Programme

Preliminary programme:

 

SUNDAY, AUGUST 20

6-8 pm intro to the course, venue and participants


MONDAY, AUGUST 21

10-11 am Dr Kęstas Kirtiklis Science as Vocation, Methodology as Destiny?

In the lecture “Science as Vocation” (1918) Max Weber posed some crucially important questions concerning the nature of scientific research in general and the so-called human sciences in particular: what is particular about scientific knowledge as opposed to other forms of knowledge? What is the aim of scientific / scholarly activities? What is the value of science / research? How do researchers choose between various methodological positions? Is there any place for value judgements in science? In my presentation I will discuss the main methodological currents in contemporary social sciences (naturalism, interpretivism and critical theory) as participating in an ongoing discussion and providing different answers to the Weberian questions.

11 am-noon post-presentation discussion

12-1 pm presentations by 1 doctoral student (1 student x 30 min presentation + 30 min Q&A)

1-2 pm lunch

2-5 pm presentations by 3 doctoral students (1 student x 30 min presentation + 30 min Q&A)

5-8 pm individual consultations


TUESDAY, AUGUST 22

10-11 am Prof Dr Juha Suoranta Artistic Research. Theories, Methods, Practices

In my presentation, I’ll unpack the basic formula of artistic research (‘artistic research = artistic process [acts inside the practice] + arguing for a point of view [contextual, interpretive, conceptual, narrative work’]) presented in Artistic Research Methodology by Mika Hannula, Juha Suoranta and Tere Vadén (Peter Lang, 2014). An artistic researcher has three intertwined tasks. First, she develops and perfects her own artistic skills, vision and conceptual thinking. This happens by developing a vocabulary not only for making but also for writing and speaking about art. Second, an artistic researcher contributes to academia and the invisible colleges around the world, by proposing an argument in the form of a thesis, a narrative; and in so doing helping to build a community of artistic research and the bodies of knowledge these communities rely on. Third, she communicates with practising artists and the wider public, performing what one could call audience education.

11 am-noon post-presentation discussion

12-1 pm presentations by 1 doctoral student (1 student x 30 min presentation + 30 min Q&A)

1-2 pm lunch

2-6 pm individual consultations

6-8 pm presentations by 2 doctoral students (1 student x 30 min presentation + 30 min Q&A)


WEDNESDAY, AUGUST 23

10-11 am Dr Joanne Morra Exposing Research

Research is often presented as a final polished product: whether it be an article, a book, an exhibition, or an artwork.  Buffed and shined, it is not often that we see or hear about the ups and downs that are key to research as a practice.

In this session, we will expose research by asking: how do we begin a work of art or a piece of writing? How can we articulate the moment at which something takes shape, as our labour (our work) is transformed into an artwork or a piece of writing or an exhibition? How do we know (or decide) when something is finished, or when it is a failure? What happens next? And what are our experiential and subjective relationships with these practices and processes as practices and processes? What conscious and unconscious, real or imaginary, fears, memories, anxieties, desires and pleasures impact upon what we do, and what we hope and dream of doing?

11 am-noon post-presentation discussion

12-1 pm individual consultations

1-2 pm lunch

2-5 pm presentations by 3 doctoral student (1 student x 30 min presentation + 30 min Q&A)

5-8 pm individual consultations


THURSDAY, AUGUST 24

10-11 am Dr Marquard Smith Research: A Promising Subject for Research?

What is it to conduct research in the second decade of the 21st century? What is the nature (or what are the modalities) of the work that we, as researchers, do? What is research as a praxis? And how have recent shifts in paradigms of knowledge generation and distribution transformed profoundly what we as researchers do, how we do it, and in fact even our very capacity to do it?

Beginning from the figure of the researcher (you, me, us) as a locus for the discovery of knowledge by way of acts of searching, gathering, making/producing, decision-making, and dissemination, I’ll be engaging productively with these and any other questions in order to explore the idea of ‘research’ as a subject of research itself. As such, I’ll be considering some of the ways in which, as practitioners, curators and scholars, we might ‘do’ research. And, finally, I’ll be proposing how research might be ‘embodied in’ and ‘articulated by way of’ art and design projects.

To this end, I’ll be drawing on my activities as an academic (having published widely on arts education, artistic research, practice-led/based research, experimentality, the educational turn, and the archival impulse), a curator (in which curating is a generative practice-led activity), a programmer, a commissioner, and an editor who has supervised to successful completion PhDs by project (by fine art practice, design practice and curating) as well as PhDs by thesis and PhDs by publication, and as an external examiner for PhDs by practice across the UK.

11 am-noon post-presentation discussion

12-1 pm presentations by 1 doctoral student (1 student x 30 min presentation + 30 min Q&A)

1-2 pm lunch

2-6 pm individual consultations

6-8 pm presentations by 2 doctoral students (1 student x 30 min presentation + 30 min Q&A)


FRIDAY, AUGUST 25

10-11 am Dr Mika Elo Working with Boundary Objects

The encounter between art and academia taking place in variegated inter-semiotic settings of artistic research makes us face two compelling issues: 1) The multi-dimensionality of sense. Sense cannot be reduced to meaning. Neither the author's verbalisable intentions (so-called subjective facts) nor discursively established interpretations (so-called objective facts) can serve as ultimate points of reference. All facts are made; they imply selection and reduction with regard to the excess of sense. 2) Non-human agencies. Artworks have agency of their own. Artistic research gestures do not take place only on the level of (verbal) argumentation or thematic content; and they cannot necessarily be traced back to the author. How to proceed methodically in the face of these issues? I will present some thoughts about the possible role of boundary objects in this setting.

11 am-noon post-presentation discussion

12-1 pm individual consultations

1-2 pm lunch

2-5 pm presentations by 3 doctoral student (1 student x 30 min presentation + 30 min Q&A)

5-8 pm individual consultations


SATURDAY, AUGUST 26

12-1 pm individual consultations

1-2 pm lunch

2-5 wrap up (results, findings, unanswered questions)

6-8 pm closing event of the Nida Art Colony summer exhibition


SUNDAY, AUGUST 27

Noon open studios of Nida Art Colony residents and departure


 

Open call for cooks: participants are welcome to cook dinner for NDS participants on Monday, Wednesday and Friday. The organisers will provide the kitchen space, utensils, money and a van for shopping.

Film screenings and beach sauna any night upon request.

Sunrise 5.01 am (Sun, Aug 20) / Sunset 7.29 pm (Sat, Aug 26)