Workshops
Barbara Hawkins and Dr Brett Wilson: A transdisciplinary approach to research in a postgraduate arts environment
Project Dialogue is a transdisciplinary research team based in the department of Art and Design at the University of the West of England (UK) working with postgraduate students and early-career researchers to enquire into the underlying communality and differences between the research traditions across the arts and sciences potentially capable of creating hybrid forms of knowledge useful across both communities.
We have generated a curriculum structure and novel teaching material to expose postgraduate arts students to a transdisciplinary teaching team of scientists, philosophers and cultural commentators as well as traditional arts-based academic staff. This transdisciplinary approach has provided a rich source of theoretical activity and a lively and appreciative response from our students, including a number of practice-based PhD doctoral students.
This workshop will be of interest to doctoral students and faculty staff who wish to explore ways in which the traditions of art and science can help reinforce each other and provide a broader and more inclusive academic world-view. Over 2 hours it will present the philosophy, history and broad cultural references behind our approach using an introductory seminar prior to participants splitting into self-selecting groups around suggested question areas to investigate the languages, cultures and research practices encountered in collaborative transdisciplinary research activity. A plenary session will complete the workshop and provide an opportunity for participants to share their conclusions. We anticipate that it will also provide a focus for individuals and groups wishing to establish cooperative research programmes and academic exchanges with other institutions in complementary areas of work.
Key questions will include:
Motivation: From your own primary area of research, what pairing with another subject area would be particularly advantageous?
Methods: How deep a knowledge of another research area is required to create a genuine synthesis?
Would a transdisicplinary approach benefit individual researchers, or are research teams more effective?
Values: At what point in the educational process should a transdisciplinary curriculum be encouraged?
How can we best combine a quantitative and qualitative approach for an improved overview?
Evaluation: How can we structure and access funding programmes for broadly focused research projects spanning multiple disciplines?
Preferred number of participants: 30 to 40
Bio: Brett Wilson recently retired as Professor of Electronics & Communications after a productive academic career spanning universities in the UK and overseas. He is now a Visiting Senior Research Fellow in the Faculty of Creative Arts at UWE undertaking the role of 'scientist in residence'. His long-standing interest in philosophy of science encouraged him to co-found the transdisciplinary research group 'Project Dialogue'. Barbara Hawkins is Director for Postgraduate Studies in the Faculty of Creative Arts, at UWE. Before becoming a full-time academic she previously produced educational broadcasts for the BBC. Based at UWE since 1999 she has taught numerous courses in film and media, and supervises doctoral students. Her interest in curriculum design, teaching and learning developments led her to co-found 'Project Dialogue' with the aim of exploring research and educational synergies across the arts and sciences.
Sylvie Boisseau & Frank Westermeyer: Landschaft produzieren - Identität produzieren
Producing Landscape - Producing Identity
Während des Workshops sollen gemeinsam mit den Teilnehmern inbesondere folgende Fragen behandelt werden:
a) Welches Wissen wird in künstlerischer Forschung produziert?
b) Kann das Resultat von Forschung ästhetische Erfahrung liefern?
Konkreter Bezugsrahmen ist dabei das von den Künstlern Sylvie Boisseau und Frank Westermeyer initiierte transdiziplinäre Forschungsprojekt "Landschaft produzieren, Identität produzieren" (2010/11) welches an der Kunsthochschule Genf (Haute Žcole d'art et de design) angesiedelt ist und an dem Anthropologen, Ethnohistoriker, Künstler, ein Kunsthistoriker und eine Kuratorin aus Europa und Chile teilnehmen. Es untersucht das Wechselverhältnis von Landschaft und (kultureller) Identität im Süden Chiles, einem Raum in dem sich im 19. Jhdt verstärkt Einwanderer aus Deutschland auf Gebieten der Mapuche Indianer ansiedelten.
Im ersten Teil des Workshops wird es um das spezifische Wissen künstlerischer Forschung und um die Funktion gehen, die Kunst in einem interdisziplinären Projekt einnehmen kann. Die Wahl eines gemeinsamen Forschungsansatzes kommt ebenso zur Sprache wie die Relevanz des Forschungsgegenstandes und Besonderheiten künstlerischer Wissensproduktion im postkolonialen Kontext.
Im zweiten Teil beschäftigen wir uns mit der Präsentation von Resultaten künstlerischer Forschung. Am konkreten Beispiel soll durchgespielt werden, inwieweit künstlerische Formen Forschungsergebnisse verkörpern können. An wen richten sich die Ergebnisse? Gibt es Alternativen zu Ausstellung und Buch?
Die einzelnen Teile des Workshops und deren Unterpunkte gliedern sich jeweils in Phasen der Erörterung von Teilergebnissen aus dem Forschungsprojekt und ihre Problematisierung in der Diskussion mit den Teilnehmern. Hierzu werden verschiedene Materialen wie Ausschnitte aus dem Dokumentarvideo "Neue Brüder" vorgestellt.
Preferred number of participants: 15
Bio: Sylvie Boisseau (*1970) und Frank Westermeyer (*1971) realisieren seit 1996 gemeinsame Videoarbeiten und Interventionen im öffentlichen Raum. Ihre Arbeiten wurden zuletzt ausgestellt im Medienturm Graz, Kunstmuseum Bern, vtape Toronto, Museo de Solidaridad, Santiago de Chile und liefen auf zahlreichen internationalen Festivals, wie der Filmwoche Duisburg, Filmfest Rotterdam, transmediale, Kurzfilmtage Oberhausen, Biennale image en mouvement in Genf etc. Sylvie Boisseau erhielt 2005 einen MFA im Studiengang "Kunst im öffentlichen Raum und neue künstlerische Strategien" an der Bauhaus Universität Weimar. Frank Westermeyer studierte Kommunikationsdesign in Wuppertal und war 2000-2005 künstlerischer Mitarbeiter an der Fakultät Gestaltung der Bauhaus Uni. Seit 2004 unterrichtet er an der Haute école d'art et de design und leitet den Medienkunstbereich: art/media/. "Landschaft produzieren, Identität produzieren" ist ihr erstes Forschungsprojekt und wird finanziert von der Fachhochschule Westschweiz (HES-SO).
Brigitte Jurack: I DO I THINK YOU DOITHINKITHINKIDOYOUTHINK IDO
The topic of the workshop is the connection between studio based and lab-based research and writing. Questions and answers, problems and solutions are a very pragmatic approach to academic research in the UK. What is your research question? What do you want to find out? To whom do you communicate your findings? Is there a question at the beginning of each action? How much red do I need? Is this paper right? How do I extrapolate meaning? Can this line make a difference? These are some of the questions that seek to scrutinize the relationship to x. This x is the thing, artefact, object, event, drawing or plan and the scrutiny often takes place on the micro and macro level simultaneously. In fact, one of the stresses in research in Art & Design is to zoom in and out until the "right" depth of field is found.
This workshop is aimed at researchers across all PhD levels. Participants will experience and investigate the development of thought in a hands-on laboratory setting. We will look at the act of making, the culture of influence and interference, confusion and play, non hierarchical integrated practices of tracking and reflective looking, writing and thinking.
Structure
The workshop is suitable for 12-18 participants working in teams of 3 or 4. In the first phase of the workshop all participants will be involved in a shared making process that focuses on an everyday question - what is the ideal workspace for an artist/design researcher? A minimum of three methods to record creative thinking processes will be deployed. Whilst the participants are engaged in their building they will be asked to draw out and track their own and each others' thinking, developing theories as they go along.
This will be done though a number of different managed scenarios, i.e. one cluster of people will use AV equipment, one cluster will use participant observation and another will apply individual reflective practices. In the second phase of the workshop each cluster will be challenged to modify and/or develop their methodologies. The third phase of the workshops will concentrate on the development of theory that is rooted and grounded in the first 90 minutes of the workshop (key references will be provided citing P. Liamputtong, D.Schön, P. Jarvis, J. Albers).
Bio: Brigitte Jurack, trained at Düsseldorf Akademie (Meisterschülerin Prof. Irmin Kamp) and at the Universities of Bonn and Münster (Staatsexamen). After completing her studies she moved to England, where she held Senior Lecture Posts in studio based Fine Art and Sculpture at John Moores University, Derby University, University of Newcastle and Manchester Art School (MMU).
Jurack has co-supervised practice led Phd's in Fine Art since 2003 and in September 2010 commenced a practice led part-time PhD. She is active member of MIRIAD (Manchester Research Institute for Art and Design, Manchester Metropolitan University) and 1996 Jurack co-founded the international artists' collective Foreign Investment.
Recent exhibitions include Wie die Tangente den Kreis berührt, Irish Museum of Modern Art, Dublin (2010), Oslo Gold-Exchange, Galleri Format, Oslo (2010); Red Paradigm or Eurydice's Bed Chamber and Smash, A Spires Embers, Kiev (2009); Immaculate Conception, The Fifth Floor, Tate Liverpool (2009).
www.brigittejurack.de
Beatrice Jarvis and Dr Bob Jarvis: Practising Space | the City as Choreographic Apparatus
This practice based choreographic/ movement workshop and roundtable discussion explores the impact of collaboration between urban design and choreographic practice as a research resource for urban spatial use evaluation.
Our objective is to investigate the choreographic framing of daily life in urban spaces to develop innovative observations for re-patterning and re-organisation. Through the use of choreographic photographic techniques we will explore how far the image can become 'valid' and 'useful' social and planning documents as well fine art practices and create wider public dialogue as to the position of the body in urban space
This collaborative workshop explores the affects of landscape, place and urban texture on the body, the body in the city, the relationship between the city dweller and landscape to redefine and generate personal cartographies of urban space through embodied expression and movement.
Morning session: Choreographic Workshop with maximum 25 participants (Ideally in Weimar)
A 2 hour choreographic workshop exploring the impact of the architecture of the City on the body - choreographic and architectural exercises under the following themes:
The follow-up session will be an open round table discussion; presenting documentation of the workshop. -
Introduction and address; Beatrice Jarvis ( Goldsmiths, Ulster )
Talk: The Dance of Town Planning ( Dr Bob Jarvis, London South Bank University )
Participants Discussion - knowledge transfer and dialog- an 'open space' event to close the event.
Preferred number of participants: 25
Bio: Dr. Bob Jarvis ( http://bobopedia.wprdpress.com) was educated as one of the last of the gentlemen planners at Newcastle University, but later took classes in poetry and contemporary dance. He is perhaps the only qualified planner to have an MA in Creative Writing. He undertook a two year research programme of zen-like isolation and intensity in urban design before urban design was re-invented. His research and writing has focussed on town planning as an art and urban design as choreography, developing the argument that urban design is the core of town planning and that its 'real subject' is everyday life, no different from some modern choreographies. In a series of imaginative and creative course 'units' at LSBU he has applied the idea that town planning is an art and that planners need to develop their creative and imaginative skills
Beatrice Jarvis | Choreographer | Performer | Researcher
www.practisingspace.com and www.beatricejarvis.com
Beatrice is an urban space creative facilitator, choreographer and researcher. She utilises key concepts of choreography and visual arts methodologies with the intention to develop, original doctoral research on the connections between choreography and urban cultures.
Her practice merges essential techniques in a sociological framework of critical perspectives. Beatrice is currently a visiting lecturer at various town planning and architecture departments in London developing a platform for the conceptual and physical integration of urban planning, sociology and choreography leading to practical social creative implementation.
Beatrice is keen to create platforms social interaction using urban wastelands and reflections on urban habitation as a creative resource; her research currently focuses on how far choreography practice can develop a new methodology to interrogate a range of inner city conflict zones.
Dagmar Steffen: Is the so-called practice-based research in design an approach in its own right?
The workshop addresses the issue of specific qualities of practice-based design-research as a matter of fact or putative. We will investigate the motivation and the starting point of the research, the development of the research questions, and the methods of theoretical thinking (Erkenntnismethoden) applied during the research process. Special attention will be paid to the interplay between theory and the researchers' own design practice. How do both parts correspond to or feed each other? What is the function of the researchers' own design practice or rather the designed artefacts within the research process? How does the artefacts contribute to the knowledge gained in research? What are the research results (respectively what results are expected)? Which knowledge or rather theory is generated?
The workshop welcomes researchers who conduct a practice-based research project (advanced level or finished). The aim is to analyse and discuss the projects of the workshop participants with help of the above-mentioned topics and questions in order to approach the core theme in an inductive manner: What is special about practice-based research in design?
Preferred number of participants: 6 to 10 persons
Bio: Dagmar Steffen is lecturer and researcher at the Lucerne University of Applied Sciences, School of Art and Design Lucerne since 2008. She studied Product Design at the Academy of Art and Design Offenbach (HfG-O) and at Edinburgh College of Art. After finishing her studies she was a free-lance design journalist and curator and published design-related books. From 2000 to 2003 Steffen was a member of the research staff at the C_Lab at the HfG-O. 2004 she was awarded a scholarship by the Academy of Finland and joined the SeFun (Semantic Functions in Design) research project at the Aalto University School of Art and Design Helsinki. She also held a position as visiting lecturer at the Bergische University Wuppertal, where she is currently a PhD candidate.
Dr. Michael Hohl: What is practice-led research in art and design?
Why do we need research methods in design?
Short presentations and conversations.
This workshop offers an opportunity for doctoral students and design researchers to present their current research, methods and methodologies in a short presentation. After the presentations the group will discuss the proposed research framework in order to learn and provide valuable feedback to the researcher. In course of this workshop we will likely address ontologies, epistemologies and research methods adopted from other disciplines. Among the outcomes of this workshop are a better understanding of the components of a methodological frameworks, methods of creation and evaluation, refining a research question or hypothesis, giving constructive feedback and presentation skills.
Preferred number of participants: 10 - 14
Bio: Dr. Michael Hohl is a designer, educator and researcher working with digital media. As a research fellow in design at the University of Huddersfield he conducted seminars and workshops on practice-led research in art and design for members of staff and Ph.D. candidates. In March 2011 he hosted the transdisciplinary conference 'making visible the invisible' in Huddersfield, UK, where architects, designers, scientists and artists from eight different countries discussed interdisciplinary exchange and debate into the questions that arise in the process of collaborating on data visualisations in the light of climate change, sustainability and ecological literacy. He presents and publishes his research in fine art, design and computer sciences contexts.
Patrycja German: Wirkungsweisen künstlerischer Arbeit
"Die Themen meiner Arbeiten basieren auf einfachen Beobachtungen und Erfahrungen des täglichen Lebens. Dabei frage ich mich, ob sie etwas über Banalität, die Bedingungen des Alltäglichen verraten. Es sind einfache, bewusst ausgeführte Handlungen. Ich vertraue grenzenlos dem Publikum, seiner Beobachtungsgabe und seiner Fähigkeit, Zugang zu seinen Erfahrungen zu finden, zum kollektiven Unbewussten. Dabei will ich nicht belehren, sondern möchte Situationen schaffen, in denen der Betrachter einen Ausweg hat und mehr als eine einzige Interpretation möglich ist." (P. German)
Die Bildende Künstlerin Patrycja German entwickelt Versuchsanordnungen, in denen sie selbst agiert und den Betrachter als Mitspieler konzipiert. Dabei interessiert sie sich für Möglichkeiten und Grenzen einer solchen Zuordnung und untersucht, wie viel Nähe und Intimität in einer inszenierten Situation entstehen kann. Beispielsweise wählt sie in einem Theater Männer nach Gewicht und Größe aus und weist diese an, sich auf sie zu legen. In einer Kneipe fordert sie zum "Schenkeldrücken" heraus. Sie lässt sich nackt von fremden Männern herumtragen, bis diese nicht mehr können. In einem Museum reicht sie Teigtaschen mit dem Mund weiter. In einer Galerie testet sie, ob man ihr in die Augen schaut, wenn sie unbekleidet ist. Die Versuchsanordnungen sind immer an das sinnliche und körperliche Erleben der Beteiligten gebunden. Feste Größen sind jeweils Körpergröße, Gewicht, Kraft und Geschlecht. Die Anlage ihrer Arbeiten steht jeweils in einem engen Wechselverhältnis mit den konkreten gegebenen Bedingungen, die vor Ort Einfluss auf das Verhalten und die Bewegungsweise der "potentiellen Mitspieler" nehmen.
In dem Workshop soll gemeinsam der Frage nachgegangen werden, wie künstlerische Entscheidungen zustande kommen und auf welche Weise diese in spezifischen Kontexten wirksam werden. Welche Faktoren sind dabei entscheidend? Wie korrelieren die gegebenen Bedingungen und die Entscheidungen, die zu der formalen bzw. inhaltlichen Gestaltung einer Arbeit führen? Welche Auswirkungen haben minimale Abweichungen?
Ausgewählte künstlerische Arbeiten Patrycja Germans bilden den Hintergrund, vor dem ein performatives Experiment stattfindet und dialogisch ausgewertet wird. Der Workshop selbst wird quasi als Format exploriert und bezieht die Teilnehmenden als Mitspieler, Beobachter und Künstler mit ein. In der Auswertung des Experiments wird auch auf Fragen nach angemessenen Formen der Transkription, Dokumentation und Vermittlung performativer Arbeiten eingegangen.
Bio: Patrycja German wurde 1979 in Wroclaw, Polen geboren. Sie lebt und arbeitet in Berlin. 1999-2005 studierte sie an der Staatliche Akademie der Bildenden Künste in Karlsruhe und absolvierte als Meisterschülerin von Ernst Caramelle. Ihre Arbeiten wurden in zahlreichen Einzel- und Gruppenausstellungen, auf Performance- und Videofestivals in Europa und den USA gezeigt, u.a. im MAK Center for Arts and Architects, Los Angeles, im Neuen Berliner Kunstverein, in der Temporären Kunsthalle Berlin, im Deutschen Hygiene Museum Dresden, in der Städtischen Galerie Karlsruhe, in der Staatsgalerie Stuttgart, in der SK Kulturstiftung im Museum Ludwig, im Heidelberger Kunstverein, im Wro Arts Center Wroclaw, Polen und im Von-der-Heydt-Museum Wuppertal. Für ihre Arbeit erhielt sie zahlreiche Auszeichnungen, u.a. das Schindler- Stipendium des MAK Wien für Los Angeles, 2010, den HAP Grieshaber- Preis der Stiftung Kunstfonds Bonn, 2009, den Saar-Ferngas-Preis für Junge Kunst, 2008 und den Preis der Kunststiftung Baden-Württemberg.
- Barbara Hawkins and Dr Brett Wilson: A transdisciplinary approach to research in a postgraduate arts environment
- Sylvie Boisseau & Frank Westermeyer: Landschaft produzieren - Identität produzieren
- Brigitte Jurack: I DO I THINK YOU DOITHINKITHINKIDOYOUTHINK IDO
- Beatrice Jarvis and Dr Bob Jarvis: Practising Space | the City as Choreographic Apparatus
- Dagmar Steffen: Is the so-called practice-based research in design an approach in its own right?
- Dr. Michael Hohl: What is practice-led research in art and design?
- Patrycja German: Wirkungsweisen künstlerischer Arbeit
Barbara Hawkins and Dr Brett Wilson: A transdisciplinary approach to research in a postgraduate arts environment
Project Dialogue is a transdisciplinary research team based in the department of Art and Design at the University of the West of England (UK) working with postgraduate students and early-career researchers to enquire into the underlying communality and differences between the research traditions across the arts and sciences potentially capable of creating hybrid forms of knowledge useful across both communities.
We have generated a curriculum structure and novel teaching material to expose postgraduate arts students to a transdisciplinary teaching team of scientists, philosophers and cultural commentators as well as traditional arts-based academic staff. This transdisciplinary approach has provided a rich source of theoretical activity and a lively and appreciative response from our students, including a number of practice-based PhD doctoral students.
This workshop will be of interest to doctoral students and faculty staff who wish to explore ways in which the traditions of art and science can help reinforce each other and provide a broader and more inclusive academic world-view. Over 2 hours it will present the philosophy, history and broad cultural references behind our approach using an introductory seminar prior to participants splitting into self-selecting groups around suggested question areas to investigate the languages, cultures and research practices encountered in collaborative transdisciplinary research activity. A plenary session will complete the workshop and provide an opportunity for participants to share their conclusions. We anticipate that it will also provide a focus for individuals and groups wishing to establish cooperative research programmes and academic exchanges with other institutions in complementary areas of work.
Key questions will include:
Motivation: From your own primary area of research, what pairing with another subject area would be particularly advantageous?
Methods: How deep a knowledge of another research area is required to create a genuine synthesis?
Would a transdisicplinary approach benefit individual researchers, or are research teams more effective?
Values: At what point in the educational process should a transdisciplinary curriculum be encouraged?
How can we best combine a quantitative and qualitative approach for an improved overview?
Evaluation: How can we structure and access funding programmes for broadly focused research projects spanning multiple disciplines?
Preferred number of participants: 30 to 40
Bio: Brett Wilson recently retired as Professor of Electronics & Communications after a productive academic career spanning universities in the UK and overseas. He is now a Visiting Senior Research Fellow in the Faculty of Creative Arts at UWE undertaking the role of 'scientist in residence'. His long-standing interest in philosophy of science encouraged him to co-found the transdisciplinary research group 'Project Dialogue'. Barbara Hawkins is Director for Postgraduate Studies in the Faculty of Creative Arts, at UWE. Before becoming a full-time academic she previously produced educational broadcasts for the BBC. Based at UWE since 1999 she has taught numerous courses in film and media, and supervises doctoral students. Her interest in curriculum design, teaching and learning developments led her to co-found 'Project Dialogue' with the aim of exploring research and educational synergies across the arts and sciences.
Sylvie Boisseau & Frank Westermeyer: Landschaft produzieren - Identität produzieren
Producing Landscape - Producing Identity
Während des Workshops sollen gemeinsam mit den Teilnehmern inbesondere folgende Fragen behandelt werden:
a) Welches Wissen wird in künstlerischer Forschung produziert?
b) Kann das Resultat von Forschung ästhetische Erfahrung liefern?
Konkreter Bezugsrahmen ist dabei das von den Künstlern Sylvie Boisseau und Frank Westermeyer initiierte transdiziplinäre Forschungsprojekt "Landschaft produzieren, Identität produzieren" (2010/11) welches an der Kunsthochschule Genf (Haute Žcole d'art et de design) angesiedelt ist und an dem Anthropologen, Ethnohistoriker, Künstler, ein Kunsthistoriker und eine Kuratorin aus Europa und Chile teilnehmen. Es untersucht das Wechselverhältnis von Landschaft und (kultureller) Identität im Süden Chiles, einem Raum in dem sich im 19. Jhdt verstärkt Einwanderer aus Deutschland auf Gebieten der Mapuche Indianer ansiedelten.
Im ersten Teil des Workshops wird es um das spezifische Wissen künstlerischer Forschung und um die Funktion gehen, die Kunst in einem interdisziplinären Projekt einnehmen kann. Die Wahl eines gemeinsamen Forschungsansatzes kommt ebenso zur Sprache wie die Relevanz des Forschungsgegenstandes und Besonderheiten künstlerischer Wissensproduktion im postkolonialen Kontext.
Im zweiten Teil beschäftigen wir uns mit der Präsentation von Resultaten künstlerischer Forschung. Am konkreten Beispiel soll durchgespielt werden, inwieweit künstlerische Formen Forschungsergebnisse verkörpern können. An wen richten sich die Ergebnisse? Gibt es Alternativen zu Ausstellung und Buch?
Die einzelnen Teile des Workshops und deren Unterpunkte gliedern sich jeweils in Phasen der Erörterung von Teilergebnissen aus dem Forschungsprojekt und ihre Problematisierung in der Diskussion mit den Teilnehmern. Hierzu werden verschiedene Materialen wie Ausschnitte aus dem Dokumentarvideo "Neue Brüder" vorgestellt.
Preferred number of participants: 15
Bio: Sylvie Boisseau (*1970) und Frank Westermeyer (*1971) realisieren seit 1996 gemeinsame Videoarbeiten und Interventionen im öffentlichen Raum. Ihre Arbeiten wurden zuletzt ausgestellt im Medienturm Graz, Kunstmuseum Bern, vtape Toronto, Museo de Solidaridad, Santiago de Chile und liefen auf zahlreichen internationalen Festivals, wie der Filmwoche Duisburg, Filmfest Rotterdam, transmediale, Kurzfilmtage Oberhausen, Biennale image en mouvement in Genf etc. Sylvie Boisseau erhielt 2005 einen MFA im Studiengang "Kunst im öffentlichen Raum und neue künstlerische Strategien" an der Bauhaus Universität Weimar. Frank Westermeyer studierte Kommunikationsdesign in Wuppertal und war 2000-2005 künstlerischer Mitarbeiter an der Fakultät Gestaltung der Bauhaus Uni. Seit 2004 unterrichtet er an der Haute école d'art et de design und leitet den Medienkunstbereich: art/media/. "Landschaft produzieren, Identität produzieren" ist ihr erstes Forschungsprojekt und wird finanziert von der Fachhochschule Westschweiz (HES-SO).
Brigitte Jurack: I DO I THINK YOU DOITHINKITHINKIDOYOUTHINK IDO
The topic of the workshop is the connection between studio based and lab-based research and writing. Questions and answers, problems and solutions are a very pragmatic approach to academic research in the UK. What is your research question? What do you want to find out? To whom do you communicate your findings? Is there a question at the beginning of each action? How much red do I need? Is this paper right? How do I extrapolate meaning? Can this line make a difference? These are some of the questions that seek to scrutinize the relationship to x. This x is the thing, artefact, object, event, drawing or plan and the scrutiny often takes place on the micro and macro level simultaneously. In fact, one of the stresses in research in Art & Design is to zoom in and out until the "right" depth of field is found.
This workshop is aimed at researchers across all PhD levels. Participants will experience and investigate the development of thought in a hands-on laboratory setting. We will look at the act of making, the culture of influence and interference, confusion and play, non hierarchical integrated practices of tracking and reflective looking, writing and thinking.
Structure
The workshop is suitable for 12-18 participants working in teams of 3 or 4. In the first phase of the workshop all participants will be involved in a shared making process that focuses on an everyday question - what is the ideal workspace for an artist/design researcher? A minimum of three methods to record creative thinking processes will be deployed. Whilst the participants are engaged in their building they will be asked to draw out and track their own and each others' thinking, developing theories as they go along.
This will be done though a number of different managed scenarios, i.e. one cluster of people will use AV equipment, one cluster will use participant observation and another will apply individual reflective practices. In the second phase of the workshop each cluster will be challenged to modify and/or develop their methodologies. The third phase of the workshops will concentrate on the development of theory that is rooted and grounded in the first 90 minutes of the workshop (key references will be provided citing P. Liamputtong, D.Schön, P. Jarvis, J. Albers).
Bio: Brigitte Jurack, trained at Düsseldorf Akademie (Meisterschülerin Prof. Irmin Kamp) and at the Universities of Bonn and Münster (Staatsexamen). After completing her studies she moved to England, where she held Senior Lecture Posts in studio based Fine Art and Sculpture at John Moores University, Derby University, University of Newcastle and Manchester Art School (MMU).
Jurack has co-supervised practice led Phd's in Fine Art since 2003 and in September 2010 commenced a practice led part-time PhD. She is active member of MIRIAD (Manchester Research Institute for Art and Design, Manchester Metropolitan University) and 1996 Jurack co-founded the international artists' collective Foreign Investment.
Recent exhibitions include Wie die Tangente den Kreis berührt, Irish Museum of Modern Art, Dublin (2010), Oslo Gold-Exchange, Galleri Format, Oslo (2010); Red Paradigm or Eurydice's Bed Chamber and Smash, A Spires Embers, Kiev (2009); Immaculate Conception, The Fifth Floor, Tate Liverpool (2009).
www.brigittejurack.de
Beatrice Jarvis and Dr Bob Jarvis: Practising Space | the City as Choreographic Apparatus
This practice based choreographic/ movement workshop and roundtable discussion explores the impact of collaboration between urban design and choreographic practice as a research resource for urban spatial use evaluation.
Our objective is to investigate the choreographic framing of daily life in urban spaces to develop innovative observations for re-patterning and re-organisation. Through the use of choreographic photographic techniques we will explore how far the image can become 'valid' and 'useful' social and planning documents as well fine art practices and create wider public dialogue as to the position of the body in urban space
This collaborative workshop explores the affects of landscape, place and urban texture on the body, the body in the city, the relationship between the city dweller and landscape to redefine and generate personal cartographies of urban space through embodied expression and movement.
Morning session: Choreographic Workshop with maximum 25 participants (Ideally in Weimar)
A 2 hour choreographic workshop exploring the impact of the architecture of the City on the body - choreographic and architectural exercises under the following themes:
- 'the disciplined body, the dominating body, the mirroring body, and the communicating body.'
- How far the body can exist outside of institutional control of movement and action
- orchestrating the social dynamic between body and site and the atmosphere of place
The follow-up session will be an open round table discussion; presenting documentation of the workshop. -
Introduction and address; Beatrice Jarvis ( Goldsmiths, Ulster )
Talk: The Dance of Town Planning ( Dr Bob Jarvis, London South Bank University )
Participants Discussion - knowledge transfer and dialog- an 'open space' event to close the event.
Preferred number of participants: 25
Bio: Dr. Bob Jarvis ( http://bobopedia.wprdpress.com) was educated as one of the last of the gentlemen planners at Newcastle University, but later took classes in poetry and contemporary dance. He is perhaps the only qualified planner to have an MA in Creative Writing. He undertook a two year research programme of zen-like isolation and intensity in urban design before urban design was re-invented. His research and writing has focussed on town planning as an art and urban design as choreography, developing the argument that urban design is the core of town planning and that its 'real subject' is everyday life, no different from some modern choreographies. In a series of imaginative and creative course 'units' at LSBU he has applied the idea that town planning is an art and that planners need to develop their creative and imaginative skills
Beatrice Jarvis | Choreographer | Performer | Researcher
www.practisingspace.com and www.beatricejarvis.com
Beatrice is an urban space creative facilitator, choreographer and researcher. She utilises key concepts of choreography and visual arts methodologies with the intention to develop, original doctoral research on the connections between choreography and urban cultures.
Her practice merges essential techniques in a sociological framework of critical perspectives. Beatrice is currently a visiting lecturer at various town planning and architecture departments in London developing a platform for the conceptual and physical integration of urban planning, sociology and choreography leading to practical social creative implementation.
Beatrice is keen to create platforms social interaction using urban wastelands and reflections on urban habitation as a creative resource; her research currently focuses on how far choreography practice can develop a new methodology to interrogate a range of inner city conflict zones.
Dagmar Steffen: Is the so-called practice-based research in design an approach in its own right?
The workshop addresses the issue of specific qualities of practice-based design-research as a matter of fact or putative. We will investigate the motivation and the starting point of the research, the development of the research questions, and the methods of theoretical thinking (Erkenntnismethoden) applied during the research process. Special attention will be paid to the interplay between theory and the researchers' own design practice. How do both parts correspond to or feed each other? What is the function of the researchers' own design practice or rather the designed artefacts within the research process? How does the artefacts contribute to the knowledge gained in research? What are the research results (respectively what results are expected)? Which knowledge or rather theory is generated?
The workshop welcomes researchers who conduct a practice-based research project (advanced level or finished). The aim is to analyse and discuss the projects of the workshop participants with help of the above-mentioned topics and questions in order to approach the core theme in an inductive manner: What is special about practice-based research in design?
Preferred number of participants: 6 to 10 persons
Bio: Dagmar Steffen is lecturer and researcher at the Lucerne University of Applied Sciences, School of Art and Design Lucerne since 2008. She studied Product Design at the Academy of Art and Design Offenbach (HfG-O) and at Edinburgh College of Art. After finishing her studies she was a free-lance design journalist and curator and published design-related books. From 2000 to 2003 Steffen was a member of the research staff at the C_Lab at the HfG-O. 2004 she was awarded a scholarship by the Academy of Finland and joined the SeFun (Semantic Functions in Design) research project at the Aalto University School of Art and Design Helsinki. She also held a position as visiting lecturer at the Bergische University Wuppertal, where she is currently a PhD candidate.
Dr. Michael Hohl: What is practice-led research in art and design?
Why do we need research methods in design?
Short presentations and conversations.
This workshop offers an opportunity for doctoral students and design researchers to present their current research, methods and methodologies in a short presentation. After the presentations the group will discuss the proposed research framework in order to learn and provide valuable feedback to the researcher. In course of this workshop we will likely address ontologies, epistemologies and research methods adopted from other disciplines. Among the outcomes of this workshop are a better understanding of the components of a methodological frameworks, methods of creation and evaluation, refining a research question or hypothesis, giving constructive feedback and presentation skills.
Preferred number of participants: 10 - 14
Bio: Dr. Michael Hohl is a designer, educator and researcher working with digital media. As a research fellow in design at the University of Huddersfield he conducted seminars and workshops on practice-led research in art and design for members of staff and Ph.D. candidates. In March 2011 he hosted the transdisciplinary conference 'making visible the invisible' in Huddersfield, UK, where architects, designers, scientists and artists from eight different countries discussed interdisciplinary exchange and debate into the questions that arise in the process of collaborating on data visualisations in the light of climate change, sustainability and ecological literacy. He presents and publishes his research in fine art, design and computer sciences contexts.
Patrycja German: Wirkungsweisen künstlerischer Arbeit
"Die Themen meiner Arbeiten basieren auf einfachen Beobachtungen und Erfahrungen des täglichen Lebens. Dabei frage ich mich, ob sie etwas über Banalität, die Bedingungen des Alltäglichen verraten. Es sind einfache, bewusst ausgeführte Handlungen. Ich vertraue grenzenlos dem Publikum, seiner Beobachtungsgabe und seiner Fähigkeit, Zugang zu seinen Erfahrungen zu finden, zum kollektiven Unbewussten. Dabei will ich nicht belehren, sondern möchte Situationen schaffen, in denen der Betrachter einen Ausweg hat und mehr als eine einzige Interpretation möglich ist." (P. German)
Die Bildende Künstlerin Patrycja German entwickelt Versuchsanordnungen, in denen sie selbst agiert und den Betrachter als Mitspieler konzipiert. Dabei interessiert sie sich für Möglichkeiten und Grenzen einer solchen Zuordnung und untersucht, wie viel Nähe und Intimität in einer inszenierten Situation entstehen kann. Beispielsweise wählt sie in einem Theater Männer nach Gewicht und Größe aus und weist diese an, sich auf sie zu legen. In einer Kneipe fordert sie zum "Schenkeldrücken" heraus. Sie lässt sich nackt von fremden Männern herumtragen, bis diese nicht mehr können. In einem Museum reicht sie Teigtaschen mit dem Mund weiter. In einer Galerie testet sie, ob man ihr in die Augen schaut, wenn sie unbekleidet ist. Die Versuchsanordnungen sind immer an das sinnliche und körperliche Erleben der Beteiligten gebunden. Feste Größen sind jeweils Körpergröße, Gewicht, Kraft und Geschlecht. Die Anlage ihrer Arbeiten steht jeweils in einem engen Wechselverhältnis mit den konkreten gegebenen Bedingungen, die vor Ort Einfluss auf das Verhalten und die Bewegungsweise der "potentiellen Mitspieler" nehmen.
In dem Workshop soll gemeinsam der Frage nachgegangen werden, wie künstlerische Entscheidungen zustande kommen und auf welche Weise diese in spezifischen Kontexten wirksam werden. Welche Faktoren sind dabei entscheidend? Wie korrelieren die gegebenen Bedingungen und die Entscheidungen, die zu der formalen bzw. inhaltlichen Gestaltung einer Arbeit führen? Welche Auswirkungen haben minimale Abweichungen?
Ausgewählte künstlerische Arbeiten Patrycja Germans bilden den Hintergrund, vor dem ein performatives Experiment stattfindet und dialogisch ausgewertet wird. Der Workshop selbst wird quasi als Format exploriert und bezieht die Teilnehmenden als Mitspieler, Beobachter und Künstler mit ein. In der Auswertung des Experiments wird auch auf Fragen nach angemessenen Formen der Transkription, Dokumentation und Vermittlung performativer Arbeiten eingegangen.
Bio: Patrycja German wurde 1979 in Wroclaw, Polen geboren. Sie lebt und arbeitet in Berlin. 1999-2005 studierte sie an der Staatliche Akademie der Bildenden Künste in Karlsruhe und absolvierte als Meisterschülerin von Ernst Caramelle. Ihre Arbeiten wurden in zahlreichen Einzel- und Gruppenausstellungen, auf Performance- und Videofestivals in Europa und den USA gezeigt, u.a. im MAK Center for Arts and Architects, Los Angeles, im Neuen Berliner Kunstverein, in der Temporären Kunsthalle Berlin, im Deutschen Hygiene Museum Dresden, in der Städtischen Galerie Karlsruhe, in der Staatsgalerie Stuttgart, in der SK Kulturstiftung im Museum Ludwig, im Heidelberger Kunstverein, im Wro Arts Center Wroclaw, Polen und im Von-der-Heydt-Museum Wuppertal. Für ihre Arbeit erhielt sie zahlreiche Auszeichnungen, u.a. das Schindler- Stipendium des MAK Wien für Los Angeles, 2010, den HAP Grieshaber- Preis der Stiftung Kunstfonds Bonn, 2009, den Saar-Ferngas-Preis für Junge Kunst, 2008 und den Preis der Kunststiftung Baden-Württemberg.