Art, Knowledge, and Reflexivity

2017

Focusing on the relations between art and research, this single topic issue was the result of several conversations held over the last few years between members of the CAIRE, the Experimental Art and Research Cluster. Founded by four research groups at the UAB, UB, UPF and UOC together with the HANGAR artistic production and research between in Barcelona, the objective of the CAIRE is precisely to contribute toward artistic research by capitalizing on its specific and unique features. In this respect, taking advantage of the framework offered by the symposium Questioning Aesthetics: Arts Research & Aesthetics, which took place from 20th to 22nd June 2017 at the Palau Virreina in Barcelona, organized by the UAB, the Transdisciplinary Aesthetics Foundation and Banco Sabadell Foundation, we issued an open call for articles that focus on the relation between the Arts and Research, which, after the peer-review process, ended up as this node of the journal Artnodes. Therefore, the first five articles are written by authors who took part at the aforementioned symposium at the time, while the rest of the articles in the single topic issue come from other writers who share their experiences and reflections with us from a range of different perspectives and approaches. The end result fulfils the desire expressed in the original open call for articles, in which we highlighted the diversity of approaches that exist in relation to the nature of the interrelation between art and research, including research for art, research on art, and finally, research in art, which is claimed by many to be the most genuine type of artistic research. Moreover, the selection of the articles published here in one way or another relates to the four lines specified in the open call, linked both to the theoretical perspective for and on artistic http://artnodes.uoc.edu artnodes

2020

Although doctoral research (and not only) is under the sign of searching for the new, overcoming pre-existence and solving problems specific to the field in which it takes place, in fact, the results are influenced mainly by the freedom that researchers/PhD students allow themselves in order to make associations, to break down barriers, the wall of prejudice. Research in the performing arts area involves, above all, transdisciplinary approaches, which determine us to have an exercise of reflection on the knowledge-action-creativity triad, but also on the relationship between creative technique and research. The rigor of the research does not exclude the abandonment of Procustian patterns, but (only) the lack of arguments, finality and ethics.

2018

catala«La recerca artistica» es un terme de moda que sembla portar les practiques de les arts contemporanies cap a noves formes, academicament mes respectables i properes a les ciencies socials i empiriques i a les humanitats. La introduccio de doctorats a les escoles d’arts i la normalitzacio dels plans d’estudi a Europa arran del Proces de Bolonya han estat cabdals en aquest sentit. Aquestes urgencies han creat una confusio enorme al voltant del significat de «recerca artistica». M’agradaria ajudar a aportar una mica d’ordre a aquestes veus sovint contradictories. El valor de l’art rau en el que el separa de la religio, la ciencia, la filosofia i totes les altres formes i productes del pensament huma, i estic convencut que qualsevol persona que cerqui el reconeixement academic i l’eliminacio de les diferencies esta confosa. En aquest article distingeixo entre cinc conceptes diferents en l’us de l’expressio «recerca artistica»: 1. Recerca per a l’art; es a dir, per a la produccio d...

Bertinetto, Alessandro, Fabian Dorsch und Cain Todd (Hg.): Proceedings of the European Society for Aesthetics Vol.2 2010., 2010

With regard to the distinction between functional and procedural definitions of art, that has been proposed by Steven Davies, the paper develops a functional account of art that tries to understand works of art as part of a certain kind of reflexive practice. In the first part the definitional proposals of Weitz, Dickie and Beardsley are discussed and their major shortcomings as well as their positive insights are presented. It is argued that Beardsley is on the right track with his functional definition, but determines the function of art in a wrong way. In the second part the papers develops a functional account of art that isn’t relying on the concept of aesthetic experience, but rather relies on the concept of reflexivity that has been developed by Hegel. Questions of an art-specific reflexivity are discussed as well as the problem that works of literature and ready-mades pose for a traditional definition that tries to understand the specifity of artistic reflexivity in terms of sensous materials.

Sisyphus — Journal of Education, 2015

Although almost every debate about artistic research highlights its novelty in references to «uncertainty», »indefinability», and to its lack of identity whilst «bound to a tradition external to itself», this novelty has lasted for a few decades already. Many of the problems raised today are to be found back when research and art education began to relate within the academic context in the 1980s. So where is the speculative discussion on its uncertainty taking artistic research to? Is a solution intended to be found? Is there a problem to be solved? Through ‘productivitism’ this text argues that the aprioristic idea that artistic research is problematic has been securing its state of pendency and increasing its fragility. The final part of the article suggests a creative potential and a challenging dimension in the process of institutionalization, and ends by pointing out possible topics of work for a shared agenda with contemporary art.

KATJA PUDOR Protocols, 2020

This reading of Katja Pudor's art work began during a visit to her studio in Berlin, which was intended as a kind of conversational ethnography with Katja and her works. Josefine Raasch, a common friend of Katja's and mine, had brought us together. On the day of our visit early in the winter of 2018, there were, then, three humans in the studio space along with many images in varying degrees of becoming art objects. In listening to, watching , and recording Katja as she moved around the space, explaining and showing, and in studying and photographing some of the images with our phones, we came to see ourselves as participants in an event, a small episode in which our lives (and our friendships) and ' doing art' collectively emerged as one and the same thing. Using the language of a twentieth-century art movement, we could call this "a blurred happening of art and life" 1 • One particular artwork still in the process of becoming helped me formulate a way to understand this experience. I refer to this work inthe conclusion.

2020

Since its beginnings in the 1990s, “artistic research” has become established as a new format in the areas of educational and institutional policy, aesthetics, and art theory. It has now diffused into almost all artistic fields, from installation to experimental formats to contemporary music, literature, dance or performance art. But from its beginnings—under labels like “art and science” or “scienceart” or “artscience” that mention both disciplines in one breath—it has been in competition with academic research, without its own concept of research having been adequately clarified. This manifesto attempts to resolve the problem and to defend the term and the radical potentials of a researching art against those who toy all too carefully with university formats, wishing to ally them with scientific principles. Its aim is to emphasize the autonomy and particular intellectuality of artistic research, without seeking to justify its legitimacy or adopt alien standards.

Research Centre, Academy of Fine Arts Prague (ed.), Notebook for Art, Theory and Related Zones, No. 20, p. 50–62, 2016

In the last decade, artistic research arose as a new avant-garde practice in the arts. Regarding the dissolution of artistic limits, research-oriented practices increasingly challenged the once inflexible boundaries between art and science. Not only did artistic research challenge well-established notions of scientific knowledge production, but it also confronted art criticism with a number of problems. Considering contemporary theories of aesthetic experience, one can reasonably criticize the claims of artistic research as being contradictory to one another. While they tend to lean on the production of knowledge through artistic forms, the inherent "aestheticity" of the materialized objects of this production leads to the undermining of all conceptualization. A Czech translation of this essay has appeared in the paper edition of the journal. URL: http://vvp.avu.cz/wp-content/uploads/2016/12/muhl.pdf

2010

This contribution investigates the possibilities of communicating artistic research without minimizing the multi-interpretability of the artwork and without having to adopt a philosophical vision-to be applied to the art and the research-as a starting point. The archival model, the rhizome model, and the contingency model are highlighted as viable possibilities. The models and the search for these models are applied to the music and other artistic domains. Keywords. Artistic research, artistic research versus philosophy, openness in the communication of research results. Resumen. Esta contribución investiga las posibilidades de informar sobre la investigación artística sin minimizar la multi-interpretabilidad de la obra y sin tener que adoptar una visión filosófica-que se aplicará al arte y a la investigación-como punto de partida. El modelo de archivo, el modelo de rizoma, y el modelo de contingencia se destacan como las posibilidades viables. Los modelos y la búsqueda de estos modelos se aplican a la música y otros campos artísticos. Palabras clave. La investigación artística, la investigación artística frente a la filosofía, la apertura en la comunicación de resultados de la investigación. _______________________________________________________

Educação & Realidade, 2019

The objective of this paper is to affirm the potential of art as a means for academic research capable of propitiating broad modes of thinking and of action, conceiving creation and experience as central elements of the investigative process. The paper revisits the work of some authors of the methodology known as Arts-Based Research, emphasizing the contribution of the challenges raised by Jan Jagodzinski and Jason Wallin. It understands research with art as a dispositif for ontological actions: the composition of an aesthetic of the existence (Foucault) and of a become-art (Deleuze). The paper presents the strength of the poetic act to make possible an enlarged conception of research, an education as educere and a humanity to come.