Research in Visual Arts Education - Bilderlernen.at

More documents

Recommendations

Info

ART, DESIGN AND ENVIRONMENTAL PARTICIPATIONBut even if the contributions from researchers with a platform within theuniversity disciplines have been valuable, the need for research within thefield of art and design education itself, “from within”, is evident. By thelatter term, research in art and design education by the art and design educatorsthemselves is understood. A parallel term can be found in the Danishresearch milieu around the Aarhus School of Architecture where a term hasbeen coined “arkitekturfaglig arkitekturforskning” (architectural researchby architects themselves). Practitioners of art and design education havethe possibility to develop knowledge on the base of their knowing “how”instead of the discipline-based knowing “that” (Ryle, 1945). Research “fromwithin” by practitioners in art and design education as well as research “fromoutside” in the same fields by academic disciplines together pose differentepistemological points of departure. They are complementary to each otherrather than they represent an “either – or situation”.Doctoral programme for the making professionsWhen the Oslo School of Architecture and Design (AHO) opened theirdoctoral programme for practitioners within other fields than architecturein 1995, it indicated a turning point for research within art and design education.Now artists, designers and educators got the possibility to qualify forresearch within their own field of practise and knowledge. The leader forthe doctoral programme, professor Halina Dunin-Woyseth, has developedan epistemological base for the programme, when introducing the conceptof a making discipline derived from the challenges for the making professions(Dunin-Woyseth & Michl, 2001). Her idea of building an independentresearch field to respond to the explicit demands for an informed field ofpractice within art and design education has earned attention in Europe andAsia. It was presented in Japan in 2003 (Dunin-Woyseth & Nielsen) and inBrussels in 2005 (Dunin-Woyseth). As a young field of inquiry the makingdisciplines need to collaborate with other fields of knowledge and expertise.Transdisciplinarity has therefore been promoted as a broader strategyfor various making professions. In 2004 Dunin-Woyseth and Nielsen editeda publication on transdisciplinarity with a specific focus on the challengesand potentials that the new mode of knowledge production represents forthe making professions (Dunin-Woyseth & Nielsen, 2004).According to various schools in the professional studies, the building ofa new field of academic knowledge to be derived from a field of practiceshould be based on the three main components which together constituteits knowledge base; history, theory and criticism (see for example variousmaster’s and doctoral studies in architecture and design in North America).NORDIC VISUAL ARTS EDUCATION IN TRANSITION 133
ART, DESIGN AND ENVIRONMENTAL PARTICIPATIONHistory is needed to understand the background and legacy of a field andto define it with regard to other fields of knowledge. Theory is built on theongoing research in dialogue with other fields of knowledge, while criticismfollows what is regarded as quality standards in practice. However, the purposefor building a new field of inquiry is to secure a critical mass of researcherswho are able to run a qualified discussion both at the ontological andthe epistemological level of the field in question. This is why the educationof doctoral candidates within the field of art and design education has ahigh priority.Doctorates at AHO – by practitioners in art and design educationThe first practitioner in art and design education who got a doctoral degreeat the AHO-doctoral programme was Liv Merete Nielsen. The thesisstates that more and more decisions will be made on the base of visualrepresentations and consequently visual communication becomes a keyaspect of the general education (2000). Hilde Aga Ulvestad got her doctoraldegree in 2001 based on the studies of creativity in art making processes.She built upon the theories of Vygotsky. Eirin Pedersen’s doctoral thesisstudies “drawing the nude”. She discusses the nude-drawing in a contextual,discursive and paradigmatic perspective, including the gender perspective(2004). Øystein Cruikshank should have finished his thesis in 2005, but hepassed away tragically in a car accident in 2004. Parts of his thesis were,however, edited and published in 2006. He discussed taste and power in theart through the studies of a worldwide known Norwegian art project, SkulpturlandskapNordland [Sculpture landscape in Nordland], where sculpturesby well-known international artists were placed in several municipalitiesin the county of Nordland (Cruikshank, 2006). In her thesis, Marte Gulliksendiscusses how formbild is constructed in teacher training education,with a base in empirical studies and discourse analysis (2006). In 2007 JanneBeate Reitan defended her thesis on strategy for design learning. From herstudies of Inuit vernacular design she describes and discusses the concept of“learning by watching”. Berit Ingebrethsen is expected to fulfil her disputationsat AHO in 2008. She has studied visual rhetoric’s in drawings basedon metaphor. Her research is based in semiotic theory. Bente Ytterstad, whoexplores the potentials of the making process in the production of knowledge,is expected to finish her thesis in 2009.Several university colleges have acknowledged the importance of securinga critical mass of researchers in order to build a field of knowledge in art anddesign education, and consequently they have raised grants. These grantsare of great value as they are, as mentioned before, a precondition for being134 NORDIC VISUAL ARTS EDUCATION IN TRANSITION
Page 12:
INTRODUCTIONThe fact that a certain
Page 16 and 17:
ISSUES IN VISUAL ARTS EDUCATIONShul
Page 18 and 19:
ISSUES IN VISUAL ARTS EDUCATIONto A
Page 20 and 21:
ISSUES IN VISUAL ARTS EDUCATIONinto
Page 22 and 23:
ISSUES IN VISUAL ARTS EDUCATIONeduc
Page 24 and 25:
ISSUES IN VISUAL ARTS EDUCATIONHowe
Page 26 and 27:
ISSUES IN VISUAL ARTS EDUCATIONof t
Page 28 and 29:
ISSUES IN VISUAL ARTS EDUCATIONIn 1
Page 30 and 31:
ISSUES IN VISUAL ARTS EDUCATIONVisu
Page 32 and 33:
ISSUES IN VISUAL ARTS EDUCATIONBart
Page 34 and 35:
ISSUES IN VISUAL ARTS EDUCATIONKres
Page 36 and 37:
ISSUES IN VISUAL ARTS EDUCATIONStee
Page 38 and 39:
FROM PSYCHOLOGY TO SEMIOTICS1989, C
Page 40 and 41:
FROM PSYCHOLOGY TO SEMIOTICSIn Educ
Page 42 and 43:
FROM PSYCHOLOGY TO SEMIOTICSIn the
Page 44 and 45:
FROM PSYCHOLOGY TO SEMIOTICSyears:
Page 46 and 47:
FROM PSYCHOLOGY TO SEMIOTICSFrom a
Page 48 and 49:
FROM PSYCHOLOGY TO SEMIOTICSTwo nat
Page 50 and 51:
FROM PSYCHOLOGY TO SEMIOTICSAnderss
Page 52 and 53:
FROM PSYCHOLOGY TO SEMIOTICSNordstr
Page 54 and 55:
MEDIATED ACTION AND AESTHETIC LEARN
Page 56 and 57:
Page 58 and 59:
Page 60 and 61:
Page 62 and 63:
Page 64 and 65:
Page 66 and 67:
Page 68 and 69:
Page 70 and 71:
Page 72 and 73:
Page 74 and 75:
Page 76 and 77:
Page 78 and 79:
Page 80 and 81:
Page 82 and 83:
BETWEEN VISUAL ARTS AND VISUAL CULT
Page 84 and 85: BETWEEN VISUAL ARTS AND VISUAL CULT
Page 96 and 97: MULTICULTURALISM AND ARTS-BASEDRESE
Page 98 and 99: MULTICULTURALISM AND ARTS-BASED RES
Page 114 and 115: MULTIFACETED APPROACH TO VISUALARTS
Page 116 and 117: MULTIFACETED APPROACH TO VISUAL ART
Page 128 and 129: ART, DESIGN AND ENVIRONMENTALPARTIC
Page 130 and 131: ART, DESIGN AND ENVIRONMENTAL PARTI
Page 148 and 149: APPENDIX 1Jonsson, Carin (2006). L
Page 150 and 151: APPENDIX 1Elsner, Catharina (1999).
Page 152 and 153: APPENDIX 1Marner, Anders, Örtegren
Page 154 and 155: APPENDIX 1Hasselberg, Kersti (1999)
Page 156 and 157: APPENDIX 1Saar, Tomas (2003). Skola
Page 158 and 159: APPENDIX 1ReportsAgélii, Karin (19
Page 160 and 161: APPENDIX 1Persson, Magnus & Thaveni
Page 162 and 163: APPENDIX 2BooksArvedsen, Karsten &
Page 164 and 165: APPENDIX 2ChaptersArvedsen, Karsten
Page 166 and 167: APPENDIX 2Mathiesen, Frants (2004).
Page 168 and 169: APPENDIX 2Buhl, Mie (1997). Videoin
Page 170 and 171: APPENDIX 2Hansen, Mogens (1995). Sy
Page 172 and 173: APPENDIX 2Jensen, Per Kjærsgaard (
Page 174 and 175: APPENDIX 2Flensborg, Ingelise & Wit
Page 176 and 177: APPENDIX 3Laitinen, Sirkka. (2003).
Page 178 and 179: APPENDIX 3Pääjoki, Tarja (1998).
Page 180 and 181: APPENDIX 3Räsänen, Marjo (2000).
Page 182 and 183: APPENDIX 3Hiltunen, Mirja (1998). N
Page 184 and 185:
APPENDIX 3Krappala, Mari (1999). Mo
Page 186 and 187:
APPENDIX 3Piironen, Liisa (1996). K
Page 188 and 189:
APPENDIX 3Rusanen, Sinikka & Torkki
Page 190 and 191:
APPENDIX 3Sava, Inkeri, Bardy, Marj
Page 192 and 193:
APPENDIX 3ArticlesErkkilä, Jaana (
Page 194 and 195:
APPENDIX 3Sava, Inkeri & Levo, Merj
Page 196 and 197:
APPENDIX 4Icelandic Publications 19
Page 198 and 199:
APPENDIX 4Helgadóttir, Guðrún (1
Page 200 and 201:
APPENDIX 5Samuelsen, Arne Marius (2
Page 202 and 203:
APPENDIX 5Halvorsen, Else Marie (20
Page 204 and 205:
APPENDIX 5Trageton, Arne (1997). Le
Page 206 and 207:
APPENDIX 5Digranes, Ingvild (2004).
Page 208 and 209:
APPENDIX 5Kjosavik, Steinar (2004).
Page 210 and 211:
APPENDIX 5Stafseng, Ola (2006). Est
Page 212 and 213:
APPENDIX 5Framgard, Erling (1996).
Page 214 and 215:
APPENDIX 5Ruud-Johansen, Petter (20
Page 216 and 217:
APPENDIX 5Danbolt, Gunnar & Enerstv
show all

Research in Visual Arts Education - Bilderlernen.at

Create successful ePaper yourself

Delete template?

Save as template?