Luis Vega, B. Aktaş, Riikka Latva-Somppi, Priska Falin, Julia Valle Noronha
Conducting research through creative and artistic practices is becoming an established approach used to advance knowledge in various domains of the Arts. Although this approach tends to highlight the voice of the author through the first-person singular, practitioner-researchers working in the fields of art, design, and craft often involve other stakeholders in their practices, such as lay people, workshop participants, workshop co-organizers, other practitioners, and other informants. In some cases, these stakeholders can be said to attain the status of co-authors since their contribution not only informs the development of the practice but also influences the direction of the research. In this paper, we examine what other voices contribute to the production of knowledge through not always accounted forms of authorship. By discussing the inclusion of various stakeholders as co-authors at different stages of the investigative process, we explore the spectrum of shared authorship in research through art, design, and craft. The discussion draws on five research cases conducted by the authors of this paper. We conclude that examining shared authorship champions the emergence of more inclusive research practices, which not only propel the diversification of distinct ways of knowing but also value their operational role in the generation of new knowledge.
{"title":"Shared Authorship in Research through Art, Design, and Craft","authors":"Luis Vega, B. Aktaş, Riikka Latva-Somppi, Priska Falin, Julia Valle Noronha","doi":"10.24342/9ZSP-HJ59","DOIUrl":"https://doi.org/10.24342/9ZSP-HJ59","url":null,"abstract":"Conducting research through creative and artistic practices is becoming an established approach used to advance knowledge in various domains of the Arts. Although this approach tends to highlight the voice of the author through the first-person singular, practitioner-researchers working in the fields of art, design, and craft often involve other stakeholders in their practices, such as lay people, workshop participants, workshop co-organizers, other practitioners, and other informants. In some cases, these stakeholders can be said to attain the status of co-authors since their contribution not only informs the development of the practice but also influences the direction of the research. In this paper, we examine what other voices contribute to the production of knowledge through not always accounted forms of authorship. By discussing the inclusion of various stakeholders as co-authors at different stages of the investigative process, we explore the spectrum of shared authorship in research through art, design, and craft. The discussion draws on five research cases conducted by the authors of this paper. We conclude that examining shared authorship champions the emergence of more inclusive research practices, which not only propel the diversification of distinct ways of knowing but also value their operational role in the generation of new knowledge.","PeriodicalId":101879,"journal":{"name":"Research in Arts and Education","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117035481","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Biography Tommy Kaj Lindgren architect and Urban Design, of Architecture, in the of Arts, Design and Architecture at Aalto University. In his research, Lindgren is focused on the position of drawings as mediating tools in architectural production and reproduction. While working as an architect and teacher, he also contributes to ongoing discussions on the urban environment, its form and formation, through critiques and reviews. Abstract The architectural drawing is integral to the way we envision, construct and understand our environment. Interpreted as mediators, the situated nature of architectural drawings can be defined, and their effects identified. This text is an exploration in three parts of the drawing type that I call the ‘Volumetric Diagram’—in the first part, the general nature of architectural drawings is described and examples highlighting the constructed nature of different drawing types are presented; all drawing types are claimed to be in a state of flux and the mechanisms of change are examined – the durability of types being a function of their connectivity. In the second part, the Volumetric Diagram is described as a distinct contemporary drawing type, its ‘pre-history’ is traced from axonometric representations and diagrams, and its emergence is outlined by examining the genealogy of the type. The qualities of the Volumetric Diagram are described and elaborated based on this analysis. In the last part the previously explored aspects of architectural drawings in general, and the Volumetric Diagram in particular, are juxtaposed with architectural approaches and theoretical concepts, in order to highlight the position of the Volumetric Diagram in relation to them.
Tommy Kaj Lindgren是阿尔托大学艺术、设计和建筑专业的建筑师和城市设计。在他的研究中，Lindgren专注于图纸作为建筑生产和复制的中介工具的地位。在担任建筑师和教师的同时，他还通过评论和评论对城市环境及其形式和形成进行了持续的讨论。建筑绘图是我们设想、构建和理解环境的方式中不可或缺的一部分。作为媒介，建筑图纸的定位性质可以被定义，其效果也可以被识别。本文是对三部分绘图类型的探索，我称之为“体积图”——第一部分，描述了建筑图纸的一般性质，并提出了突出不同绘图类型的构造性质的例子;所有的绘图类型都处于不断变化的状态，并检查了变化的机制-类型的耐久性是其连接性的函数。在第二部分中，体积图被描述为一种独特的当代绘画类型，它的“史前”可以追溯到轴测图和图表，并通过检查类型的谱系来概述它的出现。在此基础上，对体积图的性质进行了描述和阐述。在最后一部分中，之前探讨的建筑图纸的各个方面，特别是体积图，与建筑方法和理论概念并列，以突出体积图在它们之间的地位。
{"title":"The Volumetric Diagram – Genealogy of a Drawing Type","authors":"T. Lindgren","doi":"10.54916/rae.119327","DOIUrl":"https://doi.org/10.54916/rae.119327","url":null,"abstract":"Biography Tommy Kaj Lindgren architect and Urban Design, of Architecture, in the of Arts, Design and Architecture at Aalto University. In his research, Lindgren is focused on the position of drawings as mediating tools in architectural production and reproduction. While working as an architect and teacher, he also contributes to ongoing discussions on the urban environment, its form and formation, through critiques and reviews. Abstract The architectural drawing is integral to the way we envision, construct and understand our environment. Interpreted as mediators, the situated nature of architectural drawings can be defined, and their effects identified. This text is an exploration in three parts of the drawing type that I call the ‘Volumetric Diagram’—in the first part, the general nature of architectural drawings is described and examples highlighting the constructed nature of different drawing types are presented; all drawing types are claimed to be in a state of flux and the mechanisms of change are examined – the durability of types being a function of their connectivity. In the second part, the Volumetric Diagram is described as a distinct contemporary drawing type, its ‘pre-history’ is traced from axonometric representations and diagrams, and its emergence is outlined by examining the genealogy of the type. The qualities of the Volumetric Diagram are described and elaborated based on this analysis. In the last part the previously explored aspects of architectural drawings in general, and the Volumetric Diagram in particular, are juxtaposed with architectural approaches and theoretical concepts, in order to highlight the position of the Volumetric Diagram in relation to them.","PeriodicalId":101879,"journal":{"name":"Research in Arts and Education","volume":"364 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126700385","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper discusses the collaborative project the authors undertook for the speculativefilm Planet City in the context of a research program titled Critical Textile Topologies. Itoutlines the expe ...
{"title":"Critical Textile Topologies X Planet City: the intersection of design practice and research","authors":"Holly McQuillan, K. Walters, Karin E. Peterson","doi":"10.54916/rae.119326","DOIUrl":"https://doi.org/10.54916/rae.119326","url":null,"abstract":"This paper discusses the collaborative project the authors undertook for the speculativefilm Planet City in the context of a research program titled Critical Textile Topologies. Itoutlines the expe ...","PeriodicalId":101879,"journal":{"name":"Research in Arts and Education","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126613877","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Biography Dr. Harri Laakso is Professor of Photography Research at Aalto University, Finland. He is an artist, researcher and curator interested in photographic im-ages and theory, artistic research and word/image relations. His curatorial work includes co-curating Finnish and Nordic pavilions at Venice Biennale 2013. He has led many research projects (e.g. ‘Figures of Touch’, Academy of Finland, 2009-2012) and is currently senior researcher in ‘Floating Peripheries— Mediating the Sense of Place’ (Academy of Finland, 2017–2021). Dr. Sofia Pantouvaki is a scenographer and Professor of Costume Design at Aalto University, Finland. She is an awarded practising designer for theatre, film, opera and dance productions in European venues and curator of many international projects. Chair of Critical Costume and a founding Editor of the international peer-reviewed journal Studies in Costume and Performance. She led the research project ‘Costume Methodologies’ (Academy of Finland, 2014-2018) and is lead editor of Performance Costume: New Perspectives and Methods (Bloomsbury, 2021). Julia Valle-Noronha is a designer-researcher particular interest the practices that take place between people and the clothes they wear. Holding a 2019) Visual Arts 2014), she is currently Associate Professor in Fashion/Design at the Estonian Academy of Arts and Visiting Researcher in Design at Aalto
Harri Laakso博士是芬兰阿尔托大学摄影研究教授。他是一位艺术家，研究者和策展人，对摄影图像和理论，艺术研究和文字/图像关系感兴趣。他的策展工作包括在2013年威尼斯双年展上联合策划芬兰和北欧展馆。他领导了许多研究项目(例如“触摸的数字”，芬兰科学院，2009-2012)，目前是“浮动外围-调解地方感”(芬兰科学院，2017-2021)的高级研究员。Sofia Pantouvaki博士是芬兰阿尔托大学的舞台设计师和服装设计教授。她是一名屡获殊荣的欧洲剧院、电影、歌剧和舞蹈作品的执业设计师，也是许多国际项目的策展人。《服装评论》主席和国际同行评议杂志《服装与表演研究》的创始编辑。她领导了“服装方法论”研究项目(芬兰科学院，2014-2018)，并担任《表演服装:新视角和方法》(布卢姆斯伯里出版社，2021年)的主编。Julia Valle-Noronha是一位设计师兼研究员，对人与所穿衣服之间的行为特别感兴趣。她拥有2019年视觉艺术学位(2014年)，目前是爱沙尼亚艺术学院时尚/设计副教授和阿尔托设计客座研究员
{"title":"Art of Research VII: Authorship and Responsibility","authors":"H. Laakso, Sofia Pantouvaki, Julia Valle Noronha","doi":"10.24342/XGCT-XM75","DOIUrl":"https://doi.org/10.24342/XGCT-XM75","url":null,"abstract":"Biography Dr. Harri Laakso is Professor of Photography Research at Aalto University, Finland. He is an artist, researcher and curator interested in photographic im-ages and theory, artistic research and word/image relations. His curatorial work includes co-curating Finnish and Nordic pavilions at Venice Biennale 2013. He has led many research projects (e.g. ‘Figures of Touch’, Academy of Finland, 2009-2012) and is currently senior researcher in ‘Floating Peripheries— Mediating the Sense of Place’ (Academy of Finland, 2017–2021). Dr. Sofia Pantouvaki is a scenographer and Professor of Costume Design at Aalto University, Finland. She is an awarded practising designer for theatre, film, opera and dance productions in European venues and curator of many international projects. Chair of Critical Costume and a founding Editor of the international peer-reviewed journal Studies in Costume and Performance. She led the research project ‘Costume Methodologies’ (Academy of Finland, 2014-2018) and is lead editor of Performance Costume: New Perspectives and Methods (Bloomsbury, 2021). Julia Valle-Noronha is a designer-researcher particular interest the practices that take place between people and the clothes they wear. Holding a 2019) Visual Arts 2014), she is currently Associate Professor in Fashion/Design at the Estonian Academy of Arts and Visiting Researcher in Design at Aalto","PeriodicalId":101879,"journal":{"name":"Research in Arts and Education","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132954318","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper presents two case studies which tackle issues of authorship and sources of inspiration. To what extent can the sources of inspiration be used as a part of the creative process before there is a risk of copying? To enable an understanding of what defines an authentic work of art and how we all become authors, this paper looks into specific concepts, such as Walter Benjamin’s ‘aura’, David Joselit’s concept of ‘buzz’, and postmodernism, the time when reproduction became an accepted form of art. These themes are investi-gated in greater detail by analysing two related artistic case studies that were inspired by American artist Andy Warhol, the undeniable master of the art of copying. Case studies follow Warhol’s example by using repetition and bor-rowing images made by others as the basis of the creative process. The paper proposes that to be able to find answers the border between inspiration and copying needs to be crossed and the experience of copying lived in order to cultivate a deeper understanding of the topic. Sources of inspiration become an important part of the process and the traditional concept of single authorship might need to be replaced by ‘shared authorship’.
{"title":"Warhol and me – battle of the authors: from copying to sharing","authors":"Hanna Korolainen","doi":"10.54916/rae.119318","DOIUrl":"https://doi.org/10.54916/rae.119318","url":null,"abstract":"This paper presents two case studies which tackle issues of authorship and sources of inspiration. To what extent can the sources of inspiration be used as a part of the creative process before there is a risk of copying? To enable an understanding of what defines an authentic work of art and how we all become authors, this paper looks into specific concepts, such as Walter Benjamin’s ‘aura’, David Joselit’s concept of ‘buzz’, and postmodernism, the time when reproduction became an accepted form of art. These themes are investi-gated in greater detail by analysing two related artistic case studies that were inspired by American artist Andy Warhol, the undeniable master of the art of copying. Case studies follow Warhol’s example by using repetition and bor-rowing images made by others as the basis of the creative process. The paper proposes that to be able to find answers the border between inspiration and copying needs to be crossed and the experience of copying lived in order to cultivate a deeper understanding of the topic. Sources of inspiration become an important part of the process and the traditional concept of single authorship might need to be replaced by ‘shared authorship’.","PeriodicalId":101879,"journal":{"name":"Research in Arts and Education","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127293063","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this paper, a performance artist aims to present reflexive narrative-building as autoethnography through the photographic documentation of decolonization-themed Lithuanian performance art. The question within this paper is how the narratives of Lithuanian performance art deal with decolonization through a reflexive study of the photo documentation of performance art. This question is answered through a reflexive investigation into the photo documentation of three cases from Lithuania. The performance art projects attempt to rein-scribe the erased (hi)stories, which use sites of performance as loaded narratives. Photo documentation allows us to look into these performances from the distance of time and following political or socio-cultural changes. The memory here is the embodied remembrance of the history of the Soviet beliefs and past governmental structures forced on Lithuanian society during the Soviet regime (colonization). Decolonizing Lithuanian post-Soviet memories means using an arts-based method, creating space for a dialogue that understands the impact of the traumatic past on the present culture. The purpose of this research is, through the reflections of a performance artist, using autoethnography and performance as activism, to narrate performance art dealing with photo images of the three studied cases to include the historical memories and decolonization of Lithuania.
{"title":"Erasing Memory? Toward the Decolonization of Performance Art in Lithuania","authors":"Marija Griniuk","doi":"10.54916/rae.119323","DOIUrl":"https://doi.org/10.54916/rae.119323","url":null,"abstract":"In this paper, a performance artist aims to present reflexive narrative-building as autoethnography through the photographic documentation of decolonization-themed Lithuanian performance art. The question within this paper is how the narratives of Lithuanian performance art deal with decolonization through a reflexive study of the photo documentation of performance art. This question is answered through a reflexive investigation into the photo documentation of three cases from Lithuania. The performance art projects attempt to rein-scribe the erased (hi)stories, which use sites of performance as loaded narratives. Photo documentation allows us to look into these performances from the distance of time and following political or socio-cultural changes. The memory here is the embodied remembrance of the history of the Soviet beliefs and past governmental structures forced on Lithuanian society during the Soviet regime (colonization). Decolonizing Lithuanian post-Soviet memories means using an arts-based method, creating space for a dialogue that understands the impact of the traumatic past on the present culture. The purpose of this research is, through the reflections of a performance artist, using autoethnography and performance as activism, to narrate performance art dealing with photo images of the three studied cases to include the historical memories and decolonization of Lithuania.","PeriodicalId":101879,"journal":{"name":"Research in Arts and Education","volume":"86 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121636817","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-02-01DOI: 10.1007/978-3-211-99131-2_520
Ingrid Cogne
{"title":"Facilitator","authors":"Ingrid Cogne","doi":"10.1007/978-3-211-99131-2_520","DOIUrl":"https://doi.org/10.1007/978-3-211-99131-2_520","url":null,"abstract":"","PeriodicalId":101879,"journal":{"name":"Research in Arts and Education","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114433461","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Inês Rodrigues Neves, Claudia Diaz Reyes, Ismini Pachi, Arife Dila Demir, K. Kuusk
artistic explores the relationships between 2D 3D and craft & drawing as tools to transpose the unique material and immaterial of the maker towards the physical and visible space. the curatorial and organizational team behind the gallery Vent MA design. design and technology, ground on how these two can melt together affect one as a living organism that coexists with the In how weaving textiles based on the Abstract In this paper, we present a collaborative course born from the intersection of Textile Design, Human-Computer-Interaction (HCI), Composing, and Choreography departments with the ultimate purpose of co-creating multidisciplinary performances. Thereby, we present an in-depth analysis of two student projects that emerged from this collaborative course. In contemporaneity, many disciplines, including arts and design, and their various practices, transform to adapt to the newly forming space of multidisciplinary collaboration and its in-herent shared responsibility. As educators and design students, we advocate for the invaluable input of collaboration during these times. We deem it essential to promote multidisciplinary thinking in groups within the educational context, promoting individual strength. To provide a comprehensive understanding of all fields included in this study, workshops, and crash courses were organized to engage the students with the different disciplines. During these courses, students also got the chance to become acquainted with each other, which later helped them build their groups, integrating a student from each field. Apart from structured courses, students were independent in organizing their schedules in order to develop their performances. Throughout this study, students gained embodied knowledge of shared responsibility in multidisciplinary teams, which also allowed them to develop expertise within their own fields.
{"title":"Creative exchange through joint responsibility: designing performances in multidisciplinary teams in the educational context","authors":"Inês Rodrigues Neves, Claudia Diaz Reyes, Ismini Pachi, Arife Dila Demir, K. Kuusk","doi":"10.54916/rae.119319","DOIUrl":"https://doi.org/10.54916/rae.119319","url":null,"abstract":"artistic explores the relationships between 2D 3D and craft & drawing as tools to transpose the unique material and immaterial of the maker towards the physical and visible space. the curatorial and organizational team behind the gallery Vent MA design. design and technology, ground on how these two can melt together affect one as a living organism that coexists with the In how weaving textiles based on the Abstract In this paper, we present a collaborative course born from the intersection of Textile Design, Human-Computer-Interaction (HCI), Composing, and Choreography departments with the ultimate purpose of co-creating multidisciplinary performances. Thereby, we present an in-depth analysis of two student projects that emerged from this collaborative course. In contemporaneity, many disciplines, including arts and design, and their various practices, transform to adapt to the newly forming space of multidisciplinary collaboration and its in-herent shared responsibility. As educators and design students, we advocate for the invaluable input of collaboration during these times. We deem it essential to promote multidisciplinary thinking in groups within the educational context, promoting individual strength. To provide a comprehensive understanding of all fields included in this study, workshops, and crash courses were organized to engage the students with the different disciplines. During these courses, students also got the chance to become acquainted with each other, which later helped them build their groups, integrating a student from each field. Apart from structured courses, students were independent in organizing their schedules in order to develop their performances. Throughout this study, students gained embodied knowledge of shared responsibility in multidisciplinary teams, which also allowed them to develop expertise within their own fields.","PeriodicalId":101879,"journal":{"name":"Research in Arts and Education","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127454172","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
she investigates curatorial theory and ethics of within museum collections development. In her work, Marina puts forward different ways to look at art that leads to new forms of engagement with objects. Through extensive curatorial research and collaborations with collecting institutions, she explores the relationships between permanent collections and temporary exhibitions, including display methods that experiment with environmental features. Marina has an MA in curatorial studies from Bard College, USA and a B. Sc. (Honours) in architecture from UFMG, Brazil. Abstract Starting from the alarming fact that nearly 13 percent of museums worldwide, affected by the pandemic crisis, may never reopen their doors (UNESCO, 2020; ICOM, 2020), I speculate on what happens if the orphan items in collections worldwide are dissolved within societies. This is a speculative study based on extensive desktop research on the modes of usage in museum collections management and collections mobility amidst the state of emergency in museums’ environment. In this paper, I explore what a shift toward usership instead of authorship and ownership means to orphan collections. Through feminist theory, I argue that the concepts of usership (Wright, 2007, 2013), ethics of care (Agostinho, 2019), and networks of care (Dekker, 2018) promote an expanded notion of accessibility for the institutions, objects, and stakeholders. Collections have through the centuries been influenced by social and political changes. How the times we live in are going to shape the next moves? The Covid-19 pandemic, energy crisis, and Black Lives Matter protests create momentum for reflection and re-thinking. The conclusions of the study offer perspectives that promote other (new) forms of developing and disseminating collections. They recall freedom, imagine other ways of collecting and estab-lish some fresh ground for the unknown times we face.
{"title":"Dissolving orphan collections in the commons","authors":"Marina Valle Noronha","doi":"10.54916/rae.119324","DOIUrl":"https://doi.org/10.54916/rae.119324","url":null,"abstract":"she investigates curatorial theory and ethics of within museum collections development. In her work, Marina puts forward different ways to look at art that leads to new forms of engagement with objects. Through extensive curatorial research and collaborations with collecting institutions, she explores the relationships between permanent collections and temporary exhibitions, including display methods that experiment with environmental features. Marina has an MA in curatorial studies from Bard College, USA and a B. Sc. (Honours) in architecture from UFMG, Brazil. Abstract Starting from the alarming fact that nearly 13 percent of museums worldwide, affected by the pandemic crisis, may never reopen their doors (UNESCO, 2020; ICOM, 2020), I speculate on what happens if the orphan items in collections worldwide are dissolved within societies. This is a speculative study based on extensive desktop research on the modes of usage in museum collections management and collections mobility amidst the state of emergency in museums’ environment. In this paper, I explore what a shift toward usership instead of authorship and ownership means to orphan collections. Through feminist theory, I argue that the concepts of usership (Wright, 2007, 2013), ethics of care (Agostinho, 2019), and networks of care (Dekker, 2018) promote an expanded notion of accessibility for the institutions, objects, and stakeholders. Collections have through the centuries been influenced by social and political changes. How the times we live in are going to shape the next moves? The Covid-19 pandemic, energy crisis, and Black Lives Matter protests create momentum for reflection and re-thinking. The conclusions of the study offer perspectives that promote other (new) forms of developing and disseminating collections. They recall freedom, imagine other ways of collecting and estab-lish some fresh ground for the unknown times we face.","PeriodicalId":101879,"journal":{"name":"Research in Arts and Education","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131724372","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
His practice over 20-year period has involved variable roles of initiator, participant, author and curator, according to different collaborative and cross-disciplinary processes. He works across the fields of media/ network/ environmental arts and activism, pursuing a participatory practice through workshops, performative events, and storytelling. http://agryfp.info Abstract This paper reflects upon 5 years of experience with the ‘Kitchen Lab’ format of hybrid exploratory practice, which includes home kitchen, bioarts, everyday life and food cultures. Everyday kitchen practices that have long cultural heritage traditions, and combined with DIY and networked Do-It-With-Others, these kitchen-based experiments and artists inspired by food or practices related, have a long history. The paper introduces the context of practice, but focuses more on the background stories to what is made in the kitchen, that of a home. The author presents as the main body in autoethnographic style a first-person narrative in 2 parts: A deep frying action which connects memories, friends and colleagues in networks, and the reflections of staying at home over many years, but also recently in Spring 2020 during the Global Coronavirus COVID-19 Pandemic period in an artist studio kitchen in Finland. It involves narrating the value of a home and a kitchen to do one’s practice, as well as the different cultural histories and experiences spanning various locations and times. The article concludes that as situated knowledge, it reveals many external issues to the usual making of food dishes or experiments, and considers the sensitivity and responsibility for opening up, and ‘spilling one’s guts’ about the background stories of practice-led research.
{"title":"Kitchen Lab: Spilling One’s Guts / Deep Fry Together","authors":"A. Paterson","doi":"10.54916/rae.119328","DOIUrl":"https://doi.org/10.54916/rae.119328","url":null,"abstract":"His practice over 20-year period has involved variable roles of initiator, participant, author and curator, according to different collaborative and cross-disciplinary processes. He works across the fields of media/ network/ environmental arts and activism, pursuing a participatory practice through workshops, performative events, and storytelling. http://agryfp.info Abstract This paper reflects upon 5 years of experience with the ‘Kitchen Lab’ format of hybrid exploratory practice, which includes home kitchen, bioarts, everyday life and food cultures. Everyday kitchen practices that have long cultural heritage traditions, and combined with DIY and networked Do-It-With-Others, these kitchen-based experiments and artists inspired by food or practices related, have a long history. The paper introduces the context of practice, but focuses more on the background stories to what is made in the kitchen, that of a home. The author presents as the main body in autoethnographic style a first-person narrative in 2 parts: A deep frying action which connects memories, friends and colleagues in networks, and the reflections of staying at home over many years, but also recently in Spring 2020 during the Global Coronavirus COVID-19 Pandemic period in an artist studio kitchen in Finland. It involves narrating the value of a home and a kitchen to do one’s practice, as well as the different cultural histories and experiences spanning various locations and times. The article concludes that as situated knowledge, it reveals many external issues to the usual making of food dishes or experiments, and considers the sensitivity and responsibility for opening up, and ‘spilling one’s guts’ about the background stories of practice-led research.","PeriodicalId":101879,"journal":{"name":"Research in Arts and Education","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125154429","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：