom, where research funding for faculties of arts is allocated by using the same general quality indicators used for the university in general— notwithstanding that the evaluation itself is based on peer reviews Nelson, and research outcomes are not necessarily expected to take the form of a traditional publication.

Transatlantic Reflections on the Practice-Based PhD in Fine Art Transatlantic Reflections on the Practice-Based PhD in Fine Art
Transatlantic Reflections on the Practice-Based PhD in Fine Art Transatlantic Reflections on the Practice-Based PhD in Fine Art
Transatlantic Reflections on the Practice-Based PhD in Fine Art Transatlantic Reflections on the Practice-Based PhD in Fine Art
Transatlantic Reflections on the Practice-Based PhD in Fine Art Transatlantic Reflections on the Practice-Based PhD in Fine Art
Transatlantic Reflections on the Practice-Based PhD in Fine Art Transatlantic Reflections on the Practice-Based PhD in Fine Art
Transatlantic Reflections on the Practice-Based PhD in Fine Art Transatlantic Reflections on the Practice-Based PhD in Fine Art

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