We are pleased to announce this year’s Key Note speakers for the Sensuous Knowledge conference.
- Michéle Noach
- Florian Dombois
- Chris Wainwright
Key Note speakers for the conference 2009
Johan Verbeke
Research Dynamics
The School of Architecture Sint-Lucas is a School with a long standing tradition in designing and has traditionally a strong relationship with the School of Art. It’s main competence is the exploration of conceptual designing. Since four year the School started investing in research developments in line with this tradition.
Chris Wainwright
Fishing with John
One of three key note speakers at the Sensuous Knowledge conference.
For my keynote contribution I will propose and illustrate a series of questions, assumptions and challenges for art education in order to stimulate discourse and future agenda-setting around the notion of cross-disciplinary, thematic lines of enquiry.
Michèle Noach
Magnetic North
One of three key note speakers at the Sensuous Knowledge conference.
In 2004 I clambered onto a 100-year old Dutch schooner and sailed North, as far North as you can before reaching the Arctic ice-cap. I sailed into the ice and in some ways I never came back.
Åsa Unander-Scharin
La Robot-Cygne – choreographic reflections on dancing through a mechatronical double
In my projects the objective is to explore choreographic perspectives focusing on research both in dance, on dance and for dance. Many artistic research projects are focusing the artistic process, while my research as a choreographer take another direction, by choosing to explore and reflect the phenomena focused in the artistic process.
Ray Langenbach
Artistic Research: Edge of the edge of the wedge
The epistemological commitment of a researcher in the humanities is two fold: first to ‘flesh out’ a particular system of knowledge (or a web of knowledge systems), and second, to reflect on the ramifications of power brought into play by the knowledge system (and the research). The commitment of one engaged in Artistic Research is therefore to theorize and negotiate the deployments of power –one’s own and that of others’ in artistic practice and writing.
Maziar Raein & Theo Barth
Five Confrences, Five Dilemmas: The role of ethics in reflective practice
This inquiry is intended to highlight a number of ethical points of debate, with regards to practice within the field of art & design. Furthermore, it aims to distinguish how design practice and art practice differ in their approach to ethical issues.
Lars Hallnäs
To reach the world outside – a basic dilemma in artistic research?
There are two basic different perspectives on artistic research; on one hand the development of foundations and methodologies of art and design itself and on the other hand artistic work as research methodology. In the latter case we so to speak introduce artistic, i.e. non scientific, methods in various more or less well established areas of research, typically we use artistic ways of working to introduce forms of critical reflection.
Katrine Hjelde
How do artist reflect? Relevance and responsibility for art research and education within the academy
Critical reflection is seen as a defining aspect of artistic research. For teaching and learning reflective practice has similarly become a keyword within the art academy – at least in the UK. This presentation will first briefly survey how reflection currently manifests as part of teaching and learning in the art school, from BA to PhD.
Karen Lancel
TELE_TRUST
1. Subject
Our notion of ‘identity’ and the way we imagine ‘community’ changes through the electronically networking society. We become networking bodies, living plural locations, temporalities and social constructions at the same time. This changes the basis on which we trust each other. What do ‘presence’ and ‘trust’ mean for a networking body?
Ivar Frounberg
Reflections and META-reflections on a pilot-project at the Norwegian Academy of Music: Counting, Memory and Interrogation.
Using the pilot-project as an example, the presentation will focus on the nature of reflection. The presentation will propose different possible angles depending on the understanding of the relevance for the intended audience. Since the limited time for the presentation not all angles will be touched in depth, rather raised as proposed phenomenological viewpoints, discussing their possible content.
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Gerhard Eckel
Working in the Aesthetic Lab
The Embodied Generative Music (EGM) project combines scientific and artistic research in order to further the understanding of the relationship between bodily and musical expression. The research in EGM is driven by a scientific and an artistic motivation.
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Florian Dombois
Historic Examples of Art as Research : From 1600 to Today?
Florian Dombois is one of three key note presenters.
Art as Research, Artistic Research, Research through Art etc.: many new terms for something, that seems to be new and still in the growing. But really? Is the idea of research in the arts as new as it seems to be?
Edith Doove
Show and tell
How do reflection, relevance and responsibility play a role in my work as a curator in general and specifically in two case studies – the research project Parallellepipeda on the collaboration between scientists and artists resulting in a museum show at Museum M, Leuven in 2010, and WIJHEIZIJWEIHIJ… a landart project for the Belgian ngo Vredeseilanden also scheduled for 2010.
David Haley
A creation myth for many futures: indeterminacy and the art of becoming.
As the themes of Global Warming, Climate Change move to ‘centre stage’, what is the role for culture and the arts? How may arts practice contribute to the discourse and how is arts practice being changed by this discourse?
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Anton Rey
“Responsibility of Acting”
How do artists reflect on their art, when the art can not be reproduced? How relevant is artistic research, when there is no physically present artefact? Are actors responsible for the act?
Andrew Burton
Making Bricks
Making Bricks is a project that looks at brick production, use and reuse in India and explores this as the source of a contemporary sculptural language.
Camilla Eeg-Tverbakk
Participatory Art Practice as a Model for Processes of Local Democracy?
The presentation will question how methods used in artistic practice can be transferred and utilized in processes of local democracy and engagement executed by local political bodies.
Call for participation
KHiB invites all practioners within art and design with this Call for participation for the sixth annual conference Sensuous Knowledge. This year’s conference is titled “Reflection, Relevance, Responsibility”. Read more
Call for presentations
We would like to invite practitioners from all art disciplines, including design and the performing arts, to submit proposals for presentations at the sixth Sensuous Knowledge Conference.
Please note: the deadline for submitting presentations was 13 May 2009. Read more
Reflection, Relevance, Responsibility
As organisers we are proud to register, based on feedback from the participants, that last year’s conference was a success. The collegial presence and enthusiasm made the conference a very constructive and intensive venue for sharing experiences and ideas related to artistic research projects, and giving us mutual insight into what is going on in this field in our institutions.
This year’s conference is due for 23 – 25 September 2009 and titled “Reflection, Relevance, Responsibility”. Read more
Fifth edition published
The fifth edition in the Sensuous Knowledge series is written by the UK-based artist Duncan Higgins and describes a project he undertook on the island of Solovki in the remote parts of in North Russia. It is known as the site of Stalin’s first and largest gulag complex made famous by Solzhenitsyn’s “Gulag Archipelago”.
Read more about Duncan Higgins’ Unload.