Norwegian Artistic Research School: Seminar 4

Research fellows participating in the Norwegian Artistic Research School. Seminar 1 must be completed to qualify for participation in seminar 4.  Third semester is recommended.

• Can formulate research questions and plan the artistic research, with the focus on artistic processes and results
• Can work on complex questions, and challenge established discourses and practices in the field

Digital seminar with preparatory assignments, lectures, workshops, plenary discussions and discussions in groups.

Scope: A total workload of 75-90 hours, corresponding to 3 credits. The seminar itself has a workload of 3 days (24 hours). We recommend you to prepare and reflect on the seminar in dialogue with your supervisor.

About the group work sessions:

• The fellows will work together in groups of 3-5 candidates (separate groups for the online participants) and one external commentator
• There will be one session of 90 minutes for each fellow
• The session starts with a short presentation of the fellow’s project and the predefined issue/question (around 10 minutes), followed by a discussion with the group
• The fellow leads the session

Preparation for the group work sessions:

• Define one or more issues or questions related to your project that you want to discuss in the group work session. 
• Submit an introduction to your project and the issues or questions you would like to discuss with your group. The introduction should not be longer than 250 words. Should you choose to submit a video or audio introduction, the maximum length is 3 minutes. 
• Prepare a 10-minute presentation of your project and the issues or questions you would like to discuss. The introduction will be shared with all the seminar participants one week before the seminar. Deadline: 31 August. Send to: pku@hkdir.no.

General preparations:

• Watch the pre-recorded lectures on the "Welcome and introduction" page.
• Read the mandatory literature on the reading list.
• Read/hear/see the introductions from the other fellows (shared in the seminar exposition). We do expect that you especially are familiar with the submissions from the fellows in your group.
• During the seminar, the research fellows are expected to play an active part in the discussion of other research fellows’ projects.

Due to increasing infection rates in Bergen, the seminar will be digital. Link to Zoom is shared with all registered participants.

Seminar 4 is offered yearly, the next opportunity to participate will be 7-9 September 2022.

Wednesday 8 September:
09:45-10:00 Informal virtual morning coffee (optional)
10:00-10:15 Welcome and practical information
10:15-11:00 Darla Crispin and Rolf Hughes on exposition and reception
11:15-12:00 Discussion
13.30-14:00 Workshop on managing complex artistic research projects - Linda Lien

14:00-15:00 Discussion on course readings

Thursday 9 September:
10:00-11:30 Parallel session 1 (first presentation/discussion group A,  B, C,  D) 
12:30-14.00 Parallel session 2 (second presentation/discussion group A,  B, C,  D) 
14:30-16:00 Parrallel session 3 (third presentation/discussion group A,  B, C,  D) 

Friday 10 September:
10:00-11:30 Parrallel session 4 (fourth presentation/discussion group A,  B, C,  D) 
12:30-13:45 Planary discussion: Reflections: Strategies, formats, possibilities, requirements
14:00-15:00 Final plenary session

Mandatory reading:

• Crispin, D., 2014. ‘Scaling Parnassus in Running Shoes’: From the Personal to the Transpersonal via the Medium of Exposition in Artistic Research in Borgdorff H. and Schwab M. (eds.), 2014. The Exposition of Artistic Research: Publishing Art in Academia. Leiden, Leiden University Press.
• Crispin, D., 2019. Artistic Research as a Process of Unfolding: https://www.researchcatalogue.net/view/503395/503396 
• Gundersen, J., Malterud, N., Nyrnes, A., Mydland, A., Sveen, H. (2020). Map Ethics! A method for identifying and addressing ethical dimensions of artistic research projects.
• Hughes, R. (2014): Exposition. In: The Exposition of Artistic Research: Publishing Art in Academia. Leiden University Press, p. 52-64.

 Recommended reading / other rescourses (optional):

• Bartleet, B.-L., & Ellis, C. (2009) (Eds). Music autoethnographies: Making autoethnography sing/making music personal. Bowen Hills, . Australian Academic Press.
• Borgdorff, H. (2008b). Artistic research and academia: An uneasy relationship, autonomy and individuality—Artistic research seeks an identity. Yearbook for artistic research 2008 (pp. 82–97). Swedish Research Council. http://www.ahk.nl/fileadmin/download/ahk/Lectoraten/Borgdorff_publicaties/an-uneasy-relationship.pdf 
• Borgdorff, H. (2012). The conflict of the faculties. Perspectives on artistic research and academia. Leiden, The Netherlands: Leiden University Press.
• Borgdorff, H., & Schuijer, M. (n.d.). Research in the conservatoire—exploring the middle ground. http://www.dissonance.ch/upload/pdf/diss110.hb_14_19_Research_web.pdf 
• Butler, J. (2001). Giving an account of oneself. Diacritics, 31(4), 22-40.
• Crispin, D. (2016). ‘Whereof we cannot be silent, Thereof must we speak’; Susan Sontag’s ‘Silences’. In Jakobson C., & Hay, B. (Eds.), IIIIXIII fourbythreemagazine, 6.
• Etherington, K. (2004). Becoming a reflexive researcher: Using our selves in research. London. Kingsley.
• Freeman, J. ( 2010). Blood sweat and theory: Research through practice in performance (music + performing arts). Faringdon. Libri Publishing.
•  Gouzouasis, P., & Ihnatovych, D. (2016). The dissonant duet: An autoethnography of a music teacher-student relationship. Journal of the Canadian Association for Curriculum Studies, 14(2), pp. 14-32.
• Gouzouasis, P., & Regier, C. (2015). Adolescent love and relationships: An autoethnography of songwriting and guitar playing. Journal of Artistic & Creative Education, 9(1), 68–98.
• Gouzouasis, P., & Ryu, J.Y. (2015). A pedagogical tale from the piano studio: Autoethnography in early childhood music education research. Music Education Research, 17(4), pp. 397-420.
• Kinchin, I.M., & Wiley, C. (2017). Tracing pedagogic frailty in arts and humanities education: An autoethnographic perspective. Arts & Humanities in Higher Education, 17(2), 241-64.
• Marković, T., & Mikić, V. (2010) (Eds.) (Auto)Biography as a Musicological Discourse. Beograd. Fakultet Muzicke Umetnosti.
• Shreeve, A. (2009). ‘I’d rather be seen as a practitioner, come in to teach my subject’: Identity work in part-time art and design tutors. International Journal of Art & Design Education, 28(2), 151-159.
• Slotte, C. (2013). Second hand stories. KUST project for the Norwegian artistic research programme. Retrieved from http://carolineslotte.com/texts/second-hand-stories-reflections-on-the-project-2011.
• Spry, T. (2001). Performing autoethnography: An embodied methodological praxis. Qualitative Inquiry, 7(6), 706-732.
• Spry, T. (2010). Call it swing: A jazz blues autoethnography. Cultural Studies <=> Critical Methodologies, 10(4), 271-282.
• Vasconcelos, E. (2011) ‘I can see you’: An autoethnography of my teacher-student self. The Qualitative Report, 16(2), 415-440.
• Vassenden, E. (2013). What is critical reflection? A question concerning artistic research, genre and the exercise of making narratives about one’s own work. Norwegian Artistic Research Programme.
•  Wenger, E. (1998). Communities of practice, learning, meaning and identity. Cambridge: Cambridge University Press.

The complete reading list for all seminars can be found in the Course plan 2021-2022.

• Jostein Gundersen - seminar leader and moderator
• Anne-Helen Mydland - guest speaker and moderator
• Darla Crispin - guest speaker and moderator
• Rolf Hughes - guest speaker and moderator
• Linda Lien - moderator

Norwegian Artistic Research School offers through seminars, meetings and conferences joint training for doctoral fellows in Artistic Research.Read more about the Norwegian Artistic Research School here.

• All fellows should be familiar with the regulations for their home institution, or the Norwegian Artistic Research Programme (for those who are not part of a PhD-programme):
• Guidelines for the Norwegian Artistic Research Programme
• Regulations for Norwegian University of Science and Technology (NTNU)
• Regulations for University of Bergen (UiB)
• Regulations for Norwegian Academy of Music (NMH)
• Regulations for The Norwegian Academy of Art and Design (KHiO)