This special issue is devoted to research on the changing paradigms of public art, and of public spaces. Today all art can be characterized as public since it is mediated via relational networks. The shift of paradigm from modernist art to contemporary art coincides with this shift of paradigm – from consumption to communication – in the sense that advanced art practices had already absorbed the change from individual mediation to relational networks. In the communication network of relations, artists and works are constitutive elements. Without the works and the artists, the relational network does not exist, and vice versa: Without the network of relations, neither artists nor works are made visible. This constitutive reciprocity of relations is decisive both for theorists doing research on public art and art in public spaces, as well as for artists who are doing research in public spaces.
{"title":"Researching public art and public space, part 2","authors":"Olga Schmedling","doi":"10.7577/ar.5821","DOIUrl":"https://doi.org/10.7577/ar.5821","url":null,"abstract":"This special issue is devoted to research on the changing paradigms of public art, and of public spaces. Today all art can be characterized as public since it is mediated via relational networks. The shift of paradigm from modernist art to contemporary art coincides with this shift of paradigm – from consumption to communication – in the sense that advanced art practices had already absorbed the change from individual mediation to relational networks. In the communication network of relations, artists and works are constitutive elements. Without the works and the artists, the relational network does not exist, and vice versa: Without the network of relations, neither artists nor works are made visible. This constitutive reciprocity of relations is decisive both for theorists doing research on public art and art in public spaces, as well as for artists who are doing research in public spaces.","PeriodicalId":344267,"journal":{"name":"Nordic Journal of Art & Research","volume":"48 22","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140733590","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}
Between 2017 and 2019, I created three temporary artistic interventions in public spaces in which passers-by could discover, interact with or ignore different materials related to libraries as social, public systems. During my work with the first, Expired Outdoors (2017), serendipity emerged as a principle I became interested in exploring further. In two consecutive installations, serendipity gradually manifested itself both as an interface between my installations and their audience and as a creative strategy guiding my choices of contexts and materials. Upon invitation from editor Olga Schmedling, in this article I discuss aspects of serendipity in the three projects, proposing to understand serendipity as instances of interruption rather than as accidental discovery.
{"title":"Finding objects, connecting dots","authors":"Hild Borchgrevink","doi":"10.7577/ar.5797","DOIUrl":"https://doi.org/10.7577/ar.5797","url":null,"abstract":"Between 2017 and 2019, I created three temporary artistic interventions in public spaces in which passers-by could discover, interact with or ignore different materials related to libraries as social, public systems. During my work with the first, Expired Outdoors (2017), serendipity emerged as a principle I became interested in exploring further. In two consecutive installations, serendipity gradually manifested itself both as an interface between my installations and their audience and as a creative strategy guiding my choices of contexts and materials. Upon invitation from editor Olga Schmedling, in this article I discuss aspects of serendipity in the three projects, proposing to understand serendipity as instances of interruption rather than as accidental discovery.","PeriodicalId":344267,"journal":{"name":"Nordic Journal of Art & Research","volume":"52 18","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140733544","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 article, I shall discuss participation – the artist's role and responsibility in participation, and the potentials of participatory textile projects in the public space. In doing so, I will focus on The stitch project (2012–). This project involves public interaction through acts of tactile textile making such as stitching on a tablecloth. I have based this study within a context of understanding matter and the embodiment of participation from feminist (Ahmed, 2006; Butler, 1988) and new materialist (Barad, 2003; Coole & Frost, 2010; Garber, 2019) perspectives. I am interested in the interactive aspects of The stitch project and how these aspects relate to the concepts of diapraxis (Nunes, 2019) and al masha (Hilal & Petti, 2018). In regard to these terms, I aim to examine the potentials and challenges of participatory textile art projects, like The stitch project, by examining their social and material aspects as well as the complexities of inclusion and participation.
{"title":"The stitch project","authors":"Marie Skeie","doi":"10.7577/ar.5796","DOIUrl":"https://doi.org/10.7577/ar.5796","url":null,"abstract":"In this article, I shall discuss participation – the artist's role and responsibility in participation, and the potentials of participatory textile projects in the public space. In doing so, I will focus on The stitch project (2012–). This project involves public interaction through acts of tactile textile making such as stitching on a tablecloth. I have based this study within a context of understanding matter and the embodiment of participation from feminist (Ahmed, 2006; Butler, 1988) and new materialist (Barad, 2003; Coole & Frost, 2010; Garber, 2019) perspectives. I am interested in the interactive aspects of The stitch project and how these aspects relate to the concepts of diapraxis (Nunes, 2019) and al masha (Hilal & Petti, 2018). In regard to these terms, I aim to examine the potentials and challenges of participatory textile art projects, like The stitch project, by examining their social and material aspects as well as the complexities of inclusion and participation.","PeriodicalId":344267,"journal":{"name":"Nordic Journal of Art & Research","volume":"3 19","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140733224","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}
How meaning is created, circulated, and manipulated in the post-truth era is not self-evident. How are we to distinguish between the distribution and power of constructed information and knowledge production? These were questions at the core of the discursive project on epistemology entitled How do you know? at KHiO Oslo National Academy of the Arts in 2017/2018. How do you know? was initiated by professor Apolonija Šušteršič, a Slovenian architect and visual artist whose work is related to critical analysis of public space, and Maria Lind, a Swedish curator, art writer, and educator. In this project, they focused on current ways of thinking and how these generate significance across fields such as art, philosophy, science, and education. In the following conversation, Šušteršič and Lind use their experience from How do you know? to look back on how they have worked together on several occasions since 1997. The conversation is conducted in response to a list of topics proposed by Olga Schmedling, editor of the current issue of Researching public art and public space, part 2.
在后真相时代，意义如何被创造、传播和操纵并非不言自明。我们如何区分建构信息和知识生产的传播与权力？这些都是2017/2018年在奥斯陆国家艺术学院（KHiO Oslo National Academy of the Arts）开展的题为 "你怎么知道？"的认识论讨论项目的核心问题。项目由斯洛文尼亚建筑师兼视觉艺术家阿波罗尼娅-舒斯特希奇（Apolonija Šušteršič）教授和瑞典策展人、艺术作家兼教育家玛丽亚-林德（Maria Lind）发起。在这个项目中，他们重点关注当前的思维方式，以及这些思维方式如何在艺术、哲学、科学和教育等领域产生意义。在接下来的对话中，Šušteršič 和 Lind 利用他们在 How do you know? 项目中的经验，回顾了自 1997 年以来他们在多个场合的合作情况。对话是根据本期《研究公共艺术和公共空间》第二部分的编辑奥尔加-施梅德林（Olga Schmedling）提出的议题清单进行的。
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This paper starts from a two-fold observation: firstly, that attention rests at the core of our environmental challenges; and secondly, that by becoming (more) attentive to the modified, transformed, and controlled urban environments in which we dwell, we may be better equipped to attend to these challenges. The paper therefore develops and introduces “an urban attention ecology” that seeks to expand our ability to attend to urban form in ways that open possibilities to critically address and creatively negotiate the ways in which cities are built and inhabited. The potentials and challenges of the urban attention ecology are thought through in a practice-based account of a broad range of critical spatial practices centring around the theme of degrowth. These practices took the form of performances, installations, and other artistic projects that the author gathered, developed and presented as curator of the Oslo Architecture Triennale 2019. Cover photo: The Factory of the Future at the Norwegian Centre for Design and Architecture. OAT / Istvan Virag.
{"title":"The arts of attention and Oslo Architecture Triennale","authors":"Cecilie Sachs Olsen","doi":"10.7577/ar.5284","DOIUrl":"https://doi.org/10.7577/ar.5284","url":null,"abstract":"This paper starts from a two-fold observation: firstly, that attention rests at the core of our environmental challenges; and secondly, that by becoming (more) attentive to the modified, transformed, and controlled urban environments in which we dwell, we may be better equipped to attend to these challenges. The paper therefore develops and introduces “an urban attention ecology” that seeks to expand our ability to attend to urban form in ways that open possibilities to critically address and creatively negotiate the ways in which cities are built and inhabited. The potentials and challenges of the urban attention ecology are thought through in a practice-based account of a broad range of critical spatial practices centring around the theme of degrowth. These practices took the form of performances, installations, and other artistic projects that the author gathered, developed and presented as curator of the Oslo Architecture Triennale 2019.\u0000Cover photo: The Factory of the Future at the Norwegian Centre for Design and Architecture. OAT / Istvan Virag.","PeriodicalId":344267,"journal":{"name":"Nordic Journal of Art & Research","volume":"321 17","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140472019","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}
Dette essayet inngår i et kunstnerisk utviklingsarbeid der jeg har tatt utgangspunkt i erfaringene mine fra hogst, tre- og metallsløyd, friluftsliv, fotografering og mørkeromsarbeid for å utforske følgende problemstilling: Hvordan kan et dypøkologisk perspektiv på egen skapende praksis med å fotografere, felle og bearbeide et tre bidra til å forstå følelsen av vemod som følger dette arbeidet? Det skapende arbeidet har bestått i fotografering, felling og bearbeiding av den store platanlønna som tittelen viser til. Et av fotografiene fremkalte jeg på en stor planke som jeg skar ut av stammens tykkeste del. Denne planken ble stilt ut sammen med en bronseplakett jeg støpte der det står Platanlønn, Acer pseudoplatanus, 1948-2023, 59.862785°N 5.562311°Ø, omgitt av fotografier av platanlønnas egne frø og trærne som var platanlønnas nærmeste naboer. Fem korte tekster som representerer ulike innganger til problemstillingen ble presentert sammen med bildene, og det er disse tekstene som er utviklet videre i dette essayet. Prosjektet er inspirert av uttrykk innen litteratur og billedkunst som tematiserer miljøødeleggelse og menneskets forhold til naturen. Sammen med Roland Barthes’ tanker om fotografiet som tegn og Arne Næss’ relasjonelle forståelse av selvet, har disse utfordret meg som sløydlærer til å tenke nytt om min egen praksis som skapende med treet som materiale.
{"title":"Platanlønn, Acer pseudoplatanus, 1948-2023","authors":"Kjetil Sømoe","doi":"10.7577/ar.5493","DOIUrl":"https://doi.org/10.7577/ar.5493","url":null,"abstract":"Dette essayet inngår i et kunstnerisk utviklingsarbeid der jeg har tatt utgangspunkt i erfaringene mine fra hogst, tre- og metallsløyd, friluftsliv, fotografering og mørkeromsarbeid for å utforske følgende problemstilling: Hvordan kan et dypøkologisk perspektiv på egen skapende praksis med å fotografere, felle og bearbeide et tre bidra til å forstå følelsen av vemod som følger dette arbeidet? Det skapende arbeidet har bestått i fotografering, felling og bearbeiding av den store platanlønna som tittelen viser til. Et av fotografiene fremkalte jeg på en stor planke som jeg skar ut av stammens tykkeste del. Denne planken ble stilt ut sammen med en bronseplakett jeg støpte der det står Platanlønn, Acer pseudoplatanus, 1948-2023, 59.862785°N 5.562311°Ø, omgitt av fotografier av platanlønnas egne frø og trærne som var platanlønnas nærmeste naboer. Fem korte tekster som representerer ulike innganger til problemstillingen ble presentert sammen med bildene, og det er disse tekstene som er utviklet videre i dette essayet. Prosjektet er inspirert av uttrykk innen litteratur og billedkunst som tematiserer miljøødeleggelse og menneskets forhold til naturen. Sammen med Roland Barthes’ tanker om fotografiet som tegn og Arne Næss’ relasjonelle forståelse av selvet, har disse utfordret meg som sløydlærer til å tenke nytt om min egen praksis som skapende med treet som materiale.","PeriodicalId":344267,"journal":{"name":"Nordic Journal of Art & Research","volume":" 7","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139143151","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 article is a reflection on the crucial role that aesthetic democracy plays in generating and maintaining the 17 Sustainable Development Goals (SDGs) of the United Nations (UN), as summarised in goal 11, pertaining to the development of sustainable cities and communities. The article follows the structure of a three-step imaginary mechanism rooted in a radical perspective (Juguero, 2021). The first step relates to imaginary projection and addresses the concept of achieving the 17 SDGs. The second step relates to the roots of the situation and analyses the current global context and grounded concepts. The third step relates to an action plan, reflects on how to achieve the SDGs, and advocates for aesthetic democracy. The conclusion asserts that emotional evolution through aesthetic revolution is essential to the process. This article results from a postdoctoral research project developed at the University of Stavanger. Cover image: Drawing by Edér Rosa
{"title":"Aesthetic democracy as the roots of sustainable cities and communities","authors":"Viviane Juguero","doi":"10.7577/ar.5052","DOIUrl":"https://doi.org/10.7577/ar.5052","url":null,"abstract":"This article is a reflection on the crucial role that aesthetic democracy plays in generating and maintaining the 17 Sustainable Development Goals (SDGs) of the United Nations (UN), as summarised in goal 11, pertaining to the development of sustainable cities and communities. The article follows the structure of a three-step imaginary mechanism rooted in a radical perspective (Juguero, 2021). The first step relates to imaginary projection and addresses the concept of achieving the 17 SDGs. The second step relates to the roots of the situation and analyses the current global context and grounded concepts. The third step relates to an action plan, reflects on how to achieve the SDGs, and advocates for aesthetic democracy. The conclusion asserts that emotional evolution through aesthetic revolution is essential to the process. This article results from a postdoctoral research project developed at the University of Stavanger. Cover image: Drawing by Edér Rosa","PeriodicalId":344267,"journal":{"name":"Nordic Journal of Art & Research","volume":"132 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139243280","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}
The purpose of this essay is to consider how, if at all, participatory theatre serves the Sustainable Development Goal number 10: Reducing Inequality (SDG10). The paper draws on policy analysis methodology What’s the Problem Represented to be? (Bacchi 2009) to critically consider how inequity as a solvable social and/or economic problem is represented by SDG10. I then draw on two previous research projects, one conducted by myself and colleagues (2018) and one conducted by Masso-Guijarro and colleagues (2021) that explicitly explore how scholarship in participatory theatre orient to social change agenda to understand how participatory theatre represents the problem of inequality and how, if at all, this relates to SDG10. Finally, I recruit key participatory theatre projects from Denmark, Canada, Chile and New Zealand to consider practical ways of understanding how participatory theatre may contribute to combating inequality through its attention to the lived experiences of inequality, the potential for making changes to individual lives, and its orientation to hope. In doing this, I hope to contribute new perspectives on drama and equity that present a nuanced and critical consideration the relationship between public discourses, policy and practice.
{"title":"What is the problem of inequality, and can we solve it?","authors":"Kelly Freebody","doi":"10.7577/ar.5079","DOIUrl":"https://doi.org/10.7577/ar.5079","url":null,"abstract":"The purpose of this essay is to consider how, if at all, participatory theatre serves the Sustainable Development Goal number 10: Reducing Inequality (SDG10). The paper draws on policy analysis methodology What’s the Problem Represented to be? (Bacchi 2009) to critically consider how inequity as a solvable social and/or economic problem is represented by SDG10. I then draw on two previous research projects, one conducted by myself and colleagues (2018) and one conducted by Masso-Guijarro and colleagues (2021) that explicitly explore how scholarship in participatory theatre orient to social change agenda to understand how participatory theatre represents the problem of inequality and how, if at all, this relates to SDG10. Finally, I recruit key participatory theatre projects from Denmark, Canada, Chile and New Zealand to consider practical ways of understanding how participatory theatre may contribute to combating inequality through its attention to the lived experiences of inequality, the potential for making changes to individual lives, and its orientation to hope. In doing this, I hope to contribute new perspectives on drama and equity that present a nuanced and critical consideration the relationship between public discourses, policy and practice.","PeriodicalId":344267,"journal":{"name":"Nordic Journal of Art & Research","volume":"30 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139244679","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}
G. Belliveau, Christina Cook, T. Shigematsu, Madjid Mohseni, Jennica Nichols
For the past decade, RESEAU has been engaging with Indigenous and rural communities across Canada in pursuit of water-health equity. RESEAU consists of a team of engineers, community partners, industry groups, and government officials working together to develop innovative solutions for water-health in small communities. Over the last six years, RESEAU has partnered with the UBC Research-based Theatre Lab to develop Treading Water, a research-based theatre play that brings to life some of the rich stories discovered during these community collaborations. The play flows between the intersecting narratives of individuals in a community dealing with unsafe drinking water and explores the resulting challenges to their health and well-being. Water operators and their experiences are central in Treading Water, and the research-based play illustrates their pivotal role in the community. This article, like the theatre initiative described, aims to open conversations addressing water quality and health issues facing rural communities in the 21st century. The article shares the collaborative process of developing the play with the various partners, the short script, as well as feedback from a performer and an evaluator. Cover image: Boil water advisory lifted. Photo credit: RESEAU
{"title":"Addressing water-health equity through biological engineering and theatre","authors":"G. Belliveau, Christina Cook, T. Shigematsu, Madjid Mohseni, Jennica Nichols","doi":"10.7577/ar.5637","DOIUrl":"https://doi.org/10.7577/ar.5637","url":null,"abstract":"For the past decade, RESEAU has been engaging with Indigenous and rural communities across Canada in pursuit of water-health equity. RESEAU consists of a team of engineers, community partners, industry groups, and government officials working together to develop innovative solutions for water-health in small communities. Over the last six years, RESEAU has partnered with the UBC Research-based Theatre Lab to develop Treading Water, a research-based theatre play that brings to life some of the rich stories discovered during these community collaborations. The play flows between the intersecting narratives of individuals in a community dealing with unsafe drinking water and explores the resulting challenges to their health and well-being. Water operators and their experiences are central in Treading Water, and the research-based play illustrates their pivotal role in the community. This article, like the theatre initiative described, aims to open conversations addressing water quality and health issues facing rural communities in the 21st century. The article shares the collaborative process of developing the play with the various partners, the short script, as well as feedback from a performer and an evaluator. Cover image: Boil water advisory lifted. Photo credit: RESEAU","PeriodicalId":344267,"journal":{"name":"Nordic Journal of Art & Research","volume":"18 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139247516","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}
Tone Pernille Østern, Helena Bichao, Carol Preston, Manola Gayatri Kumarswamy, Rose Martin, Ralph Buck, Maria Azucena Gutierrez Gonzalez
Life below water, as well as at waters, is threatened due to human activity that has caused global warming. As UNESCO stresses, “the time to learn and act for our planet is now”. This article reports on a literature review of existing action research on water education, ocean literacy and arts integration carried out by an emerging interdisciplinary research group stretching across the fields of marine science, arts and science education. Joined by a concern for water education and ocean literacy, the interdisciplinary teams screened 368 research articles with the assistance of the program Covidence which helps with streamlining the literature review processes in a team. Ending up with 14 relevant articles that were analysed in-depth, the authors argue that arts-integrated water education projects take place locally across higher education, formal education and informal education in collaborative teams. The action research projects screened promote and develop open-ended, inquiry-based and creative pedagogies, seeking to foster the capacity to act for sustainable living in a more-than-human world. However, all research projects screened in the review seemed to develop water education more generally. There is a lack of literature researching how the connection to ocean literacy including life below water specifically, can be nurtured.
{"title":"Water education, ocean literacy and arts integration","authors":"Tone Pernille Østern, Helena Bichao, Carol Preston, Manola Gayatri Kumarswamy, Rose Martin, Ralph Buck, Maria Azucena Gutierrez Gonzalez","doi":"10.7577/ar.5599","DOIUrl":"https://doi.org/10.7577/ar.5599","url":null,"abstract":"Life below water, as well as at waters, is threatened due to human activity that has caused global warming. As UNESCO stresses, “the time to learn and act for our planet is now”. This article reports on a literature review of existing action research on water education, ocean literacy and arts integration carried out by an emerging interdisciplinary research group stretching across the fields of marine science, arts and science education. Joined by a concern for water education and ocean literacy, the interdisciplinary teams screened 368 research articles with the assistance of the program Covidence which helps with streamlining the literature review processes in a team. Ending up with 14 relevant articles that were analysed in-depth, the authors argue that arts-integrated water education projects take place locally across higher education, formal education and informal education in collaborative teams. The action research projects screened promote and develop open-ended, inquiry-based and creative pedagogies, seeking to foster the capacity to act for sustainable living in a more-than-human world. However, all research projects screened in the review seemed to develop water education more generally. There is a lack of literature researching how the connection to ocean literacy including life below water specifically, can be nurtured.","PeriodicalId":344267,"journal":{"name":"Nordic Journal of Art & Research","volume":"8 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139247873","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}
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