Hi
What a coincident!
I just received this newsletter that address precisely the  
problematic of scientific research & writing regarding art  
production. Check below.
pity one is not in ny at the moment... ;)

all best,
kent


Exhibition: Nameless Science
The debate on artistic research emerging worldwide in the field of  
visual art for some five years focuses on what artistic research  
could be or should be. The exhibition Nameless Science aims to expand  
this debate by showing the outcome of artistic research in seven  
examples of best practices from artistic PhD projects. A striking  
similar methodology in the practice of artistic research is the  
problemization of specific situation-based artistic processes  
interconnecting with various knowledge systems and disciplines. At  
the same time, these PhD projects deal with an artistic  
reinterpretation of both representation (al) models and academic  
classification systems. Consequently, the projects do not only  
produce fluent forms of interconnectivity and methodology through  
different forms of knowledge production, but lead to novel artistic  
strategies and intensities of perception.

Do artistic research projects demand an idiosyncratic form of  
presentation? Using an inventive form of display, the curator will  
investigate this question and exchange thoughts and ideas with the  
participating artists through a presentation system balancing between  
an exhibition and an info-lab.

Nameless Science: Research projects by Ricardo Basbaum (Universidade  
do Estado do Rio de Janeiro), Jan Kaila (Finnish Academy of Art),  
Irene Kopelman (MaHKU, Utrecht), Matts Leiderstam (Malmo School of  
Art), Ronan McCrea (University of Ulster), Sarah Pierce (Goldsmiths'  
College, London), and Morten Torgersrud (Bergen School of Art).

apexart, 291 Churchstreet, New York, NY 10013, USA. http:// 
www.apexart.org
December 10 – January 31. Opening reception: December 10, 6-8pm

Symposium: Nameless Science
The symposium involves a presentation of the Nameless Science  
research projects by the artists, followed by a discussion with  
critical referents from EARN (European Artistic Research Network:  
Dublin, Helsinki, Malmo, Vienna), The Cooper Union, Columbia  
University, University of California and Idsva (Portland).

Symposium Location: The Cooper Union (Wollman Auditorium), 51 Astor  
Place, New York NY 10003. December 12: 10 am to 5pm. Information and  
reservation: [log in to unmask]

Symposium Program
10.00-10.15. Opening Saskia Bos (Dean School of Art, The Cooper  
Union), Henk Slager (curator Nameless Science).
10.15-10.45. Keynote presentation: Sarat Maharaj (Malmo School of Art).
10.45-11.20. Presentation: Jan Kaila (Helsinki School of Art).  
Referent: George Smith (Idsva, Portland).
11.20-11.55. Presentation: Morten Torsgerud (Bergen School of Art).  
Referent: Tamar Zinguer (The Cooper Union, School of Architecture).
11.55-12.30. Presentation: Ricardo Basbaum (Universidade do Estado do  
Rio de Janeiro). Referent: Gertrud Sandqvist (Malmo School of Art).
12.30-13.30. Break.
13.30-14.30. Doctoral Studies in the US. Presentation: George Smith  
(Idsva, Portland). Presentation: Grant Kester (San Diego, University  
of California). Referent: Mick Wilson (Gradcam, Dublin).
14.30-15.05. Presentation: Irene Kopelman (MaHKU, Utrecht). Referent:  
Grant Kester (San Diego, University of California).
15.05-15.30. Break.
15.30-16.05. Presentation: Ronan McCrea (University of Ulster).  
Referent: Felicitas Thun (Vienna School of Art).
16.05-16.45. Presentation: Matts Leiderstam (Malmo School of Art).  
Referent/Closing Remarks: John Rajchman (Columbia University).

Publications
Reports on the project Nameless Science will be published by http:// 
www.artandresearch.org.uk (Volume 2, No. 2, Winter 2009) and by  
MaHKUzine, Journal of Artistic Research, Volume 7, Spring 2009,  
http://www.mahku.nl

Support
The project Nameless Science is supported in part by Bergen Academy  
of Art; FRAME Finnish Fund for Art Exchange; Mondriaan Foundation,  
Amsterdam; The Research Institute Art and Design, University of  
Ulster, UK; The Cooper Union, New York; Idsva, Portland; EARN  
(European Artistic Research Network);' Malmo School of Art; Vienna  
School of Art; Gradcam Dublin and MaHKU/Utrecht Consortium.

Nameless Science
Opening Exhibition: December 10

apexart
291 Churchstreet, New York, NY

Symposium:
December 12

The Cooper Union
(Wollman Auditorium),
51 Astor Place, New York, NY

curated by Henk Slager

http://www.apexart.org



Den Dec 3, 2008 kl. 4:14 PM skrev Nancy J. Adler, Prof.:

> Hi AACORN colleagues discussing "quality assured" art production,
>
>
>
>       Interesting discussion. There is a similar conversation (and  
> oftentimes, a non-conversation) going on in the academic community  
> on what constitutes quality research and quality publications.  
> Unfortunately, the focus on quality often gets lost, or more  
> frequently subsumed in academic research conversations into a  
> measure of impact (as most commonly measured by the number of times  
> a particular article is cited by other academics, over a specific  
> time period, in a limited number of journals). Impact, in large  
> part because it has been easy (in a very limited sense) to  
> quantify, has eclipsed the more important (in my mind) questions in  
> research of: does the research ask important questions and is it  
> appreciated, using any set of agreed upon criteria, as having  
> quality. The most glaring version of impact eclipsing any  
> consideration of meaning or quality shows up in the ranking of  
> journals (and the labeling of select journals as A-level). There is  
> clear evidence that even reducing the discussion to impact (as  
> measured by citations), such A-listed journals do not consistently  
> publish the highest impact articles.
>
>       Welcome to one of the raging (and very important) discussions  
> currently taking place not only in academic management, but across  
> disciplines. Anne-Wil Harzing (University of Melbourne) and I have  
> an article coming out on the topic in the March 2009 issue of the  
> Academy of Management Learning and Education journal
>
>
>
> Adler, Nancy J. & Harzing, Anne-Wil (2009) “When Knowledge Matters:  
> Transcending the Sense and Nonsense of Academic Rankings,” Academy  
> of Management Learning and Education, March (forthcoming).
>
>
>
> For the convenience of those interested in the discussion, I have  
> attached a copy of the pre-publication article.
>
>       All my best, Nancy
>
>
>
>
>
> -----Original Message-----
> From: Aesthetics, Creativity, and Organisations Research Network  
> [mailto:[log in to unmask]] On Behalf Of kent hansen
> Sent: Wednesday, December 03, 2008 8:56 AM
> To: [log in to unmask]
> Subject: Re: Welcome to AACORN!
>
>
>
> hi Vincent, hi Teike, hi all
>
>
>
> Yes, one have to put the question as Vincent does: What is the
>
> requirements for "quality assured" art production in the 'art system'?
>
> And I agree with Vincent: There's is no 'rules'; Or: The only 'rule'
>
> is the 'non-rule'; Art production is sanctioned via social processes
>
> made up by the agents of the very art system (artists, critics,
>
> curators, etc.). This 'social condition of art' is the very point
>
> made by Danto, right?
>
>
>
> How this 'social game' works is part of the knowledge of producing
>
> art - when adding the knowledge about the tradition(s), the
>
> contemporary critique(s) and development(s) of the production of the
>
> specific art form and genre. So, when using the term "art" when eg.
>
> evaluating art production the requirement for a "quality assured"
>
> text is the texts ability to demonstrate a knowledge about
>
> contemporary  art production. If not demonstrating such knowledge the
>
> very text/article can not/should not be be "quality assured" in the
>
> art system.
>
>
>
>
>
> The question of criteria or  "quality assurance" regarding topics of
>
> the Aacorn Network e.g. "art in an organisational context", "manager
>
> as artist", etc - can then be be put in this way: If ‘something’ -
>
> that we initially term "art" - generates other results than e.g.
>
> ‘traditional’ methods on e.g. the marked for eg. organisational
>
> consultancy and/or management – does this 'something then 'work'
>
> because it functions 'as art'? Knowing that "functioning 'as art'"
>
> first of all means meeting the requirements of the 'art system'.
>
>
>
> Despite “If someone calls it art, it’s art” (paraphrasing Don Judd,
>
> in Duve: Kant after Duchamp), “Every human is an artist” (Beuys), or
>
> the fact that maybe everyone already has become an artist (due to
>
> Duchamps (articulation of) ‘readymade’; not as a consequence of
>
> ‘readymade’, but as a condition), you may first of all insist that,
>
> when "organisational art project"-makers and -evaluators in their
>
> terminology wants to activate the term "art", then such
>
> "organisational art projects" need to be evaluated 'as art’ -  a
>
> specific project evaluation need to be valid as an art critique.
>
>
>
> Hence -  in the field of "art & organisation" - projects need to be
>
> criticised on the backdrop of the criteria that exist in a specific
>
> contemporary culture relating to this or that type art production
>
> which a project (may) articulate; just as such "organisational art
>
> project" should be criticised on the backdrop of the criteria for e-
>
> g. ‘(project)management’, ‘organising’, 'work place psychology', etc.
>
>
>
> Said in another way:  If the 'something' that is initially is called
>
> "art" is not evaluated 'as art' - then the term "art" has no
>
> theoretical bearing in the evaluation of, or writing about, such
>
> specific "art production" in an organisational context. And why would
>
> you call it "art" in the first place? Drop the term "art" in the
>
> evaluations of so called "organisational art projects" if the project
>
> is not eventuated 'as art' anyway! In practice the specific project
>
> will 'work' as fine without the (pure rhetoric) 'art brand', I guess.
>
>
>
>
>
> all the best!
>
> kent
>
>
>
>
>
> NB
>
> note, that the Anglo-Saxian "art" is a bit broader than the term
>
> Germanic "kunst", and being a Dane I'm probably overlapping the two;
>
> art = kunst, I'm leaning towards "kunst".
>
> and generally I'm addressing contemporary visuals fine art after the
>
> mid sixties.
>
>
>
> Den Dec 3, 2008 kl. 1:05 PM skrev Teike Asselbergs:
>
>
>
> > Dear Vincent,
>
> >
>
> > When asked as an academic to give ones list of publications,  
> there is
>
> > the question whether publications are "quality assured" or
>
> > "non-quality assured. When a paper/article is published by a
>
> > recognized 'publisher' that also reviews the text submitted, as  
> far as
>
> > I understand one can speak of a 'quality assured' publication. An  
> art
>
> > magazine can be non-academic for instance, but quasi-academic and  
> with
>
> > an editorial board: that magazine can be considered 'quality  
> assured'.
>
> > I need to write a list about which quality assured texts I have
>
> > published, and it is not clear for me for instance whether images  
> can
>
> > also be quality assured following 'art as research' rules?
>
> >
>
> > The international art world is a heterogeneous milieu consisting of
>
> > several actors, such as: artists, art critics, art organizations,
>
> > financing institutions and governmental bodies. There exist  
> different
>
> > definitions of 'art world' but it goes a bit far to discuss all of
>
> > them here. The contemporary view on this as also that there is no  
> 'one
>
> > art world' but that there exist 'art worlds' (many smaller 'art  
> world'
>
> > milieus) even within the fields of diverse art forms, like theater,
>
> > fine art, contemporary art etc. The art worlds as social systems  
> share
>
> > unwritten rules/'name of the game rules' that can not be used in the
>
> > 'quality assured' sense, but in the art world certainly have  
> 'ranking
>
> > effects'. Following this I think that the question: Who edicts and
>
> > enacts the "rules of art world"? is partly answered by Mikael
>
> > Scherdin, who has written a PhD on how his innovative art  
> organization
>
> > was given 'the invisible foot' by the Swedish art world.
>
> >
>
> >> For "those of us not directly practicing in the art world"
>
> >
>
> > But many AACORN members write about art in one way or another.
>
> > Why would you want to use the word 'art' if just some general  
> form of
>
> > creativity is intended?
>
> > I assume that AACORN members writing about art would also study the
>
> > social system in the art world they write about, or not?
>
> > As an artist that focuses on organization I read and try to get  
> to the
>
> > details of organizational studies, even to the extend I am writing a
>
> > PhD about it, so why would AACORN academics not do the same with  
> art?
>
> > Isn't it so that in order that, within the framework of 'art,
>
> > aesthetics and creativity in organizational research, the 'art' has
>
> > any significance; the rules/'name of the game' in the professional
>
> > cultural field also need to be addressed?
>
> >
>
> > Regards,
>
> > Teike Asselbergs
>
> <When Knowledge Wins (154) 2008 Nov 25 Final.doc>