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Rubriik: Doktorikool
11.04.2019
EKA doktorikooli konverents
Doktorikool
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Postitas Elika Kiilo — Püsilink
EKA doktorikooli konverents
Neljapäev 11 aprill, 2019
Doktorikool
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Postitas Elika Kiilo — Püsilink
21.12.2018
Varvara Guljajeva doktoritöö kaitsmine
Disainiteaduskond
21. detsembril 2018. a kaitseb Eesti Kunstiakadeemia kunsti ja disaini eriala doktorant Varvara Guljajeva doktoritööd “Interaktsioonist osalusjärgsuseni: aktiivse osaleja kaduv roll”(“From interaction to post-participation: the disappearing role of the active participant”).
Avalik kaitsmine toimub algusega kell 12.00 Põhja pst 7, ruumis A101
Doktoritöö juhendajad: dr Raivo Kelomees (Eesti Kunstiakadeemia) ja dr Pau Waelder (The Open University of Catalonia)
Eelretsensendid: prof dr Christa Sommerer (Interface Cultures, The University of Art and Design Linz) ja prof dr Moises Mañas Carbonell (Faculty of Fine Arts, Polytechnic University of Valencia)
Oponent: prof dr Christa Sommerer (Interface Cultures, The University of Art and Design Linz)
Varvara Guljajeva loomepõhine doktoritöö analüüsib ja kontekstualiseerib osalusjärgsuse vaatepunktist passiivset interaktsiooni publikuga ning vaatleb, kuidas interaktiivses kunstis on aktiivne osalus asendunud passiivsega. Doktoritöö käsitleb interaktiivse kunsti ajalugu ja identiteedidiskursust, uurides seda, kuidas räägitakse kunstiteostest, mis ei kaasa publikut, kuid hõlmavad sisemist süsteemiinteraktsiooni andmeallikaga. Teisisõnu, uurimus käsitleb huvi nihkumist inimese ja masina vaheliselt interaktsioonilt süsteemidevahelisele ning selle põhjusi. Käesolevas doktoritöös on eristatud vahetut ja kaudset osalusjärgsust. Valitud kunstiteoseid on uuritud seega kontseptsiooni, vahetu või kaudse osalusjärgsuse ja teostuse vaatepunktist. Lisaks on iga osalusjärgsuse alamkategooria all tutvustatud ja analüüsitud teiste kunstnike seonduvaid teoseid.
Lõpuks annab doktoritöö oma panuse interaktiivse kunsti arendamisse, analüüsides ja kontekstualiseerides osalusjärgsusena avalduvat passiivset osalust publikuga. Autor väidab, et osalusjärgsuse mõiste aitab käsitleda nihet aktiivselt vaatajalt passiivsele keerulisel andmejälitusajastul, mil inimestelt nõusolekut küsimata neid pidevalt jälgitakse, jälitatakse ja vaadeldakse.
Doktoritööga on võimalik tutvuda Eesti Kunstiakadeemia doktorikooli kodulehel.
Kaitsmine toimub inglise keeles.
Doktoritöö kaitsmiskomisjoni liikmed on dr Liina Unt, dr Epp Lankots, dr Virve Sarapik, dr Roomet Jakapi, dr Tahiroglu Koray, prof Kirke Kangro
Postitas Elika Kiilo — Püsilink
Varvara Guljajeva doktoritöö kaitsmine
Reede 21 detsember, 2018
Disainiteaduskond
21. detsembril 2018. a kaitseb Eesti Kunstiakadeemia kunsti ja disaini eriala doktorant Varvara Guljajeva doktoritööd “Interaktsioonist osalusjärgsuseni: aktiivse osaleja kaduv roll”(“From interaction to post-participation: the disappearing role of the active participant”).
Avalik kaitsmine toimub algusega kell 12.00 Põhja pst 7, ruumis A101
Doktoritöö juhendajad: dr Raivo Kelomees (Eesti Kunstiakadeemia) ja dr Pau Waelder (The Open University of Catalonia)
Eelretsensendid: prof dr Christa Sommerer (Interface Cultures, The University of Art and Design Linz) ja prof dr Moises Mañas Carbonell (Faculty of Fine Arts, Polytechnic University of Valencia)
Oponent: prof dr Christa Sommerer (Interface Cultures, The University of Art and Design Linz)
Varvara Guljajeva loomepõhine doktoritöö analüüsib ja kontekstualiseerib osalusjärgsuse vaatepunktist passiivset interaktsiooni publikuga ning vaatleb, kuidas interaktiivses kunstis on aktiivne osalus asendunud passiivsega. Doktoritöö käsitleb interaktiivse kunsti ajalugu ja identiteedidiskursust, uurides seda, kuidas räägitakse kunstiteostest, mis ei kaasa publikut, kuid hõlmavad sisemist süsteemiinteraktsiooni andmeallikaga. Teisisõnu, uurimus käsitleb huvi nihkumist inimese ja masina vaheliselt interaktsioonilt süsteemidevahelisele ning selle põhjusi. Käesolevas doktoritöös on eristatud vahetut ja kaudset osalusjärgsust. Valitud kunstiteoseid on uuritud seega kontseptsiooni, vahetu või kaudse osalusjärgsuse ja teostuse vaatepunktist. Lisaks on iga osalusjärgsuse alamkategooria all tutvustatud ja analüüsitud teiste kunstnike seonduvaid teoseid.
Lõpuks annab doktoritöö oma panuse interaktiivse kunsti arendamisse, analüüsides ja kontekstualiseerides osalusjärgsusena avalduvat passiivset osalust publikuga. Autor väidab, et osalusjärgsuse mõiste aitab käsitleda nihet aktiivselt vaatajalt passiivsele keerulisel andmejälitusajastul, mil inimestelt nõusolekut küsimata neid pidevalt jälgitakse, jälitatakse ja vaadeldakse.
Doktoritööga on võimalik tutvuda Eesti Kunstiakadeemia doktorikooli kodulehel.
Kaitsmine toimub inglise keeles.
Doktoritöö kaitsmiskomisjoni liikmed on dr Liina Unt, dr Epp Lankots, dr Virve Sarapik, dr Roomet Jakapi, dr Tahiroglu Koray, prof Kirke Kangro
Postitas Elika Kiilo — Püsilink
18.11.2018
EKA ja EMTA ühisseminar
Disainiteaduskond
18.11.2018
Eesti Kunstiakadeemia
Ruum A403
KAVA
10.45 kogunemine
11.00-11.30 Ruth-Helene Melioranski “Eesti uute disainipraktikatekontseptualiseerimisest”
11.30-12.00 Katrin Kabun „Lambavilla rehabiliteerimine – arhailisematerjali rakendusvõimalused kaasaegses disainis“
12.00-12.30 Maarja Mitt „Ruum: näitleja psühhotehniline vahend“
12.30-12.45 kohvipaus
12.50-13.20 Sirja-Liisa Eelma „Tühjuse paradoks. Maalipraktika, (näituse)ruumist ümbritseva oleku muutmiseni”
13.20-13.50 Jaak Sikk „Stiimuli abil indutseeritud mentaalse ettekujutusemõju vabaimprovisatsioonilisele mänguprotsessile — katselineuurimisprotsess“
13.50-14.20 Piret Jaaks „Kogukondliku dramaturgia eetiline dimensioon“
14.20-14.50 Andrus Kallastu „Mukselist võrsub muusika. Ühe kompositsioonimeetodi kirjeldus“
14.50-15.00 kokkuvõte
15.00 majaekskursioon
Postitas Elika Kiilo — Püsilink
EKA ja EMTA ühisseminar
Pühapäev 18 november, 2018
Disainiteaduskond
18.11.2018
Eesti Kunstiakadeemia
Ruum A403
KAVA
10.45 kogunemine
11.00-11.30 Ruth-Helene Melioranski “Eesti uute disainipraktikatekontseptualiseerimisest”
11.30-12.00 Katrin Kabun „Lambavilla rehabiliteerimine – arhailisematerjali rakendusvõimalused kaasaegses disainis“
12.00-12.30 Maarja Mitt „Ruum: näitleja psühhotehniline vahend“
12.30-12.45 kohvipaus
12.50-13.20 Sirja-Liisa Eelma „Tühjuse paradoks. Maalipraktika, (näituse)ruumist ümbritseva oleku muutmiseni”
13.20-13.50 Jaak Sikk „Stiimuli abil indutseeritud mentaalse ettekujutusemõju vabaimprovisatsioonilisele mänguprotsessile — katselineuurimisprotsess“
13.50-14.20 Piret Jaaks „Kogukondliku dramaturgia eetiline dimensioon“
14.20-14.50 Andrus Kallastu „Mukselist võrsub muusika. Ühe kompositsioonimeetodi kirjeldus“
14.50-15.00 kokkuvõte
15.00 majaekskursioon
Postitas Elika Kiilo — Püsilink
16.11.2018
Sofia Hallik’u näituse eelretsenseerimine
Disainiteaduskond
Reedel, 16. novembril 2018. a kell 14.00 toimub ARSi projektiruumis (Pärnu mnt 154, Tallinn) kunsti ja disaini eriala doktorandi Sofia Hallik’u doktoritöö loomingulise osa juurde kuuluva isikunäituse “Tangibility Matters” eelretsenseerimine.
Näitus on avatud:
15.11.2018 kell 12-18
16.11.2018 kell 12-20 (kell 18.00 toimub näituse lõpetamine)
Doktoritöö juhendajad on prof Kadri Mälk (Eesti Kunstiakadeemia) ja dr Jaak Tomberg.
Näituse eelretsensendid on dr Kärt Ojavee (Eesti Kunstiakadeemia) ja dr Raivo Kelomees (Eesti Kunstiakadeemia).
Ehtesari, mis on tehtud näituse jaoks doktoritöö raames, kujutab endast käsitöö ja digitaalse tootmise hübriidi. Luues ehet tunneb autor vajadust seda puudutada ja kompida, kuid 3D-printeriga tehtud objekt on tühi vorm, mis tuleb millegagi täita. Tehnoloogiamaailmas tunneb autor puudust füüsilisest kontaktist kunstiteosega, kuna CAD-programmiga töötamine ja 3D-printimine muudavad käeagakatsutavuse olemust. Just seetõttu autor kustutab prinditud objektilt digitaalsuse kihi käsitöö ja ehtekunsti traditsiooniliste võtetega. Nii tekib 3D-prinditud objektile emotsioon.
Näitusel välja pandud tööd on sündinud kahest vastuolulisest algest: digitaalne tootmine ja käsitöö. Need kehastavad inimese ja masina vastastikust lähedust. Teisisõnu, sel ajal, kui inimesed üha enam pöörduvad digitaalse maailma poole, muutub tehnoloogia inimlikumaks.
Sofia Hallik (s.1991) on ehtekunstnik ning Eesti Kunstiakadeemia doktorant. Oma doktoritöös “Hand vs. Machine: Three Methods of Jewellery Making” keskendub noor kunstnik innovatiivsetele materjalidele ja tehnoloogiatele. Enim huvitab teda, kuidas digitaalne tehnoloogia mõjutab ehtekunsti.
Suured tänud: Kadri Mälk, Jaak Tomberg, Oskar Narusberk, Eesti Kunstiakadeemia ehte- ja sepakunsti osakond, 3D Koda OÜ.
Näitust toetab Eesti Kultuurkapital.
Postitas Elika Kiilo — Püsilink
Sofia Hallik’u näituse eelretsenseerimine
Reede 16 november, 2018
Disainiteaduskond
Reedel, 16. novembril 2018. a kell 14.00 toimub ARSi projektiruumis (Pärnu mnt 154, Tallinn) kunsti ja disaini eriala doktorandi Sofia Hallik’u doktoritöö loomingulise osa juurde kuuluva isikunäituse “Tangibility Matters” eelretsenseerimine.
Näitus on avatud:
15.11.2018 kell 12-18
16.11.2018 kell 12-20 (kell 18.00 toimub näituse lõpetamine)
Doktoritöö juhendajad on prof Kadri Mälk (Eesti Kunstiakadeemia) ja dr Jaak Tomberg.
Näituse eelretsensendid on dr Kärt Ojavee (Eesti Kunstiakadeemia) ja dr Raivo Kelomees (Eesti Kunstiakadeemia).
Ehtesari, mis on tehtud näituse jaoks doktoritöö raames, kujutab endast käsitöö ja digitaalse tootmise hübriidi. Luues ehet tunneb autor vajadust seda puudutada ja kompida, kuid 3D-printeriga tehtud objekt on tühi vorm, mis tuleb millegagi täita. Tehnoloogiamaailmas tunneb autor puudust füüsilisest kontaktist kunstiteosega, kuna CAD-programmiga töötamine ja 3D-printimine muudavad käeagakatsutavuse olemust. Just seetõttu autor kustutab prinditud objektilt digitaalsuse kihi käsitöö ja ehtekunsti traditsiooniliste võtetega. Nii tekib 3D-prinditud objektile emotsioon.
Näitusel välja pandud tööd on sündinud kahest vastuolulisest algest: digitaalne tootmine ja käsitöö. Need kehastavad inimese ja masina vastastikust lähedust. Teisisõnu, sel ajal, kui inimesed üha enam pöörduvad digitaalse maailma poole, muutub tehnoloogia inimlikumaks.
Sofia Hallik (s.1991) on ehtekunstnik ning Eesti Kunstiakadeemia doktorant. Oma doktoritöös “Hand vs. Machine: Three Methods of Jewellery Making” keskendub noor kunstnik innovatiivsetele materjalidele ja tehnoloogiatele. Enim huvitab teda, kuidas digitaalne tehnoloogia mõjutab ehtekunsti.
Suured tänud: Kadri Mälk, Jaak Tomberg, Oskar Narusberk, Eesti Kunstiakadeemia ehte- ja sepakunsti osakond, 3D Koda OÜ.
Näitust toetab Eesti Kultuurkapital.
Postitas Elika Kiilo — Püsilink
19.11.2018
Seminar: Using Psychoanalysis in Artistic Research
Disainiteaduskond
Date: November 19, 2018 at 14.00 – 17.30
Venue: Estonian Academy of Arts, Põhja pst 7, room A502
Lecturer: Pia Sivenius
The idea of using psychoanalysis for artistic research seems tempting for artists in various fields, designers and architects. The aim of the seminar is to introduce the cornerstones of the theories of psychoanalysis and reflect on their uses in the field of arts.
Pia Sivenius specialises in the French psychoanalysis theories. She has published numerous articles on the subject and translated the works of Lacan, Kristeva and Irigaray into the Finnish language. She is the long standing research coordinator in Aalto Arts (formerly University of Art and Design Helsinki) which gives her valuable insight into current artistic research.
Registration
Theseminar is open to PhD and MA students. Registration is open until16.11.
Program
14.00-15.30 seminar
15.30-16.00 break
16.00-17.30 seminar
This event is organised by the Graduate School of Culture Studies and Arts, supported by the ASTRA project of the Estonian Academy of Arts – EKA LOOVKÄRG (European Union, European Regional Development Fund).
Postitas Elika Kiilo — Püsilink
Seminar: Using Psychoanalysis in Artistic Research
Esmaspäev 19 november, 2018
Disainiteaduskond
Date: November 19, 2018 at 14.00 – 17.30
Venue: Estonian Academy of Arts, Põhja pst 7, room A502
Lecturer: Pia Sivenius
The idea of using psychoanalysis for artistic research seems tempting for artists in various fields, designers and architects. The aim of the seminar is to introduce the cornerstones of the theories of psychoanalysis and reflect on their uses in the field of arts.
Pia Sivenius specialises in the French psychoanalysis theories. She has published numerous articles on the subject and translated the works of Lacan, Kristeva and Irigaray into the Finnish language. She is the long standing research coordinator in Aalto Arts (formerly University of Art and Design Helsinki) which gives her valuable insight into current artistic research.
Registration
Theseminar is open to PhD and MA students. Registration is open until16.11.
Program
14.00-15.30 seminar
15.30-16.00 break
16.00-17.30 seminar
This event is organised by the Graduate School of Culture Studies and Arts, supported by the ASTRA project of the Estonian Academy of Arts – EKA LOOVKÄRG (European Union, European Regional Development Fund).
Postitas Elika Kiilo — Püsilink
08.11.2018
Thomas Markusseni avatud loeng sotsiaalsest disainist 8. novembril
Doktorikool
Üks sotsiaalse disaini kesksetest küsimustest on, kuidas mõõta läbi uurimusliku lähenemise saavutatud ühiskondlikku väärtust.
Sageli samastatakse sotsiaalset disaini ekslikult lähedaste valdkondadega, näiteks sotsiaalse ettevõtluse või sotsiaalset innovatsiooni edendava disainiga. Tõsi, kõiki neid ühendab kodanike kaasatus protsessidesse, mis taotlevad sotsiaalseid muutusi või suuremat võrdsust. Ehkki sotsiaalsel disainil on mõningaid sarnaseid jooni ülalnimetatud lähenemistega, eksisteerib nende vahel ka rida olulisi erinevusi. Oma loengus “Sotsiaalne disain – kui väikestest muutustest piisab” toob Thomas Markussen need erinevused selgelt välja näidates ühtlasi, kuidas sotsiaalse disaini protsessid võivad tegelikult ühiskondlikke muutusi toetada.
Lisaks tutvustab ta Lõuna-Taani Ülikoolis läbiviidavat 3-aastast arendusprojekti “Sotsiaalsed mängud kuritegevuse vastu”. Projekti käigus on disainiuurijad välja arendanud innovatiivse lauamängu, mis on mõeldud mängimiseks lastele ja nende isadele, kes on mõistetud vangi Taani kõrgeima turvalisusega kinnipidamisasutustesse. Lauamäng on loodud tihedas koostöös noorte, vangide ja vanglatöötajatega ning see pakub platvormi üksteisemõistmiseks ja kommunikatsiooniks. Mängu eesmärgiks on aidata alaealistel paremini toime tulla probleemidega, mida lapsevanemate vanglas viibimine kaasa toob.
Thomas Markussen on Lõuna-Taani Ülikooli sotsiaalse disaini uurimisüksuse kaasasutaja ja dotsent. Oma töös keskendub Markussen sellele, kuidas saaks disaini rakendada poliitilise ja kriitilise esteetilise praktikana; eelkõige just sotsiaalse disaini, disainifiktsiooni ja -aktivismi valdkondades. Ta on ka viljakas autor; publikatsioonidest võiks esile tuua näiteks “The disruptive aesthetics of design activism: enacting design between art and politics” (Design Issues); “Disentangling the ‘social’ in social design’s engagement with the public realm” (CoDesign); and “The politics of design activism – from impure politics to parapolitics” appearing in Routledge’s forthcoming book Design and Dissent.
EKAs viibib Thomas Markussen disainiteaduskonna ja doktorikooli kutsel viies siin läbi rea seminare ja vestlusringe disainiuurimuse teemadel.
Postitas Mart Vainre — Püsilink
Thomas Markusseni avatud loeng sotsiaalsest disainist 8. novembril
Neljapäev 08 november, 2018
Doktorikool
Üks sotsiaalse disaini kesksetest küsimustest on, kuidas mõõta läbi uurimusliku lähenemise saavutatud ühiskondlikku väärtust.
Sageli samastatakse sotsiaalset disaini ekslikult lähedaste valdkondadega, näiteks sotsiaalse ettevõtluse või sotsiaalset innovatsiooni edendava disainiga. Tõsi, kõiki neid ühendab kodanike kaasatus protsessidesse, mis taotlevad sotsiaalseid muutusi või suuremat võrdsust. Ehkki sotsiaalsel disainil on mõningaid sarnaseid jooni ülalnimetatud lähenemistega, eksisteerib nende vahel ka rida olulisi erinevusi. Oma loengus “Sotsiaalne disain – kui väikestest muutustest piisab” toob Thomas Markussen need erinevused selgelt välja näidates ühtlasi, kuidas sotsiaalse disaini protsessid võivad tegelikult ühiskondlikke muutusi toetada.
Lisaks tutvustab ta Lõuna-Taani Ülikoolis läbiviidavat 3-aastast arendusprojekti “Sotsiaalsed mängud kuritegevuse vastu”. Projekti käigus on disainiuurijad välja arendanud innovatiivse lauamängu, mis on mõeldud mängimiseks lastele ja nende isadele, kes on mõistetud vangi Taani kõrgeima turvalisusega kinnipidamisasutustesse. Lauamäng on loodud tihedas koostöös noorte, vangide ja vanglatöötajatega ning see pakub platvormi üksteisemõistmiseks ja kommunikatsiooniks. Mängu eesmärgiks on aidata alaealistel paremini toime tulla probleemidega, mida lapsevanemate vanglas viibimine kaasa toob.
Thomas Markussen on Lõuna-Taani Ülikooli sotsiaalse disaini uurimisüksuse kaasasutaja ja dotsent. Oma töös keskendub Markussen sellele, kuidas saaks disaini rakendada poliitilise ja kriitilise esteetilise praktikana; eelkõige just sotsiaalse disaini, disainifiktsiooni ja -aktivismi valdkondades. Ta on ka viljakas autor; publikatsioonidest võiks esile tuua näiteks “The disruptive aesthetics of design activism: enacting design between art and politics” (Design Issues); “Disentangling the ‘social’ in social design’s engagement with the public realm” (CoDesign); and “The politics of design activism – from impure politics to parapolitics” appearing in Routledge’s forthcoming book Design and Dissent.
EKAs viibib Thomas Markussen disainiteaduskonna ja doktorikooli kutsel viies siin läbi rea seminare ja vestlusringe disainiuurimuse teemadel.
Postitas Mart Vainre — Püsilink
07.11.2018 — 08.11.2018
Seminar: Ways of drifting in research through design
Disainiteaduskond
Date: November 7-8, 2018
Venue: Estonian Academy of Arts, Põhja pst 7
Lecturer: Thomas Markussen
Research through design is about understanding how processes of designing and creating artworks can serve as the primary method of inquiry into questions relevant for art and design. Originally, the method was described by Christopher Frayling (1993) and Bruce Archer (1995), and since then many different suggestions for what the characteristics of research through design have been presented. This 2-day seminar offers PhD students visual sketching techniques and methodological tools that can be used to clarify how they practice research through design. Based on readings and the students’ position papers, we will be using visual models and diagrams to map out the role played by designerly and artistic experiments in the students’ own projects? Questions that will be addressed are: How can experiments in art and design serve as means for inquiry? How do we account for knowledge produced by these experiments? Each day will be framed by a talk that will set up a conceptual space for collective work.
Thomas Markussen is associate professor and co-founder of the Social Design Research Unit, at the University of Southern Denmark. In his work, Markussen focuses on how design can be used as a political and critical aesthetic practice, notably in the fields of social design, design activism and design fiction. He is one of the contributors to the recently published book Practice-based Design Research, edited by Laurene Vaughan, and has previously been head of phd education at Kolding School of Design. His other publications include journal articles such as “The disruptive aesthetics of design activism: enacting design between art and politics” (Design Issues); “Disentangling the ‘social’ in social design’s engagement with the public realm” (CoDesign); and “The politics of design activism – from impure politics to parapolitics” appearing in Routledge’s forthcoming book Design and Dissent.
Registration
Theseminar is open to PhD and MA students and researchers with ongoing research projects. Registration is open until 26.10.
Requirements
Particpants must submit a position paper (max 1 page) that describe their PhD project. The paper should provide understanding of the aim of the project, primary research questions, methods and the students training and background. Please send your paper to elika.kiilo@artun.eeby 30.10
As preparation for the seminar, participants will be asked to read:
Bang., A-L; Ludvigsen, M; Krogh P-G & Markussen, T. (2012):The Role of Hypothesis in Constructive Design Research. The Art of Research Conference, Aalto University, Helsinki.
Krogh, P-G; Markussen, T & Bang, A-L (2015): ICord’15 – International Conference on Research into Design, Springer Verlag.
The text will be made available upon registration.
Students can earn 2 credit points (ECTS) for participation.
Preliminary Program
Wednesday, Nov 7
13:00-14:00Introduction to Research through Design – a murky concept or expanding methodology?, talk by Thomas Markussen
Break
14:15-15:30 Group work – understanding the basic elements of research through design PhD projects
Break
15:45-16:30 PhD Poster exhibition
Thursday, Nov 8
9:30-10:30Ways of drifting – 5 methods for experimenting in research through design, talk by Thomas Markussen
Break
10:45-11:45 Group work on the role of designerly and artistic experiments in research through design PhD projects
Lunch
12:30:-13:15 Group work on the role of designerly and artistic experiments in research through design PhD projects
13:15-14:30 Collective sharing and presenting
This event is organised by the Graduate School of Culture Studies and Arts, supported by the ASTRA project of the Estonian Academy of Arts – EKA LOOVKÄRG (European Union, European Regional Development Fund).
Postitas Elika Kiilo — Püsilink
Seminar: Ways of drifting in research through design
Kolmapäev 07 november, 2018 — Neljapäev 08 november, 2018
Disainiteaduskond
Date: November 7-8, 2018
Venue: Estonian Academy of Arts, Põhja pst 7
Lecturer: Thomas Markussen
Research through design is about understanding how processes of designing and creating artworks can serve as the primary method of inquiry into questions relevant for art and design. Originally, the method was described by Christopher Frayling (1993) and Bruce Archer (1995), and since then many different suggestions for what the characteristics of research through design have been presented. This 2-day seminar offers PhD students visual sketching techniques and methodological tools that can be used to clarify how they practice research through design. Based on readings and the students’ position papers, we will be using visual models and diagrams to map out the role played by designerly and artistic experiments in the students’ own projects? Questions that will be addressed are: How can experiments in art and design serve as means for inquiry? How do we account for knowledge produced by these experiments? Each day will be framed by a talk that will set up a conceptual space for collective work.
Thomas Markussen is associate professor and co-founder of the Social Design Research Unit, at the University of Southern Denmark. In his work, Markussen focuses on how design can be used as a political and critical aesthetic practice, notably in the fields of social design, design activism and design fiction. He is one of the contributors to the recently published book Practice-based Design Research, edited by Laurene Vaughan, and has previously been head of phd education at Kolding School of Design. His other publications include journal articles such as “The disruptive aesthetics of design activism: enacting design between art and politics” (Design Issues); “Disentangling the ‘social’ in social design’s engagement with the public realm” (CoDesign); and “The politics of design activism – from impure politics to parapolitics” appearing in Routledge’s forthcoming book Design and Dissent.
Registration
Theseminar is open to PhD and MA students and researchers with ongoing research projects. Registration is open until 26.10.
Requirements
Particpants must submit a position paper (max 1 page) that describe their PhD project. The paper should provide understanding of the aim of the project, primary research questions, methods and the students training and background. Please send your paper to elika.kiilo@artun.eeby 30.10
As preparation for the seminar, participants will be asked to read:
Bang., A-L; Ludvigsen, M; Krogh P-G & Markussen, T. (2012):The Role of Hypothesis in Constructive Design Research. The Art of Research Conference, Aalto University, Helsinki.
Krogh, P-G; Markussen, T & Bang, A-L (2015): ICord’15 – International Conference on Research into Design, Springer Verlag.
The text will be made available upon registration.
Students can earn 2 credit points (ECTS) for participation.
Preliminary Program
Wednesday, Nov 7
13:00-14:00Introduction to Research through Design – a murky concept or expanding methodology?, talk by Thomas Markussen
Break
14:15-15:30 Group work – understanding the basic elements of research through design PhD projects
Break
15:45-16:30 PhD Poster exhibition
Thursday, Nov 8
9:30-10:30Ways of drifting – 5 methods for experimenting in research through design, talk by Thomas Markussen
Break
10:45-11:45 Group work on the role of designerly and artistic experiments in research through design PhD projects
Lunch
12:30:-13:15 Group work on the role of designerly and artistic experiments in research through design PhD projects
13:15-14:30 Collective sharing and presenting
This event is organised by the Graduate School of Culture Studies and Arts, supported by the ASTRA project of the Estonian Academy of Arts – EKA LOOVKÄRG (European Union, European Regional Development Fund).
Postitas Elika Kiilo — Püsilink
19.10.2018 — 20.10.2018
Konverents! “Koostööpööre kunstis: uurimisprotsess kunstipraktikas”
Doktorikool
Konverents Koostööpööre kunstis: uurimisprotsess kunstipraktikas tegeleb loomeuurimusega laiendatud tähenduses ja koostöö küsimustega loomingulises praktikas.
Mõiste “loomeuurimus” (artistic research) on aktiivses rahvusvahelises kasutuses 2000. aastate algusest. Esimene loomeuurimuslik doktoritöö õppekaval “Kunst ja disain” kaitsti Eesti Kunstiakadeemias 2011. aastal.
“Looming” on seostatav eelteadmiseta sündiva, inspiratsioonilise ja mitteratsionaalse praktikaga ning “uurimus” on mõistetav kui “teaduslik tegevus” — ratsionaalne ja mõistuslik, põhineb eelneval info ja teadmistel. Kuid loomeuurimuse termini ja praktika levik iseloomustab muutunud olukorda.
Kollektiivne uurimispraktika on teaduses tavapärane, kollektiivsus on omane ka teostusprotsessidele disainis. Kaasaegses kujutavas kunstis on kollektiivsus haruldasem, kuid siin on näha põhimõttelisi muutusi: kunstnikud loovad interdistsiplinaarsetes kollektiivides, tellivad oma projektide osi professionaalsetelt teostajatelt, kunstiteosed leiavad aset erinevate meediate, tehnoloogiate ja lokaalsuste koostöös. Varasem individualistlik, introvertne ja heroiline kunstnik on asendumas kommunikaatori ja projektijuhiga, kes on paindlik suhtluses teostajate ja kunsti vastuvõtjatega.
Konverentsi eesmärgiks on kaardistada uurimuslikku ja kollektiivset loomingut kunstis.
Kutsutud esinejad: Malin Arnell, Varvara Guljajeva, Chris Hales, Andi Hektor, Taavet Jansen, Marianne Jõgi, Jan Kaila, Raul Keller, Arne Maasik, Tuula Närhinen, Piibe Piirma, Taavi Talve, Pia Tikka, Julijonas Urbonas ja teised.
Konverentsi korraldajad: Raivo Kelomees (EKA), Chris Hales (Liepaja Ülikool), EKA vabade kunstide teaduskond.
Registreerumine kuni 15. oktoobrini.
Konverents toimub EKA ruumis A501.
Kontakt: raivo.kelomees@artun.ee
Conference programme
Estonian Academy of Arts, Põhja pst 7, room A501
Day 1
Friday, October 19, 2018
9.30 Coffee
10.00 Welcome words by prof. Epp Lankots, Vice Rector for Research, Estonian Academy of Arts
10.10 Introduction and moderation: Raivo Kelomees (EAA)
10.25 Pia Tikka. Neurocinematics & Art-Science Collaboration
10.50 Piibe Piirma. Inter- and Transdisciplinarity in Artistic Research
11.15 Chris Hales. From Tacit Knowledge to Academic Knowledge
11.35 Arne Maasik. On Geometry in Architecture of Louis Kahn
12.00 Lunch break
13.00 Taavi Talve. Paldiski Project, Case Study
13.30 Raul Keller. Process
14.00 Andi Hektor. What is a Research Paper?
14.30 BREAK (a tour in the building)
15.30 Tuula Närhinen. Phenomenotechnics in Visual Art Practice – a hands-on approach
16.00 Julijonas Urbonas. Gravitational Aesthetics and Exodisciplinary Art
16.30 Questions and discussion
Day 2
Saturday, October 20, 2018
Estonian Academy of Arts, Põhja pst 7, room A501
10.00 Morning coffee
10.20 Summary of the previous day and moderation: Chris Hales
10.30 Varvara Guljajeva. From Interaction to Postparticipation: The Disappearing Role of the Active Participant
11.00 Malin Arnell. The Word for Research is Action – engaging a live dissertation.
11.30 Jan Kaila. 20 Years of Artistic Research – what has been lost and what has been found? (45 min)
12.20 Questions and discussion
12.30 Lunch break (45 min)
13.15 Chris Hales. Creating and Running a Practice-led Doctorate in Latvia, 2009 – 2018
13.35 Marianne Jõgi. Spatio-temporal self-similarity in the creative process
14.00 Taavet Jansen. NEUROTHEATER as an interdisciplinary collaboration form: example from New Stage of Alexandrinsky Theatre
14.30 Break (15 min)
14.45 Doctoral students presentations ca 15 min each
14.45 Tze Yeung Ho
15.00 Rait Rosin
15.15 Hirohisa Koike
15.30 Conclusion
18.00 and later. Options in the city:
- NU Performance Festival: avaõhtu / opening night
Koht/location: Sveta Baar (Telliskivi 62, Tallinn)
- VI Artishok Biennial
From 20 to 28 October, the passenger terminal of the Baltic railway station in Tallinn will host the VI Artishok Biennial (VI AB) which will use the format of a fashion exhibition. Starts 18.00
/Summary of speakers’ biographies and presentations see below/
Short bios:
Malin Arnell (SE) PhD, interdisciplinary artist, researcher and educator is a frequent collaborator with other artists, activists and writers. http://www.malinarnell.org/
Varvara Guljajeva (EE) MA, is an artist and a researcher. Varvara is a PhD candidate at Estonian Academy of Arts. http://www.varvarag.info/
Taavet Jansen (EE) has been working on the field of performing art for more than 20 year – as a dancer, choreographer, director, sound-designer, light-designer, video-designer, interactivity programmer etc. http://taavetjansen.mimproject.org/
Marianne Jõgi (EE) MA, is an artist based in Tallinn. She graduated from the Georg Ots Music School where she majored in music theory. She holds an MA in sculpture and installation from the Estonian Academy of Arts. http://www.mariannejogi.com/
Jan Kaila (FI) DFA, Dean of the Academy of Fine Arts/Art University Helsinki. He was one of the founding members of the European Artistic Research Network in 2004 and in 2010 he was nominated as a member of the executive board of the Society of Artistic Research. Between 2011-2013 he was a member of ELIA´s executive board. https://www.uniarts.fi/en/jan-kaila-0
Chris Hales (GB) PhD, is a long-time specialist of the interactive moving image, as artist-practitioner, educator (Bachelors, Masters, Doctoral) and researcher. http://smartlab-ie.com/faculty/dr-chris-hales/
Andi Hektor (EE) PhD, is a Senior Researcher at the National Institute of Chemical Physics and Biophysics, Tallinn. https://www.etis.ee/CV/Andi_Hektor/est?lang=ENG
Raul Keller (EE) MA, is a professor and head of the New Media chair at the Estonian Academy of Arts. Based in Tallinn. http://raul.kuuratsanikud.ee/index.php/en/
Arne Maasik (EE) is a photographer and artist with an education in architecture. http://arnemaasik.org/
Tuula Närhinen (FI) PhD, is a visual artist based in Helsinki, Finland. http://www.tuulanarhinen.net/
Piibe Piirma (EE) PhD, is an artist and researcher based in Tallinn. http://www.piibepiirma.com/
Taavi Talve (EE) earned MA from the Estonian Academy of Arts (2008). Member of the artist collective Johnson and Johnson (2005). Docent of Sculpture and Installation department at the Estonian Academy of Arts.
Pia Tikka (FI) PhD, is a professional filmmaker and EU Mobilitas Research Professor at the Baltic Film, Media, Arts and Communication School (BFM) and MEDIT Centre of Excellence, Tallinn University. http://enactivevirtuality.tlu.ee
Julijonas Urbonas (LT) is an artist, designer, researcher, engineer, Vice-Rector for Art at the Vilnius Academy of Arts in Vilnius, and PhD student in Design Interactions at the Royal College of Art, London. http://julijonasurbonas.lt/
Raivo Kelomees (EE) PhD, is an artist, critic and new media researcher, holding a Senior Researcher position at the Estonian Academy of Arts. Lives and works in Tallinn. www.kelomees.net
Summary of speakers’ biographies and presentations:
Malin Arnell
The Word for Research is Action – engaging a live dissertation
Avhandling / Av_handling (Dissertation / Through_action)* was articulated / manifested over the course of 72 hours, situating itself within and proceeding from KTH R1 Experimental Performance Space, a decommissioned nuclear reactor hall 25 meters below ground on the campus of Royal Institute of Technology (KTH), May 27-29, 2016. The opponents and the examining committee were invited to become part for 42 hours; so was the audience—as agentially intra-acting components.
http://dissertationthroughaction.space/
* The English word dissertation translated to Swedish makes “avhandling.” When you break the word into its composite parts (“av” and “handling”), “av” can be translated to of, by, for, from, with. I chose to translate it to “through,” because I have pursued my research through the actions of my practice. “Handling” can be translated to action, document, or deed. I chose “action” to emphasize the continually unfurling and shifting nature of this research, and to echo Hannah Arendt, who maintained that actions have no end.
Biography:
Interdisciplinary artist, researcher and educator Malin Arnell, PhD, is a frequent collaborator with other artists, activists and writers. Through these collaborative practices, Malin works with key issues for participating in (social) domains by emphasising the porous intimacy between environments and actions. In doing so, Malin focuses on the experiences around/in/through/of the body (my body, their body, our body) by incorporating the affectivity between relationalities, territories, and power.
Longer bio: http://www.malinarnell.org/bio/bio/
Varvara Guljajeva
From Interaction to Postparticipation: The Disappearing Role of the Active Participant
The presentation introduces my practice-based dissertation which analyses and contextualises passive audience interaction, in the form of post-participation. The research explores the paradoxical situation in interactive art, where the artworks that demonstrate no direct audience interaction are addressed as interactive ones. It is argued that the concept of post-participation helps to address the shift from an active to a passive spectator in the complex age of dataveillance—an age where humans are continuously tracked, traced, monitored, and surveilled without their consent.
Biography:
Varvara Guljajeva is an artist and a researcher and currently a PhD candidate at the Estonian Academy of Arts. She has been invited as a visiting researcher to IAMAS (Ogaki, Japan), LJMU (Liverpool, UK), and Interface Cultures (Linz University of Art and Design).
Varvara unites with Mar Canet in the form of the artist duo Varvara & Mar. The duo has been exhibiting in international shows since 2009. Their works have been shown at MAD in New York, FACT in Liverpool, Santa Monica in Barcelona, Barbican in London, Onassis Cultural Centre in Athens, Ars Electronica museum in Linz, ZKM in Karlsruhe, etc. The duo’s work is frequently inspired by the digital age and in their practice they confront social change and the impact of the technological era.
Taavet Jansen
NEUROTHEATER as a interdisciplinary collaboration form: an example from the New Stage of Alexandrinsky Theatre
In my short presentation, I will talk about the TLU summer school “Experimental Interaction Design: physiological computing technologies for performative arts ” held in ITMO University in St.Petersburg: how artists and scientists met in this one-week laboratory; what were the main concepts we discussed; how was the whole process held; and what are the final thoughts.
Biography:
Taavet Jansen has been working in the field of performance art for more than 20 years—as a dancer, choreographer, director, sound-designer, light-designer, video-designer, interactivity programmer etc. Studied Art and Science at Den Haag Art Academy and Dance and New Technologies at the Amsterdam Theatre school. Taavet is one of the founders of the technological art network MIMproject, and head of the performing arts department at TÜ Viljandi Cultural Academy.
http://taavetjansen.mimproject.org/
Marianne Jõgi
Spatio-temporal self-similarity in the creative process
Neurological evidence suggests a specialisation of the cerebral hemispheres when processing temporal and spatial information from the sound field. Further studies have revealed optimal geometric principles as well as digital technologies for creating sustainable sound fields. The presentation will focus on links between the concepts of physiological and cultural sustainability.
Biography:
Marianne Jõgi (b.1983 in Tallinn, Estonia) is an artist based in Tallinn. She graduated from the Georg Ots Music School where she majored in music theory. She holds an MA in sculpture and installation from the Estonian Academy of Arts. Her postgraduate research and practice involves investigations at the intersection of architectural acoustics and art, with the aim of integrating sensory environmental technologies with spatial forms. She has been exhibiting work since 2005. In 2013, Jõgi was awarded the Young Artist Award (Estonia) for her installation Inaudibles.
Jan Kaila
20 Years of Artistic Research – what has been lost and what has been found?
I will talk about the situation within Artistic Research (AR) in 2005 or so, in comparison with how it looks today. My questions are: Do arts need fundamental research (like in the sciences)? Is the PhD in the arts educating “better” artists or is it educating researchers that have a completely different context than for example MA-students? Is AR a new player in the “hierarchy of the art world ? if it is – what are the consequences?
Biography:
Jan Kaila (born 1957) studied at the Doctoral Studies Program at the Finnish Academy of Fine Arts from 1997 to 2002. The subject of his doctorate, completed in 2002, was Photographicality and Representation in Contemporary Art.
Kaila worked in the 1980s and 1990s as a teacher and lecturer in several Nordic photography schools, including the University of Art and Design Helsinki and the School of Photography at Gothenburg University. In 2001, he was elected Professor of Photography at the Estonian Academy of Arts, and, in 2004, he was appointed Professor of Artistic Research at the Finnish Academy of Fine Arts. In 2008, he was elected Vice Rector of the Academy.
Kaila was one of the founding members of the European Artistic Research Network in 2004 and in 2010 he was nominated as a member of the executive board of the Society of Artistic Research. Between 2011-2013 he was a member of ELIA´s executive board.
Kaila has worked as an evaluator of fine art educations and artistic research in Estonia, Sweden, Norway, Germany, Austria and Ireland and he has lectured about research in United States, France, Germany, Hungary and Latvia.
Since 1980, Kaila has held one-man exhibitions and participated in group shows in many Nordic and Central European countries, Russia, the United States, Japan, South Korea and China. Kaila has also worked as a curator and has published writings about visual art and photography.
Since 2014 Kaila worked as Scientific Advisor of Artistic Research at the Swedish Research Council and as a Senior Researcher at the Art University Helsinki being in charge of the by Swedish Research Council funded project Poetic Archaeology. In 2018 Kaila started working as the Dean of the Academy of Fine Arts/Art University Helsinki.
Chris Hales
From Tacit Knowledge & Collaborative Practice to Academic Knowledge & Individual Practice
This short talk will present a personal journey starting from the enthusiasm of making interactive artworks in an intuitive manner to the drudgery of a more informed and methodologic approach for doctoral purposes. The willing collaborator transforms into an individualistic academic researcher. Let’s discuss!
Creating and Running a Practice-led Doctorate in Latvia, 2009—2018
A short presentation about how a new doctoral course was developed at Liepaja University, the first practice-led arts degree in Latvia. Some conclusions will be drawn from the experiences and outcomes of creating the course and actually delivering it.
Biography:
Long-time specialist of the interactive moving image, as artist-practitioner, educator (Bachelors, Masters, Doctoral) and researcher. PhD in 2006: ‘Rethinking the Interactive Movie’. Currently working independently and as a visiting lecturer in various educational institutions. Associate Professor (Docent) at the Liepaja University ‘New Media Art’ programme and Director of Studies of its doctoral course. Exhibitions of interactive film installations date from ARTEC’95 in Japan, to ZKM’s Future Cinema (2003), the Prague Triennale of 2008, the X111 Media Forum in Moscow in 2012 and most recently the premiere of You·Who? at the Madeira Film Festival 2018.
Andi Hektor
What is a Research Paper?
What is a research paper? A research paper is an academic work that is published in an academic journal and follows a rather standardised structure, e.g. IMRAD (introduction, methods, results, and discussion). The paper has usually multiple authors with (or without) special roles. A new trend is that the data presented by a paper should follow FAIR (findability, accessibility, interoperability, and reusability) principles. But what is the content of a paper? Is it some new knowledge and data? In the talk I will point out similarities between a research paper and a story, a work of art and an arbiter of fashion.
Andi Hektor
is a Senior Researcher at the National Institute of Chemical Physics and Biophysics, Tallinn.
https://www.etis.ee/CV/Andi_Hektor/est?lang=ENG
Raul Keller
Process is a piece which documents a technological and somewhat mediaarcheological approach to a process of physically inscribing sound into material, of homebrewed vinyl/plastic scribing with the emphasis on the emerging artefacts and outcomes of the process. It begins with a research into online DIY cultures and history of lofi sound reproduction on X-ray film sheets and continues into revisiting/revamping the historical professional devices. Perhaps the process will evolve into new and alternative physical reproduction devices that are technologically set back from the current state-of-the-art by decades but are lead by a different mindset.
Bio
Since end of 90s has been engaged in a multitude of contemporary art practices, focusing on site-specific sound installation, performance, improvisation, DIY culture, video- and radiophonic art. Sonic performances and radio art with LokaalRaadio (with Katrin Essenson, Hello Upan). Member of Eesti Elekter, experimental electronics performance group (Kerikmäe, Leemets, Lond, Tikas, Tikas). Free impro noise duo Post Horn (with Hello Upan). Performed as Paul Cole with his group The Great Outdoors in burlesque americana rock genre. Founding member of MKDK, A Dynamic Collective of Music and Arts. Founder of radio art festival Radiaator (with Katrin Essenson). Member of artist collective MIMproject. Works commissioned / performances in Great Britain, France, Germany, The Netherlands, Iceland, Brazil, India, Poland, Russia and The Baltic States. Since 2014 professor and head of New Media chair in the Estonian Academy of Arts. Residing in Tallinn, Estonia.
http://raul.kuuratsanikud.ee/index.php/en/biocv-eng
Arne Maasik
On Geometry in the Architecture of Louis Kahn
The Louis Kahn project: Louis Kahn (1901-1974) is considered one of the greatest architects of the 20th century, and he has a direct link with Estonia—Kahn lived in Kuressaare until he was five years old and visited his home island again in 1928, when he was a young architect. The Louis Kahn Estonia Foundation, the art historian Heie Treier and Estonia’s most recognized architectural photographer Arne Maasik have looked at the striking similarities between the architecture of Louis Kahn and the sacral architecture found on Saaremaa. In his lecture Arne Maasik will give a brief overview of his journeys to Kahn-related locations in the US, India, Bangladesh and Saaremaa, Estonia.
Arne Maasik is a photographer and artist with an education in architecture. He has participated in long-term projects involving large-scale research and had numerous solo exhibitions at home and abroad. Arne Maasik’s work is characterised by an awareness of metaphysical undercurrents and muted poetry. As an artist his focus is on metropolises as well as their outskirts, old houses and scrublands, as well as other peripheral living environments that become animated and alive in his photos.
He has worked as a faculty member in the Photography Department of the Tartu Higher Art School, Estonian Academy of Arts. Contributed to many architectural and art publications in Estonia and abroad. Member of the Estonian Artists’ Association since 2003.
Tuula Närhinen
Phenomenotechnique in Visual Art Practice
My projects examine the inherent visual potential in naturally occurring events. I have constructed visual interfaces that enable us to move beyond the explicit and to grasp the unfurling of a world invisible to the naked eye. Empiric and experimental methods are at the core of the inquiry. This talk focuses on tracings and (photo)graphic recordings. I consider the role of various inscribing apparatuses in a process that allows natural phenomena to manifest themselves. The installations showcase the DIY instruments implicated, encouraging the spectator to participate in the re-presentation of an event.
Biography:
Tuula Närhinen is a visual artist based in Helsinki, Finland.
Her works explore the pictorial agency of natural phenomena such as water and wind. Re-adapting instruments derived from natural sciences, Närhinen has developed methods for letting trees trace the shape of wind on their branches and found techniques that the enable the waves of the sea to inscribe themselves on paper.
Närhinen holds a Doctorate of Fine Arts (DFA) from the University of the Arts Helsinki. She is a graduate of the Finnish Academy of Fine Arts (MFA), and the Helsinki University of Technology (M.Sc. in Architecture). Find her at www.tuulanarhinen.net
Piibe Piirma
Inter- and Transdisciplinarity in Artistic Research
Interdisciplinarity as the combining of academic disciplines into a single study is a concept increasingly used in all instances where the finding of something new and unique and the crossing of boundaries between fields is considered important. This concept in more general terms is linked to the 20th century but its historical roots lie within Greek philosophy. In short, the interdisciplinary approach is related to the aim to create more perfect knowledge because in order to resolve important problems, staying within specific disciplines in a traditional or conventional manner is not enough.
Collaboration between art and science permits highly specific characteristics to be discovered that do not fit into the boundaries of conventional scientific research or the practice-based study of an artist. In what way is it important and novel both in terms of the focus on disciplines as well as the greater inclusion than before – in terms of collaboration in which the lines of thought of the scientific, societal, political, ethical and aesthetic world views are in harmony? The diversity of lines of thought and potential solutions, as well as the fact that engaging in science can involve many intuitive ideas and – until now – uninvolved groups of society leads us to analyse the term of transdisciplinarity.
Biography:
Piibe Piirma is media artist, curator and teacher based in Tallinn, Estonia. She has worked as designer and visual artist since 2002 and curated several new media art exhibitions since 2006. Piibe’s latest activities were related with PhD studies at Estonian Academy of Arts since 2009. She graduated on 2015, the title of her thesis was “Hybrid Practice. Art and Science in Artistic Research”. In her research she were focusing on her artistic experience by collaborating different Science labs in Estonia – TUT Centre of Biorobotics, TUT Department of Chemistry, UT Institute of Molecular and Cell Biology, TUT Institute of Marine Systems etc.
Taavi Talve
Paldiski Project, Case Study
The Paldiski Project. This case study focuses on communal art practices in Paldiski by the artist group Johnson and Johnson in terms of artistic collaboration and collectively elaborated meaning.
Biography:
Born 1970, Tartu. Earned MA from the Estonian Academy of Arts (2008). Member of the artist collective Johnson and Johnson (2005). Docent of Sculpture and Installation department at the Estonian Academy of Arts.
Pia Tikka
Neurocinematics & Art-Science Collaboration
I will discuss the first hand knowledge gained from several collaborative projects in which I have worked as a consulting film expert, and my own neurocinematic projects in which I have functioned as the principal investigator. I will highlight the diversity of issues one faces in collaborations between artists and scientists. Especially interesting will be to reflect conceptual, technological and methodological differences between arts and sciences. The discussion will range from conceptual to technological issues, however the focus will be on challenges such as finding shared language, working methods, best division of labor and responsibilities and authorship.
Biography:
Dr. Pia Tikka is a professional filmmaker and EU Mobilitas Research Professor at the Baltic Film, Media, Arts and Communication School (BFM) and MEDIT Centre of Excellence, Tallinn University. She has directed fiction films “Daughters of Yemanjá”, “Sand Bride”, and the Möbius Prix Nordic winning cinematic installation “Obsession”. As the leader of the research groups NeuroCine and Enactive Cinema, she has published on the topics of neurocinematics and enactive media, and written the book “Enactive Cinema: Simulatorium Eisensteinense.” She has been honoured with titles of Adjunct Professor of New Narrative Media at the University of Lapland and Fellow of Life in the Society for Cognitive Studies of the Moving Image. Currently her ENACTIVE VIRTUALITY research group studies the viewer’s experience of co-presence emerging in facial encounters with an enactive screen character. http://enactivevirtuality.tlu.ee
Julijonas Urbonas
Gravitational Aesthetics and Exodisciplinary Art
For almost a decade, working between amusement park design, space medicine, choreography, sci-fi and robotics, the artist Julijonas Urbonas has been developing various creative tools of negotiating gravity: from a killer rollercoaster to an artificial planet made up entirely of human bodies. In these projects he coins the term gravitational aesthetics, an artistic approach exploiting the means of manipulating gravity to create experiences that push the body and imagination to its extremes. In this lecture he will introduce his creative methodology by surveying a selection of his projects.
Biography:
Julijonas Urbonas is an artist, designer, researcher and engineer. He is Vice-Rector for Art at the Vilnius Academy of Arts in Vilnius, and a PhD student in Design Interactions at the Royal College of Art, London.
Before embarking on an artistic career, since childhood, Julijonas worked in amusement park development. In 2004, he became the head of an amusement park in Klaipeda, Lithuania, and ran it for three years. Having worked in this field — also as a designer and engineer — he became fascinated with what in his research he calls ‘gravitational aesthetics.’ This experience is unavailable elsewhere, and he became intrigued by this under-developed topic. Since then the topic has been at the core of his artistic research, intermingling such fields as critical design, speculative engineering, social sci-fi, performative architecture, choreographic heuristics, medicine, theatre and dance.
His work has been exhibited internationally and received many awards, including the Award of Distinction in Interactive Art, Prix Ars Electronica 2010. His projects can be found in private and museum collections such as the permanent collection of the Centre for Art and Media Karlsruhe (ZKM).
Raivo Kelomees
PhD (art history), artist, critic and new media researcher. Presently working as senior researcher at the Estonian Academy of Arts, Tallinn. He studied psychology, art history, and design at Tartu University and the Academy of Arts in Tallinn. He has published articles in the main Estonian cultural and art magazines and newspapers since 1985. His works include the book “Surrealism” (Kunst Publishers, 1993) and an article collection “Screen as a Membrane” (Tartu Art College proceedings, 2007), “Social Games in Art Space” (EAA, 2013). His Doctoral thesis was “Postmateriality in Art. Indeterministic Art Practices and Non-Material Art” (Dissertationes Academiae Artium Estoniae 3, 2009).
In recent years he has been participating on conferences dedicated to new media, digital humanities, theatre and visual art in São Paulo, Manizales, Plymouth, Krems, Riga, Shanghai, Göteborg, Hong Kong, Dubai and other places.
This event is organised by the Graduate School of Culture Studies and Arts, supported by the ASTRA project of the Estonian Academy of Arts – EKA LOOVKÄRG (European Union, European Regional Development Fund).
Postitas Mart Vainre — Püsilink
Konverents! “Koostööpööre kunstis: uurimisprotsess kunstipraktikas”
Reede 19 oktoober, 2018 — Laupäev 20 oktoober, 2018
Doktorikool
Konverents Koostööpööre kunstis: uurimisprotsess kunstipraktikas tegeleb loomeuurimusega laiendatud tähenduses ja koostöö küsimustega loomingulises praktikas.
Mõiste “loomeuurimus” (artistic research) on aktiivses rahvusvahelises kasutuses 2000. aastate algusest. Esimene loomeuurimuslik doktoritöö õppekaval “Kunst ja disain” kaitsti Eesti Kunstiakadeemias 2011. aastal.
“Looming” on seostatav eelteadmiseta sündiva, inspiratsioonilise ja mitteratsionaalse praktikaga ning “uurimus” on mõistetav kui “teaduslik tegevus” — ratsionaalne ja mõistuslik, põhineb eelneval info ja teadmistel. Kuid loomeuurimuse termini ja praktika levik iseloomustab muutunud olukorda.
Kollektiivne uurimispraktika on teaduses tavapärane, kollektiivsus on omane ka teostusprotsessidele disainis. Kaasaegses kujutavas kunstis on kollektiivsus haruldasem, kuid siin on näha põhimõttelisi muutusi: kunstnikud loovad interdistsiplinaarsetes kollektiivides, tellivad oma projektide osi professionaalsetelt teostajatelt, kunstiteosed leiavad aset erinevate meediate, tehnoloogiate ja lokaalsuste koostöös. Varasem individualistlik, introvertne ja heroiline kunstnik on asendumas kommunikaatori ja projektijuhiga, kes on paindlik suhtluses teostajate ja kunsti vastuvõtjatega.
Konverentsi eesmärgiks on kaardistada uurimuslikku ja kollektiivset loomingut kunstis.
Kutsutud esinejad: Malin Arnell, Varvara Guljajeva, Chris Hales, Andi Hektor, Taavet Jansen, Marianne Jõgi, Jan Kaila, Raul Keller, Arne Maasik, Tuula Närhinen, Piibe Piirma, Taavi Talve, Pia Tikka, Julijonas Urbonas ja teised.
Konverentsi korraldajad: Raivo Kelomees (EKA), Chris Hales (Liepaja Ülikool), EKA vabade kunstide teaduskond.
Registreerumine kuni 15. oktoobrini.
Konverents toimub EKA ruumis A501.
Kontakt: raivo.kelomees@artun.ee
Conference programme
Estonian Academy of Arts, Põhja pst 7, room A501
Day 1
Friday, October 19, 2018
9.30 Coffee
10.00 Welcome words by prof. Epp Lankots, Vice Rector for Research, Estonian Academy of Arts
10.10 Introduction and moderation: Raivo Kelomees (EAA)
10.25 Pia Tikka. Neurocinematics & Art-Science Collaboration
10.50 Piibe Piirma. Inter- and Transdisciplinarity in Artistic Research
11.15 Chris Hales. From Tacit Knowledge to Academic Knowledge
11.35 Arne Maasik. On Geometry in Architecture of Louis Kahn
12.00 Lunch break
13.00 Taavi Talve. Paldiski Project, Case Study
13.30 Raul Keller. Process
14.00 Andi Hektor. What is a Research Paper?
14.30 BREAK (a tour in the building)
15.30 Tuula Närhinen. Phenomenotechnics in Visual Art Practice – a hands-on approach
16.00 Julijonas Urbonas. Gravitational Aesthetics and Exodisciplinary Art
16.30 Questions and discussion
Day 2
Saturday, October 20, 2018
Estonian Academy of Arts, Põhja pst 7, room A501
10.00 Morning coffee
10.20 Summary of the previous day and moderation: Chris Hales
10.30 Varvara Guljajeva. From Interaction to Postparticipation: The Disappearing Role of the Active Participant
11.00 Malin Arnell. The Word for Research is Action – engaging a live dissertation.
11.30 Jan Kaila. 20 Years of Artistic Research – what has been lost and what has been found? (45 min)
12.20 Questions and discussion
12.30 Lunch break (45 min)
13.15 Chris Hales. Creating and Running a Practice-led Doctorate in Latvia, 2009 – 2018
13.35 Marianne Jõgi. Spatio-temporal self-similarity in the creative process
14.00 Taavet Jansen. NEUROTHEATER as an interdisciplinary collaboration form: example from New Stage of Alexandrinsky Theatre
14.30 Break (15 min)
14.45 Doctoral students presentations ca 15 min each
14.45 Tze Yeung Ho
15.00 Rait Rosin
15.15 Hirohisa Koike
15.30 Conclusion
18.00 and later. Options in the city:
- NU Performance Festival: avaõhtu / opening night
Koht/location: Sveta Baar (Telliskivi 62, Tallinn)
- VI Artishok Biennial
From 20 to 28 October, the passenger terminal of the Baltic railway station in Tallinn will host the VI Artishok Biennial (VI AB) which will use the format of a fashion exhibition. Starts 18.00
/Summary of speakers’ biographies and presentations see below/
Short bios:
Malin Arnell (SE) PhD, interdisciplinary artist, researcher and educator is a frequent collaborator with other artists, activists and writers. http://www.malinarnell.org/
Varvara Guljajeva (EE) MA, is an artist and a researcher. Varvara is a PhD candidate at Estonian Academy of Arts. http://www.varvarag.info/
Taavet Jansen (EE) has been working on the field of performing art for more than 20 year – as a dancer, choreographer, director, sound-designer, light-designer, video-designer, interactivity programmer etc. http://taavetjansen.mimproject.org/
Marianne Jõgi (EE) MA, is an artist based in Tallinn. She graduated from the Georg Ots Music School where she majored in music theory. She holds an MA in sculpture and installation from the Estonian Academy of Arts. http://www.mariannejogi.com/
Jan Kaila (FI) DFA, Dean of the Academy of Fine Arts/Art University Helsinki. He was one of the founding members of the European Artistic Research Network in 2004 and in 2010 he was nominated as a member of the executive board of the Society of Artistic Research. Between 2011-2013 he was a member of ELIA´s executive board. https://www.uniarts.fi/en/jan-kaila-0
Chris Hales (GB) PhD, is a long-time specialist of the interactive moving image, as artist-practitioner, educator (Bachelors, Masters, Doctoral) and researcher. http://smartlab-ie.com/faculty/dr-chris-hales/
Andi Hektor (EE) PhD, is a Senior Researcher at the National Institute of Chemical Physics and Biophysics, Tallinn. https://www.etis.ee/CV/Andi_Hektor/est?lang=ENG
Raul Keller (EE) MA, is a professor and head of the New Media chair at the Estonian Academy of Arts. Based in Tallinn. http://raul.kuuratsanikud.ee/index.php/en/
Arne Maasik (EE) is a photographer and artist with an education in architecture. http://arnemaasik.org/
Tuula Närhinen (FI) PhD, is a visual artist based in Helsinki, Finland. http://www.tuulanarhinen.net/
Piibe Piirma (EE) PhD, is an artist and researcher based in Tallinn. http://www.piibepiirma.com/
Taavi Talve (EE) earned MA from the Estonian Academy of Arts (2008). Member of the artist collective Johnson and Johnson (2005). Docent of Sculpture and Installation department at the Estonian Academy of Arts.
Pia Tikka (FI) PhD, is a professional filmmaker and EU Mobilitas Research Professor at the Baltic Film, Media, Arts and Communication School (BFM) and MEDIT Centre of Excellence, Tallinn University. http://enactivevirtuality.tlu.ee
Julijonas Urbonas (LT) is an artist, designer, researcher, engineer, Vice-Rector for Art at the Vilnius Academy of Arts in Vilnius, and PhD student in Design Interactions at the Royal College of Art, London. http://julijonasurbonas.lt/
Raivo Kelomees (EE) PhD, is an artist, critic and new media researcher, holding a Senior Researcher position at the Estonian Academy of Arts. Lives and works in Tallinn. www.kelomees.net
Summary of speakers’ biographies and presentations:
Malin Arnell
The Word for Research is Action – engaging a live dissertation
Avhandling / Av_handling (Dissertation / Through_action)* was articulated / manifested over the course of 72 hours, situating itself within and proceeding from KTH R1 Experimental Performance Space, a decommissioned nuclear reactor hall 25 meters below ground on the campus of Royal Institute of Technology (KTH), May 27-29, 2016. The opponents and the examining committee were invited to become part for 42 hours; so was the audience—as agentially intra-acting components.
http://dissertationthroughaction.space/
* The English word dissertation translated to Swedish makes “avhandling.” When you break the word into its composite parts (“av” and “handling”), “av” can be translated to of, by, for, from, with. I chose to translate it to “through,” because I have pursued my research through the actions of my practice. “Handling” can be translated to action, document, or deed. I chose “action” to emphasize the continually unfurling and shifting nature of this research, and to echo Hannah Arendt, who maintained that actions have no end.
Biography:
Interdisciplinary artist, researcher and educator Malin Arnell, PhD, is a frequent collaborator with other artists, activists and writers. Through these collaborative practices, Malin works with key issues for participating in (social) domains by emphasising the porous intimacy between environments and actions. In doing so, Malin focuses on the experiences around/in/through/of the body (my body, their body, our body) by incorporating the affectivity between relationalities, territories, and power.
Longer bio: http://www.malinarnell.org/bio/bio/
Varvara Guljajeva
From Interaction to Postparticipation: The Disappearing Role of the Active Participant
The presentation introduces my practice-based dissertation which analyses and contextualises passive audience interaction, in the form of post-participation. The research explores the paradoxical situation in interactive art, where the artworks that demonstrate no direct audience interaction are addressed as interactive ones. It is argued that the concept of post-participation helps to address the shift from an active to a passive spectator in the complex age of dataveillance—an age where humans are continuously tracked, traced, monitored, and surveilled without their consent.
Biography:
Varvara Guljajeva is an artist and a researcher and currently a PhD candidate at the Estonian Academy of Arts. She has been invited as a visiting researcher to IAMAS (Ogaki, Japan), LJMU (Liverpool, UK), and Interface Cultures (Linz University of Art and Design).
Varvara unites with Mar Canet in the form of the artist duo Varvara & Mar. The duo has been exhibiting in international shows since 2009. Their works have been shown at MAD in New York, FACT in Liverpool, Santa Monica in Barcelona, Barbican in London, Onassis Cultural Centre in Athens, Ars Electronica museum in Linz, ZKM in Karlsruhe, etc. The duo’s work is frequently inspired by the digital age and in their practice they confront social change and the impact of the technological era.
Taavet Jansen
NEUROTHEATER as a interdisciplinary collaboration form: an example from the New Stage of Alexandrinsky Theatre
In my short presentation, I will talk about the TLU summer school “Experimental Interaction Design: physiological computing technologies for performative arts ” held in ITMO University in St.Petersburg: how artists and scientists met in this one-week laboratory; what were the main concepts we discussed; how was the whole process held; and what are the final thoughts.
Biography:
Taavet Jansen has been working in the field of performance art for more than 20 years—as a dancer, choreographer, director, sound-designer, light-designer, video-designer, interactivity programmer etc. Studied Art and Science at Den Haag Art Academy and Dance and New Technologies at the Amsterdam Theatre school. Taavet is one of the founders of the technological art network MIMproject, and head of the performing arts department at TÜ Viljandi Cultural Academy.
http://taavetjansen.mimproject.org/
Marianne Jõgi
Spatio-temporal self-similarity in the creative process
Neurological evidence suggests a specialisation of the cerebral hemispheres when processing temporal and spatial information from the sound field. Further studies have revealed optimal geometric principles as well as digital technologies for creating sustainable sound fields. The presentation will focus on links between the concepts of physiological and cultural sustainability.
Biography:
Marianne Jõgi (b.1983 in Tallinn, Estonia) is an artist based in Tallinn. She graduated from the Georg Ots Music School where she majored in music theory. She holds an MA in sculpture and installation from the Estonian Academy of Arts. Her postgraduate research and practice involves investigations at the intersection of architectural acoustics and art, with the aim of integrating sensory environmental technologies with spatial forms. She has been exhibiting work since 2005. In 2013, Jõgi was awarded the Young Artist Award (Estonia) for her installation Inaudibles.
Jan Kaila
20 Years of Artistic Research – what has been lost and what has been found?
I will talk about the situation within Artistic Research (AR) in 2005 or so, in comparison with how it looks today. My questions are: Do arts need fundamental research (like in the sciences)? Is the PhD in the arts educating “better” artists or is it educating researchers that have a completely different context than for example MA-students? Is AR a new player in the “hierarchy of the art world ? if it is – what are the consequences?
Biography:
Jan Kaila (born 1957) studied at the Doctoral Studies Program at the Finnish Academy of Fine Arts from 1997 to 2002. The subject of his doctorate, completed in 2002, was Photographicality and Representation in Contemporary Art.
Kaila worked in the 1980s and 1990s as a teacher and lecturer in several Nordic photography schools, including the University of Art and Design Helsinki and the School of Photography at Gothenburg University. In 2001, he was elected Professor of Photography at the Estonian Academy of Arts, and, in 2004, he was appointed Professor of Artistic Research at the Finnish Academy of Fine Arts. In 2008, he was elected Vice Rector of the Academy.
Kaila was one of the founding members of the European Artistic Research Network in 2004 and in 2010 he was nominated as a member of the executive board of the Society of Artistic Research. Between 2011-2013 he was a member of ELIA´s executive board.
Kaila has worked as an evaluator of fine art educations and artistic research in Estonia, Sweden, Norway, Germany, Austria and Ireland and he has lectured about research in United States, France, Germany, Hungary and Latvia.
Since 1980, Kaila has held one-man exhibitions and participated in group shows in many Nordic and Central European countries, Russia, the United States, Japan, South Korea and China. Kaila has also worked as a curator and has published writings about visual art and photography.
Since 2014 Kaila worked as Scientific Advisor of Artistic Research at the Swedish Research Council and as a Senior Researcher at the Art University Helsinki being in charge of the by Swedish Research Council funded project Poetic Archaeology. In 2018 Kaila started working as the Dean of the Academy of Fine Arts/Art University Helsinki.
Chris Hales
From Tacit Knowledge & Collaborative Practice to Academic Knowledge & Individual Practice
This short talk will present a personal journey starting from the enthusiasm of making interactive artworks in an intuitive manner to the drudgery of a more informed and methodologic approach for doctoral purposes. The willing collaborator transforms into an individualistic academic researcher. Let’s discuss!
Creating and Running a Practice-led Doctorate in Latvia, 2009—2018
A short presentation about how a new doctoral course was developed at Liepaja University, the first practice-led arts degree in Latvia. Some conclusions will be drawn from the experiences and outcomes of creating the course and actually delivering it.
Biography:
Long-time specialist of the interactive moving image, as artist-practitioner, educator (Bachelors, Masters, Doctoral) and researcher. PhD in 2006: ‘Rethinking the Interactive Movie’. Currently working independently and as a visiting lecturer in various educational institutions. Associate Professor (Docent) at the Liepaja University ‘New Media Art’ programme and Director of Studies of its doctoral course. Exhibitions of interactive film installations date from ARTEC’95 in Japan, to ZKM’s Future Cinema (2003), the Prague Triennale of 2008, the X111 Media Forum in Moscow in 2012 and most recently the premiere of You·Who? at the Madeira Film Festival 2018.
Andi Hektor
What is a Research Paper?
What is a research paper? A research paper is an academic work that is published in an academic journal and follows a rather standardised structure, e.g. IMRAD (introduction, methods, results, and discussion). The paper has usually multiple authors with (or without) special roles. A new trend is that the data presented by a paper should follow FAIR (findability, accessibility, interoperability, and reusability) principles. But what is the content of a paper? Is it some new knowledge and data? In the talk I will point out similarities between a research paper and a story, a work of art and an arbiter of fashion.
Andi Hektor
is a Senior Researcher at the National Institute of Chemical Physics and Biophysics, Tallinn.
https://www.etis.ee/CV/Andi_Hektor/est?lang=ENG
Raul Keller
Process is a piece which documents a technological and somewhat mediaarcheological approach to a process of physically inscribing sound into material, of homebrewed vinyl/plastic scribing with the emphasis on the emerging artefacts and outcomes of the process. It begins with a research into online DIY cultures and history of lofi sound reproduction on X-ray film sheets and continues into revisiting/revamping the historical professional devices. Perhaps the process will evolve into new and alternative physical reproduction devices that are technologically set back from the current state-of-the-art by decades but are lead by a different mindset.
Bio
Since end of 90s has been engaged in a multitude of contemporary art practices, focusing on site-specific sound installation, performance, improvisation, DIY culture, video- and radiophonic art. Sonic performances and radio art with LokaalRaadio (with Katrin Essenson, Hello Upan). Member of Eesti Elekter, experimental electronics performance group (Kerikmäe, Leemets, Lond, Tikas, Tikas). Free impro noise duo Post Horn (with Hello Upan). Performed as Paul Cole with his group The Great Outdoors in burlesque americana rock genre. Founding member of MKDK, A Dynamic Collective of Music and Arts. Founder of radio art festival Radiaator (with Katrin Essenson). Member of artist collective MIMproject. Works commissioned / performances in Great Britain, France, Germany, The Netherlands, Iceland, Brazil, India, Poland, Russia and The Baltic States. Since 2014 professor and head of New Media chair in the Estonian Academy of Arts. Residing in Tallinn, Estonia.
http://raul.kuuratsanikud.ee/index.php/en/biocv-eng
Arne Maasik
On Geometry in the Architecture of Louis Kahn
The Louis Kahn project: Louis Kahn (1901-1974) is considered one of the greatest architects of the 20th century, and he has a direct link with Estonia—Kahn lived in Kuressaare until he was five years old and visited his home island again in 1928, when he was a young architect. The Louis Kahn Estonia Foundation, the art historian Heie Treier and Estonia’s most recognized architectural photographer Arne Maasik have looked at the striking similarities between the architecture of Louis Kahn and the sacral architecture found on Saaremaa. In his lecture Arne Maasik will give a brief overview of his journeys to Kahn-related locations in the US, India, Bangladesh and Saaremaa, Estonia.
Arne Maasik is a photographer and artist with an education in architecture. He has participated in long-term projects involving large-scale research and had numerous solo exhibitions at home and abroad. Arne Maasik’s work is characterised by an awareness of metaphysical undercurrents and muted poetry. As an artist his focus is on metropolises as well as their outskirts, old houses and scrublands, as well as other peripheral living environments that become animated and alive in his photos.
He has worked as a faculty member in the Photography Department of the Tartu Higher Art School, Estonian Academy of Arts. Contributed to many architectural and art publications in Estonia and abroad. Member of the Estonian Artists’ Association since 2003.
Tuula Närhinen
Phenomenotechnique in Visual Art Practice
My projects examine the inherent visual potential in naturally occurring events. I have constructed visual interfaces that enable us to move beyond the explicit and to grasp the unfurling of a world invisible to the naked eye. Empiric and experimental methods are at the core of the inquiry. This talk focuses on tracings and (photo)graphic recordings. I consider the role of various inscribing apparatuses in a process that allows natural phenomena to manifest themselves. The installations showcase the DIY instruments implicated, encouraging the spectator to participate in the re-presentation of an event.
Biography:
Tuula Närhinen is a visual artist based in Helsinki, Finland.
Her works explore the pictorial agency of natural phenomena such as water and wind. Re-adapting instruments derived from natural sciences, Närhinen has developed methods for letting trees trace the shape of wind on their branches and found techniques that the enable the waves of the sea to inscribe themselves on paper.
Närhinen holds a Doctorate of Fine Arts (DFA) from the University of the Arts Helsinki. She is a graduate of the Finnish Academy of Fine Arts (MFA), and the Helsinki University of Technology (M.Sc. in Architecture). Find her at www.tuulanarhinen.net
Piibe Piirma
Inter- and Transdisciplinarity in Artistic Research
Interdisciplinarity as the combining of academic disciplines into a single study is a concept increasingly used in all instances where the finding of something new and unique and the crossing of boundaries between fields is considered important. This concept in more general terms is linked to the 20th century but its historical roots lie within Greek philosophy. In short, the interdisciplinary approach is related to the aim to create more perfect knowledge because in order to resolve important problems, staying within specific disciplines in a traditional or conventional manner is not enough.
Collaboration between art and science permits highly specific characteristics to be discovered that do not fit into the boundaries of conventional scientific research or the practice-based study of an artist. In what way is it important and novel both in terms of the focus on disciplines as well as the greater inclusion than before – in terms of collaboration in which the lines of thought of the scientific, societal, political, ethical and aesthetic world views are in harmony? The diversity of lines of thought and potential solutions, as well as the fact that engaging in science can involve many intuitive ideas and – until now – uninvolved groups of society leads us to analyse the term of transdisciplinarity.
Biography:
Piibe Piirma is media artist, curator and teacher based in Tallinn, Estonia. She has worked as designer and visual artist since 2002 and curated several new media art exhibitions since 2006. Piibe’s latest activities were related with PhD studies at Estonian Academy of Arts since 2009. She graduated on 2015, the title of her thesis was “Hybrid Practice. Art and Science in Artistic Research”. In her research she were focusing on her artistic experience by collaborating different Science labs in Estonia – TUT Centre of Biorobotics, TUT Department of Chemistry, UT Institute of Molecular and Cell Biology, TUT Institute of Marine Systems etc.
Taavi Talve
Paldiski Project, Case Study
The Paldiski Project. This case study focuses on communal art practices in Paldiski by the artist group Johnson and Johnson in terms of artistic collaboration and collectively elaborated meaning.
Biography:
Born 1970, Tartu. Earned MA from the Estonian Academy of Arts (2008). Member of the artist collective Johnson and Johnson (2005). Docent of Sculpture and Installation department at the Estonian Academy of Arts.
Pia Tikka
Neurocinematics & Art-Science Collaboration
I will discuss the first hand knowledge gained from several collaborative projects in which I have worked as a consulting film expert, and my own neurocinematic projects in which I have functioned as the principal investigator. I will highlight the diversity of issues one faces in collaborations between artists and scientists. Especially interesting will be to reflect conceptual, technological and methodological differences between arts and sciences. The discussion will range from conceptual to technological issues, however the focus will be on challenges such as finding shared language, working methods, best division of labor and responsibilities and authorship.
Biography:
Dr. Pia Tikka is a professional filmmaker and EU Mobilitas Research Professor at the Baltic Film, Media, Arts and Communication School (BFM) and MEDIT Centre of Excellence, Tallinn University. She has directed fiction films “Daughters of Yemanjá”, “Sand Bride”, and the Möbius Prix Nordic winning cinematic installation “Obsession”. As the leader of the research groups NeuroCine and Enactive Cinema, she has published on the topics of neurocinematics and enactive media, and written the book “Enactive Cinema: Simulatorium Eisensteinense.” She has been honoured with titles of Adjunct Professor of New Narrative Media at the University of Lapland and Fellow of Life in the Society for Cognitive Studies of the Moving Image. Currently her ENACTIVE VIRTUALITY research group studies the viewer’s experience of co-presence emerging in facial encounters with an enactive screen character. http://enactivevirtuality.tlu.ee
Julijonas Urbonas
Gravitational Aesthetics and Exodisciplinary Art
For almost a decade, working between amusement park design, space medicine, choreography, sci-fi and robotics, the artist Julijonas Urbonas has been developing various creative tools of negotiating gravity: from a killer rollercoaster to an artificial planet made up entirely of human bodies. In these projects he coins the term gravitational aesthetics, an artistic approach exploiting the means of manipulating gravity to create experiences that push the body and imagination to its extremes. In this lecture he will introduce his creative methodology by surveying a selection of his projects.
Biography:
Julijonas Urbonas is an artist, designer, researcher and engineer. He is Vice-Rector for Art at the Vilnius Academy of Arts in Vilnius, and a PhD student in Design Interactions at the Royal College of Art, London.
Before embarking on an artistic career, since childhood, Julijonas worked in amusement park development. In 2004, he became the head of an amusement park in Klaipeda, Lithuania, and ran it for three years. Having worked in this field — also as a designer and engineer — he became fascinated with what in his research he calls ‘gravitational aesthetics.’ This experience is unavailable elsewhere, and he became intrigued by this under-developed topic. Since then the topic has been at the core of his artistic research, intermingling such fields as critical design, speculative engineering, social sci-fi, performative architecture, choreographic heuristics, medicine, theatre and dance.
His work has been exhibited internationally and received many awards, including the Award of Distinction in Interactive Art, Prix Ars Electronica 2010. His projects can be found in private and museum collections such as the permanent collection of the Centre for Art and Media Karlsruhe (ZKM).
Raivo Kelomees
PhD (art history), artist, critic and new media researcher. Presently working as senior researcher at the Estonian Academy of Arts, Tallinn. He studied psychology, art history, and design at Tartu University and the Academy of Arts in Tallinn. He has published articles in the main Estonian cultural and art magazines and newspapers since 1985. His works include the book “Surrealism” (Kunst Publishers, 1993) and an article collection “Screen as a Membrane” (Tartu Art College proceedings, 2007), “Social Games in Art Space” (EAA, 2013). His Doctoral thesis was “Postmateriality in Art. Indeterministic Art Practices and Non-Material Art” (Dissertationes Academiae Artium Estoniae 3, 2009).
In recent years he has been participating on conferences dedicated to new media, digital humanities, theatre and visual art in São Paulo, Manizales, Plymouth, Krems, Riga, Shanghai, Göteborg, Hong Kong, Dubai and other places.
This event is organised by the Graduate School of Culture Studies and Arts, supported by the ASTRA project of the Estonian Academy of Arts – EKA LOOVKÄRG (European Union, European Regional Development Fund).
Postitas Mart Vainre — Püsilink
15.10.2018 — 19.10.2018
Workshop: Smart information systems for cultural heritage
Disainiteaduskond
Date and time: October: 15-19, at 9.00 – 15.45
Venue: Estonian Academy of Arts, Põhja pst 7, Tallinn, room D306 (15.-17.10), D412 (18.-19.10)
Theme
The theme of the workshop focuses on the informative systems and applications developed for documentation, management and enhancement of Cultural Heritage, including an overview on advanced methods and technologies for 3D surveying and modelling of architecture and works of art.
The lectures include an overview on tools for heritage cataloguing and dissemination through information systems, with some of the latest implementation by the scientific community. The participants will learn the basics in 3D surveying with photogrammetry, data acquisition with digital cameras, models processing and practice for the construction of a Cultural Heritage 3D digital model. Some practical exercises will be arranged to complement theoretical lectures.
Lectures will be delivered by Ph.D. Arch. Fabrizio I. Apollonio, Full Professor at the Department of Architecture University of Bologna, and Ph.D. Arch. Silvia Bertacchi, Adjunct Professor at University of Bologna.
Registration
The final registration deadline is October 11 (max 20 participants).
Students participating will have to bring along:
Material:
• Digital camera (Reflex)
• PC/Laptop (high performances)
Software:
• Agisoft PhotoScan Professional Edition (30-day trial at www.agisoft.ru)
Contact:
CULTHERIS2018@gmail.com
This event is organised by the Graduate School of Culture Studies and Arts, supported by the ASTRA project of the Estonian Academy of Arts – EKA LOOVKÄRG (European Union, European Regional Development Fund).
Postitas Elika Kiilo — Püsilink
Workshop: Smart information systems for cultural heritage
Esmaspäev 15 oktoober, 2018 — Reede 19 oktoober, 2018
Disainiteaduskond
Date and time: October: 15-19, at 9.00 – 15.45
Venue: Estonian Academy of Arts, Põhja pst 7, Tallinn, room D306 (15.-17.10), D412 (18.-19.10)
Theme
The theme of the workshop focuses on the informative systems and applications developed for documentation, management and enhancement of Cultural Heritage, including an overview on advanced methods and technologies for 3D surveying and modelling of architecture and works of art.
The lectures include an overview on tools for heritage cataloguing and dissemination through information systems, with some of the latest implementation by the scientific community. The participants will learn the basics in 3D surveying with photogrammetry, data acquisition with digital cameras, models processing and practice for the construction of a Cultural Heritage 3D digital model. Some practical exercises will be arranged to complement theoretical lectures.
Lectures will be delivered by Ph.D. Arch. Fabrizio I. Apollonio, Full Professor at the Department of Architecture University of Bologna, and Ph.D. Arch. Silvia Bertacchi, Adjunct Professor at University of Bologna.
Registration
The final registration deadline is October 11 (max 20 participants).
Students participating will have to bring along:
Material:
• Digital camera (Reflex)
• PC/Laptop (high performances)
Software:
• Agisoft PhotoScan Professional Edition (30-day trial at www.agisoft.ru)
Contact:
CULTHERIS2018@gmail.com
This event is organised by the Graduate School of Culture Studies and Arts, supported by the ASTRA project of the Estonian Academy of Arts – EKA LOOVKÄRG (European Union, European Regional Development Fund).
Postitas Elika Kiilo — Püsilink
01.12.2016
Tiina Tuuliku doktoritöö loomingulise osa eelretsenseerimine
Doktorikool
| Neljapäeval, 1. detsembril 2016. a kell 18:00 toimub EKA Muinsuskaitse ja konserveerimise osakonna raamatukogus (Suur-Kloostri 11, II korrus) muinsuskaitse ja konserveerimise eriala doktorandi Tiina Tuuliku doktoritöö loomingulise töö „Tallinna Metsakalmistu kolumbaarium“ eelretsenseerimine.
Doktoritöö juhendajad on dr Anneli Randla ja dr Marju Kõivupuu. Loomingulise töö eelretsensendid on prof Ülle Grišakov ja dr Kristiina Hellstöm. —————————— Tallinna Metsakalmistu kolumbaarium 1990. aastate lõpus laiemalt levima hakanud tuhastamismatus tõi kaasa muutusi nii matusekultuuris kui ka kalmistute välisilmes. Eesti esimene krematoorium avati 1993.aastal Tallinnas Pärnamäe kalmistu kabelis, nüüd on seda matuseteenust pakkuvad asutused Tartus, Jõhvis,Viljandis jm. Viimase paarikümne aasta jooksul on tunduvalt suurenenud urnimatuste osakaal, ligi pooled lahkunutest tuhastatakse. Olemasolevate kalmistute struktuur on hakanud seeläbi muutuma, sest urnimatuseks eraldatav matuseplats on mõõtmetelt tunduvalt väiksema kui traditsiooniline kirstumatuse tarbeks eraldatud hauaplats. Suurematel kalmistutel on hakatud rajama eraldi kvartaleid urnimatuste tarbeks. Olemasolevatel ja kavandatavatel kalmistutel tuleb leida alad urnimatuste tarvis nii, et need sobituksid olemasolevasse maastikku ja kalmistu planeeringusse. Lisaks tuhastatud säilmete matmisele tuhaurnis maasse või kolumbaariumisse on võimalik ka tuhapuistematus, nimetute kalmude ala jne. Üks sellistest lahendustest asub Tallinna Metsakalmistu urnimatuste kvartalis. 2006. aastal rajati sinna männimetsa alla madal kolumbaarium kus on 184 urnikambrit. Enamus kambreid on kasutuses. Tutvustamisele tulev loominguline töö on uue kolumbaariumi osa lahendus Tallinna Metsakalmistul, mille avamine on kavas 2017.aasta mai kuus. Tiina Tuulik (snd 1966) on lõpetanud Eesti Kunstiakadeemias arhitektuuri eriala 1991 arhitektina, õppinud 1992-1994 Taani Kuninglikus Kunstiakadeemias maastikuarhitektuuri osakonnas ja 2010. aastast õpib ta Eesti Kunstiakadeemia doktorantuuris, uurimisteemaks „Ajaloolised kalmistud 21.sajandi Eestis”. T.Tuulik on töötanud projekteeriva maastikuarhitektina 1991.aastast, kuulub Eesti Arhitektide Liitu. |
Postitas Solveig Jahnke — Püsilink
Tiina Tuuliku doktoritöö loomingulise osa eelretsenseerimine
Neljapäev 01 detsember, 2016
Doktorikool
| Neljapäeval, 1. detsembril 2016. a kell 18:00 toimub EKA Muinsuskaitse ja konserveerimise osakonna raamatukogus (Suur-Kloostri 11, II korrus) muinsuskaitse ja konserveerimise eriala doktorandi Tiina Tuuliku doktoritöö loomingulise töö „Tallinna Metsakalmistu kolumbaarium“ eelretsenseerimine.
Doktoritöö juhendajad on dr Anneli Randla ja dr Marju Kõivupuu. Loomingulise töö eelretsensendid on prof Ülle Grišakov ja dr Kristiina Hellstöm. —————————— Tallinna Metsakalmistu kolumbaarium 1990. aastate lõpus laiemalt levima hakanud tuhastamismatus tõi kaasa muutusi nii matusekultuuris kui ka kalmistute välisilmes. Eesti esimene krematoorium avati 1993.aastal Tallinnas Pärnamäe kalmistu kabelis, nüüd on seda matuseteenust pakkuvad asutused Tartus, Jõhvis,Viljandis jm. Viimase paarikümne aasta jooksul on tunduvalt suurenenud urnimatuste osakaal, ligi pooled lahkunutest tuhastatakse. Olemasolevate kalmistute struktuur on hakanud seeläbi muutuma, sest urnimatuseks eraldatav matuseplats on mõõtmetelt tunduvalt väiksema kui traditsiooniline kirstumatuse tarbeks eraldatud hauaplats. Suurematel kalmistutel on hakatud rajama eraldi kvartaleid urnimatuste tarbeks. Olemasolevatel ja kavandatavatel kalmistutel tuleb leida alad urnimatuste tarvis nii, et need sobituksid olemasolevasse maastikku ja kalmistu planeeringusse. Lisaks tuhastatud säilmete matmisele tuhaurnis maasse või kolumbaariumisse on võimalik ka tuhapuistematus, nimetute kalmude ala jne. Üks sellistest lahendustest asub Tallinna Metsakalmistu urnimatuste kvartalis. 2006. aastal rajati sinna männimetsa alla madal kolumbaarium kus on 184 urnikambrit. Enamus kambreid on kasutuses. Tutvustamisele tulev loominguline töö on uue kolumbaariumi osa lahendus Tallinna Metsakalmistul, mille avamine on kavas 2017.aasta mai kuus. Tiina Tuulik (snd 1966) on lõpetanud Eesti Kunstiakadeemias arhitektuuri eriala 1991 arhitektina, õppinud 1992-1994 Taani Kuninglikus Kunstiakadeemias maastikuarhitektuuri osakonnas ja 2010. aastast õpib ta Eesti Kunstiakadeemia doktorantuuris, uurimisteemaks „Ajaloolised kalmistud 21.sajandi Eestis”. T.Tuulik on töötanud projekteeriva maastikuarhitektina 1991.aastast, kuulub Eesti Arhitektide Liitu. |
Postitas Solveig Jahnke — Püsilink