Norsk deltakelse i H2020 (2016)

Horisont 2020 er verdens største forsknings- og innovasjonsprogram med sitt budsjett på 80 milliarder euro i perioden 2014-20.

Målsettingen med programmet er å bedre den økonomiske veksten og øke sysselsettingen i Europa. Norge deltar som fullt medlem.

Vi følger med på den norske deltakelsen med stor interesse, og nye oppdateringer vil bli formidlet så snart vi har mulighet for det.

 

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Mer her: http://www.forskningsradet.no/prognett-horisont2020/3_tertial_2016/1254021455130

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The B. video to be seen!

https://vimeo.com/141827965

PW: 159951

In September 2015, the 1st year class Act / Sc 13 created a dynamic music video with guest artist Andrey Bartenev. The video work was created over 4 intense weeks of close collaboration with Andrey, where students created a wide variety of original scenography, performances and choreographic material. This is the first collaboration our first year class produced together and is a great example of the kind of quality hard work and dedication reflected in NTA students’ creative process. This work premiered live, 29 September, 2015, at Andrey Bartenev’s retrospective at the Moscow Museum of Modern Art. You can see this incredible piece of work for yourself by clicking the link below and typing in the password written here. 

https://vimeo.com/141827965

PW: 159951

If you want to learn more about the music, created by 1st year actor Kaja Egeberg and 3rd year actor, Tobias Shaw Petersen, you can also check out the link https://soundcloud.com/oak-shaw.

If you want to learn more about Andrey Bartenev, please click here. http://www.mmoma.ru/en/exhibitions/gogolevsky/andrej_bartenev/

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Writing as Practice – Practice as Writing

The relationship between artistic practice and writing in the context of research is a challenging and much debated topic, both in and outside the framework of art degree programmes. Often the relationship is felt to be one of friction, opposition or paradox. Writing gives an explicit verbal account of the implicit knowledge and understanding embodied in artistic practices and products while at the same time art may escape or go beyond what can be expressed by words and resist (academic) conventions of accountability. A ‘written element’ is almost always asked for in the context of higher arts education, as well as by funding agencies, so the artist-researcher in that context often feels cornered, and has to meet opposing demands at the same time.

However, in the debate on art practice and writing the fact that writing itself is a practice is often bypassed. Giving a linguistic expression to one’s research is work that demands as much dedication and commitment as creative work does.

Moreover, writing is not just practice, but itself creative work, a constructive process that enables the emergence of the new and the unforeseen. What is the role of writing in artistic research and what type of voices may emerge?

Furthermore, while writing can be seen as a form of practice, the same is true for the inverse: in the context of artistic research, practice is a form of writing; a non-propositional form of writing, to be sure, but in artistic research material practices and products not only embody knowledge and understanding, but as agents in a methodological sense, are also the vehicles by which that knowledge and understanding is produced and conveyed. Here practice is making a case, a claim; a discursive practice that comprises (paradoxically?) non-discursive, i.e. non-propositional material.

This year’s SAR conference will address writing in relation to artistic research from these perspectives: writing as practice and practice as writing. How do both writing and practice operate as ways to convey new knowledge, understanding and experiences by which we (re)organize our lives?

In workshops, demonstrations, performances, discussions, open sessions and on-the-spot encounters we will contribute to the ongoing development of the relationship between practice and writing in the context of artistic research.

—————SAR Conference 2016

Registration for the International Conference on Artistic Research, The Hague 28-29 April 2016, is now open.

For information about the programme and all practical information, please visit the conference website at: SARconference2016.net

Registration closes as soon as the maximum number of participants has been reached.

Please note that there is only a limited number of 150 places available!

 

 

 

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«BLIND SPOT – STARING DOWN THE VOID»

Programstyret har i møte 16.02.2016 vedtatt tildele totalt NOK 3.550.650 til prosjektet «BLIND SPOT – STARING DOWN THE VOID» ved Akademi for scenekunst, Høgskolen i Østfold. Prosjektmidlene tildeles for en treårsperiode med oppstart i 2016.

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Abstract 

BLIND SPOT investigates a sensory phenomenon at the gravitational center of all material knowledge. The project researches the implications of the “blind spot” to  artists in the visual and performing arts concerned with the implications of perception in human experience and society.

The term “blind spot” stems from medical research into the optics of the eye. “The natural blind spot is due to lack of receptors where the optic nerve and blood vessels leave the eye. Blindness is absence of seeing. It may be experienced as blackness, or very differently it may be nothing. The sudden blindness of switching off the light is blackness (and black is a colour); nothingness is lack of visual sensation, as for the world behind one’s head.” Prof. Richard Gregory and Prof. Patrick Cavanagh (2011), Scholarpedia, 6(10):9618. The term is also used in photography, describing the nodal point of a camera. Beyond its’ technical significance the blind spot is of course a metaphor for a multitude of juxtapositions, between the visible and invisible, the static and fluid, the known and unknown. Blind spot is that which is uncannily present, and at the center, but remains unseen and undescribed. The project works from the artistic potential of the blind spot and its fuzzy surroundings.

The research unfolds between 2016 – 2019 in working groups, residencies and seminars. Blind spot as a topic is activated through performing arts processes, leading to three main productions: one performative production for stage to be toured nationally and internationally; a second research production will result in an exhibition to be presented nationally and internationally; and thirdly, a publication, reflecting upon the artistic and academic process of the research project. The publication also constitutes a collection, a sourcebook of the most diverse artistic material on the subject. The artistic research and production will be accompanied by investigations into the topic through the academic eye of scholarship in contemporary and media archaeology, history, sociology, technology, literature and philosophy.

The research is led by Prof. Karen Kipphoff of Norwegian Theater Academy at the University College Østfold in Fredrikstad and partner institutions in Berlin and Bucharest, also including students and research fellows as well as commissioned artists and scholars.

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