This project develops a European network for transdisciplinary innovation in artistic engagement as a catalyst for societal transformation, focusing on immersive art. It responds to the professionals in the field’s call for research into immersive art’s unique capacity to ‘move’ people through its multisensory, technosocial qualities towards collective change. The project brings together experts leading state-of-the-art research and practice in related fields with an aim to develop trajectories for artistic, methodological, and conceptual innovation for societal transformation. The nascent field of immersive art, including its potential impact on society, has been identified as a priority research area on all local-to-EU levels, but often suffers from the common (mis)perception as being technological spectacle prioritising entertainment values. Many practitioners create immersive art to enable novel forms of creative engagement to address societal issues and enact change, but have difficulty gaining recognition and support for this endeavour. A critical challenge is the lack of knowledge about how their predominantly sensuous and aesthetic experience actually lead to collective change, which remains unrecognised in the current systems of impact evaluation predicated on quantitative analysis. Recent psychological insights on awe as a profoundly transformative emotion signals a possibility to address this challenge, offering a new way to make sense of the transformational effect of directly interacting with such affective qualities of immersive art. In parallel, there is a renewed interest in the practice of cultural mediation, which brings together different stakeholders to facilitate negotiation towards collective change in diverse domains of civic life, often through creative engagements. Our project forms strategic grounds for transdisciplinary research at the intersection between these two developments. We bring together experts in immersive art, psychology, cultural mediation, digital humanities, and design across Europe to explore: How can awe-experiences be enacted in immersive art and be extended towards societal transformation?
Zowel bij ondernemers als onder kunstenaars zien we steeds meer initiatieven gericht op de ontwikkeling van een ‘volhoudbare’ economie. Partijen uit deze domeinen zoeken manieren om een generatieve economie te bewerkstelligen die – anders dan een extractieve economie (‘de economie van het leegtrekken’) – sociaal rechtvaardig en ecologisch duurzaam wil zijn. Omdat kunstenaars en ondernemers in hun zoektocht naar innovaties-met-impact verschillende kwaliteiten inbrengen, wordt veel verwacht van samenwerking tussen de twee sectoren. In de praktijk echter is synergie eerder regel dan uitzondering. De grote verschillen tussen de twee ‘innovatiesferen’ leiden vooralsnog tot meer gedoe dan complementariteit. In het vraagarticulatietraject dat ten grondslag ligt aan SUSTAIN kwam naar voren dat hier een belangrijke rol is weggelegd voor zogeheten innovatiebrokers: derde partijen die werelden van ondernemerschap en kunst op duurzame wijze met elkaar weten te verbinden. In SUSTAIN willen we de body of knowledge en het handelingsinstrumentarium van deze innovatiebrokers verrijken. Door met praktijkgericht onderzoek juist in deze beroepsgroep te investeren, hopen we een hefboomeffect richting de volhoudbare economie te creëren: we dragen bij aan de effectiviteit van de samenwerking tussen de innovatiesferen kunst en ondernemerschap. Onze hoofdvraag luidt: Wat kunnen innovatiebrokers op het snijvlak van kunst en ondernemen in de verschillende fases van het innovatietraject leren en doen om de synergie van de samenwerking tussen ondernemers en kunstenaars te vergroten en zo een duurzame bijdrage te leveren aan de transitie richting een volhoudbare economie? Gedurende het onderzoek ontwikkelen we een gefundeerd Brokers Kenniscanvas dat beschrijft welke vraagstukken zich aandienen in samenwerkingsverbanden tussen kunstenaars en ondernemers en hoe de innovatiebrokers die vraagstukken hanteerbaar en productief kunnen maken. We richten ons welbewust op het ‘gedoe’ in de samenwerking en ontwikkelen vóór en mét de innovatiebrokers kennis over hoe vandaaruit synergie te realiseren.
The project Decolonising Education: from Teachers to Leading Learners (DETeLL) aims to develop a multi-site approach for interventions towards inclusion and decolonisation in order to change the hierarchical nature of higher education in the Netherlands. DETeLL identifies the model of the ‘traditional teacher’ as embodying the structural exclusions and discriminations built into the classroom and proposes the figure of a ‘Leading Learner’ as a first step towards a radical change in the educational system. In collaboration with the education departments in the Theatre and Dance Academy at ArtEZ, the post-doc will build up a research and teaching programme that engages with students and teachers in the faculty to create a prototype of an inclusive and diverse educational practice. RELEVANCE: Education should be the critical space in which changes occur in order to shape best possible futures. In DETeLL’s acceptation, decolonisation refers to a complete change in the way of thinking and behaving. It does not refer only to the urgency of dealing with historical colonial legacies embedded in society, but also to the subversion of the deeply oppressive colonial culture that (also unconsciously) regulates public and private living, whether this is related to gender, race, class or sexuality issues. RESULTS: 1) Create a theory and practice-based scientific base-line of decolonisation and art education; 2) Provide a definition of ‘Artist educator as Leading Learner’ following a practice- based methodology of intervention; 3) Design and Pilot a new teaching programme for theatre education at ArtEZ to be then upscaled to all educational departments in a follow-up project); 4) Produce a strong interdisciplinary and international output plan: 3 academic publications, 2 conferences, 4 expert group workshops. NETWORK: ArtEZ; University of Amsterdam (UvA); Ghent University; UCHRI; Hildesheim University; Cape Town University. The partners will serve as steering committee through planned expert group meetings.
Society continues to place an exaggerated emphasis on women's skins, judging the value of lives lived within, by the colour and condition of these surfaces. This artistic research will explore how the skin of a painting might unpack this site of judgement, highlight its objectification, and offer women alternative visualizations of their own sense of embodiment. This speculative renovation of traditional concepts of portrayal will explore how painting, as an aesthetic body whose material skin is both its surface and its inner content (its representations) can help us imagine our portrayal in a different way, focusing, not on what we look like to others, but on how we sense, touch, and experience. How might we visualise skin from its ghostly inner side? This feminist enquiry will unfold alongside archival research on The Ten Largest (1906-07), a painting series by Swedish Modernist Hilma af Klint. Initial findings suggest the artist was mapping traditional clothing designs into a spectral, painterly idea of a body in time. Fundamental methods research, and access to newly available Af Klint archives, will expand upon these roots in maps and women’s craft practices and explore them as political acts, linked to Swedish Life Reform, and knowingly sidestepping a non-inclusive art history. Blending archival study with a contemporary practice informed by eco-feminism is an approach to artistic research that re-vivifies an historical paradigm that seems remote today, but which may offer a new understanding of the past that allows us to also re-think our present. This mutuality, and Af Klint’s rhizomatic approach to image-making, will therefore also inform the pedagogical development of a Methods Research programme, as part of this post-doc. This will extend across MA and PhD study, and be further enriched by pedagogy research at Cal-Arts, Los Angeles, and Konstfack, Stockholm.
A huge amount of data are being generated, collected, analysed and distributed in a fast pace in our daily life. This data growth requires efficient techniques for analysing and processing high volumes of data, for which preserving privacy effectively is a crucial challenge and even a key necessity, considering the recently coming into effect privacy laws (e.g., the EU General Data Protection Regulation-GDPR). Companies and organisations in their real-world applications need scalable and usable privacy preserving techniques to support them in protecting personal data. This research focuses on efficient and usable privacy preserving techniques in data processing. The research will be conducted in different directions: - Exploring state of the art techniques. - Designing and applying experiments on existing tool-sets. - Evaluating the results of the experiments based on the real-life case studies. - Improving the techniques and/or the tool to meet the requirements of the companies. The proposal will provide results for: - Education: like offering courses, lectures, students projects, solutions for privacy preservation challenges within the educational institutes. - Companies: like providing tool evaluation insights based on case studies and giving proposals for enhancing current challenges. - Research centre (i.e., Creating 010): like expanding its expertise on privacy protection technologies and publishing technical reports and papers. This research will be sustained by pursuing following up projects actively.
OKWT: Arts Loves Sciences and Flirts with Gamma Het lectorenplatform Onderwijs op het snijvlak van Kunst, Wetenschap en Technologie (OKWT) richt zich specifiek op vakoverstijgend onderwijs, waar kunst en bèta elkaar ontmoeten. De ambitie van het platform is om leerlingen, studenten en ook onderwijsprofessionals te stimuleren om vanuit verschillende kennisdomeinen tot nieuwe manieren van leren en probleemoplossen te komen. De opbloeiende, interdisciplinaire praktijken van kunstenaars worden hierbij als een inspiratiebron voor de vernieuwing van het funderend en hoger onderwijs beschouwd. Het OKWT-platform is in de herfst 2022 uitgebreid met gammalectoren en gaat in de komende twee jaar aan de slag met het project OKWT: Arts Loves Sciences and Flirts with Gamma. Hierin wordt gezamenlijk gewerkt aan netwerkvorming, kennisuitwisseling, een geactualiseerde OKWT onderzoeksagenda en vakoverstijgende onderwijsontwikkeling. Hiermee verhoudt het platform zich tot recente ontwikkelingen in het onderwijs rondom inclusie, digitale geletterdheid en burgerschap die vragen om een verrijking en uitbreiding van het OKWT-onderzoeksgebied met Sociale Wetenschappen en Gedragsstudies (Gamma). Deze verbreding is essentieel voor o.a. technologische-, democratische - en burgerschapscompetenties van leerlingen en studenten, die nodig zijn om op een betekenisvolle manier te kunnen participeren in de maatschappij. Naast vakkenintegratie op het snijvlak van Kunst, Wetenschap, Technologie en Sociale Wetenschappen en Gedragsstudies (OKWT♥G), werkt het platform ook toe naar een actualisering van de leerinhouden van de kunst-, bèta- en gammavakken en het duurzaam implementeren hiervan binnen de onderwijspraktijk. Dit levert een geüpdatete OKWT♥G- Onderzoeksagenda op met inzichten en aanbevelingen voor interdisciplinair, praktijkgericht onderzoek naar onderwijsinnovatie. Het project draagt bij aan Nationale Wetenschapsagenda (NWA) (Kunst: onderzoek en innovatie in de 21e eeuw/Kunsten als inspiratiebron voor educatie en een leven lang leren/Kunsten als motor voor innovatie en reflectie in een hightechsamenleving; en aan de KIA Maatschappelijk Verdienvermogen van het Missiegedreven Topsectoren- en Innovatiebeleid.
Crowdfunding campaigns have empowered countless innovative projects and made funding accessible to a large pool of makers and citizens. Recently, traditional funding bodies such as foundations, provinces and municipalities have acknowledged the potential of crowdfunding to approximate institutional decision-making to citizens, by engaging with the “crowd’s” preferences and further stimulating public and private funding through matchfunding. Matchfunding – the financial contribution of traditional funding bodies to crowdfunding campaigns – is an emerging form of co-funding that has the potential to foster a more inclusive and democratic society. Yet, given its novelty, little is known about how matchfunding works, and how it can be transformed into an efficacious tool that supports project creators and policymakers to develop impactful projects. Looking at the creative industries, one of the most prolific fields in crowdfunding, this project aims to provide this knowledge by: (1) gaining insight into the democratizing potential and best-practices of matchfunding in the creative industries by comparing analysing the extensive databases of crowdfunding and matchfunding pioneer voordekunst and matchfunding partners Kunstloc Brabant and Gemeente Rotterdam, and by conducting interviews with matchfunding parners to gain insight into their challenges and experiences; (2) deepening and sharing findings in Impact-Driven Workshops, which serve to exchange knowledge with and between matchfunding partners, and gain further insights into their motives and best practices. Based on the outcomes of (1) and (2), we develop (3) an online Matchfunding Toolkit, geared towards matchfunding partners, as well as to creators, freelancers and SMEs (potentially) using matchfunding for their projects. Finally, (4) we will disseminate this knowledge to other funding bodies and organisations within and outside of the creative industries by connecting partners and stakeholders in a Dissemination Event. This results in a lasting knowledge hub and network geared to supporting creators, SMEs and freelancers in search of funding.
