‘In recent years, the practices of artists in non-artistic environments have set my mind in motion. Where before I could marvel at the visual outcomes of the artistic process and would want to understand how processes of creating meaning could be described, I am now particularly struck by the way in which artists are present, by their way of looking, how they make decisions, when and how they act, how they take responsibility. I have conversations with them and ask questions to better understand their processes, and I explore literature to find people with a similar quest. This process of moving and being moved lies at the heart of the book The Artistic Attitude.’
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Frederiek Bennema introduces foraging as a strategy for learning and research within higher art education, and as a practice and an attitude focused on ecological thinking, care and dialogue. This article aims to offer insights into foraging and how it helps students navigate the landscape of art education. It further discusses how foraging relates to artistic research and how it can help position artistic research in relation to more established forms of research.
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For this book, we chose the term Applied Design Research. “We”are the Network Applied Design Research: a learning community of professors and researchers at various universities of applied sciences. Within this community, we share our experiences with the many forms of applied design research. We consciously choose the word “applied” because we like to emphasize the practical application of design research. So what do we mean by applied design research? And do we even have a shared understanding about the concept?By asking the members of the network: “What is your definition of applied design research?”, we created a unique spectrum of different perspectives. The resulting articles give a glimpse into the kitchen of twenty-five professors and researchers who apply this inspiring approach to product development, architecture, the arts, healthcare, food, and the social sector. It leads to a remarkably transdisciplinary research field. When reading and discussing the articles, we found a robust pattern of characteristics. These all manifest to a greater or lesser extent in each individual contribu-tion, including a future-orientation, the desire to improve the world and the ambition to involve others in the design process.
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Being objective as a journalist indicates a distance to your sources and maintaining the role of a neutral bystander. This principle echoes in journalism education; generally speaking, to call something objective is a compliment and to say something is subjective is a warning. This journalistic role perception faces criticism since the late twentieth century. There’s extensive scholarly research looking to bridge the gap between objectivism and subjectivism, but journalistic education still widely prioritizes a binary perception of these principles, putting a strong emphasis on objective reporting. This PD aims to integrate artistic practices into journalism education that advocate a more balanced approach of the assumed objective-subjective dichotomy. One such approach is live journalism, where the artistic method extends to productional outcome, usually in the form of a journalistic narrative brought before a live audience. Research shows that, whereas visitors still think such productions should be fact-based, the fact that journalists had (made) a personal connection to their subject was seen as essential to the credibility of their work. This presupposes that journalism in this context is not merely a profession, but rather a person carrying out a profession. This PD intends to not only accept a certain subjectivity, but to explore its potential in journalism education. It plays with the concept not as being or becoming personally opinionated as a journalist, but as subjecting the self as a reporter. Research shows that for journalists, such an active connection to a target audience and an attitude to want to hear more than an answer to a question leads to a more representative understanding of the position and predicaments of a social group. In this light, the objective and subjective do not present themselves as a T-junction where the journalist chooses either one or the other; they appear in mutuality.
In het Wijklab van de Arnhemse wijk Malburgen neemt een groep jongeren van de jeugdwijkraad via debatclubs deel aan het politieke leven in de wijk door eigen punten te agenderen. Ze leren daar taal gestructureerd in te zetten om hun argumenten helder voor het voetlicht te brengen. Deze jongeren leven in een beeldcultuur die hen vormt en hun gedrag stuurt. Het is hun ambitie om hier meer grip op te krijgen om ook op die manier hun stem te laten horen en invloed uit te oefenen. Ze willen een platform creëren om bewuster met beelden om te leren gaan, inzicht te ontwikkelen in beeldvorming in traditionele media en vaardiger te worden in het zelf beelden produceren voor social media. Het lectoraat Image in Context doet met kunstenaars en actieonderzoekers actief onderzoek naar de wijze waarop via artistieke interventies in sociale contexten groepen maatschappelijk krachtiger kunnen worden. Ze ontwikkelen hiermee voor beeldende kunstenaars en ontwerpers nieuwe beroepsperspectieven. Centraal hierin staat de vraag hoe bij niet professionele kunstenaars een artistieke attitude, een kunstenaarsmindset, te ontwikkelen is. onderzoeksvraag geformuleerd: Hoe kan een actieonderzoeksproces waarin de kunstenaar zijn vaardigheden, inzichten en attitude deelt, zo vormgegeven worden dat het leidt tot een overdraagbare methodiek waarbij jongeren via het maken van eigen producten kritisch leren omgaan met de wijze ze beeldend invloed kunnen uitoefenen? In dit project wordt door de actieonderzoeker Anne Braakman en de artistic researcher Kevin Perrin op drie niveaus ten behoeve van drie ambities met de jongeren wordt gewerkt: - Bewust maken van de kracht van beelden. - Vaardiger worden in het inzetten en produceren van beelden. - Ontwikkeling van een artistieke attitude.
