0 Program for kunstnerisk utviklingsarbeid 0 1 Supervisors’ Seminar Voksenåsen, 19 March 2013...

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Program for kunstnerisk utviklingsarbeid0

1Supervisors’ Seminar Voksenåsen, 19 March 2013

Critical Reflection – understanding and tools

Ivar Frounberg, the Norwegian Academy of MusicNina Malterud, the Steering Committee

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Program for kunstnerisk utviklingsarbeid

Critical reflection – status (1)

Revised regulations 2008 introducing the four criteria, open form/format:

Personal artistic position/work in relation to chosen subject area nationally and internationally; How the project contributes to professional development of the subject area; Critical reflection on the process (artistic choices and turning points, theory applied, dialogue with various networks and the professional environment etc.); Critical reflection on results (self-evaluation in perspective of the revised project description)

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21 reflections delivered since revision 200818 passed30-200 pages text and attachments (scores, etc)2 web, 1 radio programme style, 2 video essays

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Steering Committee looking at the framework for the critical reflection (revisions end of 2014?)

Format, formsWhat sort of reflective practices? (mapping)ContentTarget groupConveying insight based on artistic practice?Assessment committee’s reportsPart of the whole

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Critical reflection – future intentions

Keeping the open format – or? Text conventions – useful tools?Develop the relation between the reflection and the art workDevelop the position of the reflective artist

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Critical reflection – fellows’ seminars

Revised obligatory parts from 2011, according to the National Qualification Framework

Seminar 1: Artistic Research, history, status etcSeminar 2: Project Development and Critical Reflection • 3 days relating to fellows’ individual projects, led by former

fellow, examples from previous reflections

Seminar 3: Ethical challenges, Copyright etcSeminar 4: Artistic/reflective development in the project

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Reflections – for whom?

Paid by the society:a public document!publicly accessable!

For the eternity? – Anyone? – Someone?Appraisal committeePeer community The target group points towards formal and genre issues (this afternoon)

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Peer community?Artistic research versus research on the artsArt community: visual arts, performing artsMusic peers: a unity?Creation versus performanceComposers: classical versus experimental?Performers: interpretation versus co-creative?Individuals versus the institutions Scope and detailing

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”Best Practice” – examples (1)

Take position, address the target group (Slotte)

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”Best Practice” – Caroline Slotte

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Take position, address the target group (Slotte)For specialist peers? (Thelin):

bass-players and/or composers?

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”Best Practice” – Håkon Thelin

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Take position, address the target group (Slotte)For specialist peers? (Thelin)


For the interested public? (Slåttebrekk)

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”Best Practice” – Sigurd Slåttebrekk

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For the interested public? (Slåttebrekk)Pedagogical approach (A. Aase)

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”Best Practice” – Andreas Aase

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”Best Practice” – Trygve Diesen

Video essay: http://vimeo.com/channels/swimmingwithsharks

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For the interested public? (Slåttebrekk)Pedagogical approach (A. Aase)Forgetting the fundamental question(s)?

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”Best Practice” – examples where?

Håkon Thelinwww.haakonthelin.com

Sigurd Slåttebrekkwww.chasingthebutterfly.no

CarolineSlottehttp://www.khib.no/norsk/om-khib/biblioteket/khib-stipendiatenes-kritiske-refleksjoner-e-format/

Trygve Diesenhttp://vimeo.com/channels/swimmingwithsharks

Alle (kommer etter hvert på www.artistic-research.no)

http://ge.tt/5AX0MmT

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?Questions for the groups (1)

How to relate the reflective work and the creative work during the whole project?What difference could it make for the reflection to start by defining the target group?

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Program for kunstnerisk utviklingsarbeid0

2Supervisors’ Seminar Voksenåsen, 19 March 2013

Critical Reflection – understanding and tools

Ivar Frounberg, the Norwegian Academy of MusicNina Malterud, the Steering Committee

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Critical reflection

Format – medium and characteristics of mediaForm – structureGenre – text mode

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Critical reflection – formats

Text understood in its broadest sense:Tekstbased publication (printed)

ExamplesInserted medium: CD/DVD/???

Intermedial presentation (web?)Oral and visual dialogue (film?)

References?

Other potential formats not yet explored?

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Critical reflection – form

Structure – use of genresDisposition:

Parts and wholesContentAbstractRelate to Artistic ResultCorpus: reporting, reflectingReferences versus Bibliography

Unified or a compilation

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Critical reflection – genres (1)

Journal/logReportManualArticle

’Scientific paper’Publication article

Essay

ManualManualManualManual

ArticleArticleArticleArticle

EssayEssay

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Critical reflection – genres (2)

StorytellingTravelogue («reiseskildring»)ManifestoLetterAppResearch Catalogue(Overlap/fusions)

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Critical reflection – does and dont’s

The volume: not more than --- pages?The ”I”. Subjective, personal, privatePersonal positioningHow much about the ”fight against the others”

The outer pressure from the institution/systemInner enemies, resistance of writing«Science» as enemy

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Critical reflection – does and dont’s

PostulatesSingular determined form: ”the science”Referencing – consequences in the textReferencing conventionsDepth in referencing: the Adorno – syndrome

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?Questions for the groups (2)

What format, form and genre(s) could be suitable for your fellow’s projectHow to solve practical problems with language (being non-native supervisor for a project in native language)Could your fellow benefit from supervision from more angles (theoretical vs. artistic competence). Collaborative supervision?

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