Norwegian Artistic Research School: Seminar 4

The seminar is about relationships in artistic research. Based on the research fellows’ research projects, endeavours are made to map relations and how they influence artistic processes and results in the different phases of projects. Experience is shared by leading and carrying out complex artistic projects. 


  • Who can attend?

    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.

  • Learning outcome
    • 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
  • Work and teaching methods

    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
  • Coursework requirements

    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:


    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.
  • Practical information

    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.

  • Program

    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

  • Reading list

    Mandatory reading:

     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. 
    • 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. 
    • 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
    • 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.

  • Seminar contributors
    • 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
  • The Norwegian Artistic Research School

    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.

  • Regulations
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Registration deadline:
Aug 15, 2021
From: Sep 8, 2021 10:00 AM
To: Sep 10, 2021 4:00 PM
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