The exposition of practice as research as experimental systems

Authors

DOI:

https://doi.org/10.5965/2175234611232019013

Abstract

Michael Schwab

Editor of the Journal for Artistic Research (JAR)

Translation Osmar Yang and Yara Guasque

Article originally published in English (SCHWAB, Michael. "The Exposition of Practice as Research as Experimental Systems", 2014, pp. 31-40) as a chapter in the book CRISPIN, Darla; GILMORE, Bob (Eds.). Artistic Experimentation in Music. An Anthology. Leuven: Leuven University Press, 2014.

Downloads

Download data is not yet available.

Author Biography

Michael Schwab, Santa Catarina State University

Michael Schwab is a London-based artist and artistic researcher who investigates postconceptual uses of technology in a variety of media including photography, drawing, printmaking, and installation art. He holds a M.A. in philosophy (Hamburg University) and a PhD in photography (Royal College of Art, London) that focuses on post-conceptual post-photography and artistic research methodology. He is the founding Editor-in-Chief of the Journal for Artistic Research (JAR), co-editor of Intellectual Birdhouse. Artistic Practice as Research. (2012), co-editor of The Exposition of Artistic Research: Publishing Art in Academia (2013), editor of the book Experimental Systems. Future Knowledge in Artistic Research (2015) as well as the editor of Transpositions. Aesthetico-Epistemic Operators in Artistic Research. (2018). His most recent book, Futures of the Contemporary. Contemporaneity, Untimeliness, and Artistic Research, co-edited with Paulo de Assis, was published in 2019. Through a focus on experimentation and the exposition of practice as research, Schwab has developed a conceptual approach that links artistic freedom with academic criticality in support of what has been called the 'practice turn in contemporary theory'.

References

Aranda, Julieta, Brian Kuan Wood, and Anton Vidokle, eds. 2010. E-Flux Journal:What is Contemporary Art? Berlin: Sternberg.

Barrett, Estelle, and Barbara Bolt, eds. 2007. Practice as Research: Approaches to Creative Arts Enquiry. London: I. B. Tauris.

Borgdorff, Henk. 2012a. “Artistic Practices and Epistemic Things.” In Borgdorff 2012b, 184–98.

Borgdorff, Henk. 2012b. The Conflict of the Faculties: Perspectives on Artistic Research and Academia. Leiden: Leiden University Press.

Candlin, Fiona. 2001. “A Dual Inheritance: The Politics of Educational Reform and PhDs in Art and Design.” Journal of Art & Design Education20 (3): 302–310.

Derrida, Jacques. (1976) 1997. Of Grammatology. Translated by Gayatri Chakravorty Spivak. Baltimore: The John Hopkins University Press. First published 1967 as De la grammatologie (Paris: Éditions de Minuit).

Derrida, Jacques. 1982. “Différance.” In Margins of Philosophy, translated by Alan Bass, 1–28. Chicago: University of Chicago Press. First published 1972 as Marges de la philosophie (Paris: Éditions de Minuit).

Derrida, Jacques. 1987. The Truth in Painting. Translated by Geoff Bennington and Ian McLeod. Chicago: University of Chicago Press. First published 1978 as La vérité en peinture (Paris: Flammarion).

Elo, Mika. 2008. “Singing Lessons for Photography.” Conference presentation at Figurations of Knowledge: European Conference of the Society for Literature, Science, and the Arts, Center for Literary and Cultural Research, Berlin, 3–7 June.

Feyerabend, Paul. 1988. Against Method. Rev. ed. London: Verso.

Friese, Peter, Guido Boulboullé, and Susanne Witzgall, eds. 2007. Say It Isn’t So: Art Trains Its Sights on the Natural Sciences. Heidelberg: Kehrer Verlag. Published in conjunction with the exhibition of the same name, shown at the Weserburg, Museum für moderne Kunst, Bremen.

Gasché, Rodolphe. 1986. The Tain of the Mirror: Derrida and the Philosophy of Reflec-tion. Cambridge, MA: Harvard University Press.

Graw, Isabelle. 2009. High Price: Art between the Market and Celebrity Culture. Translated by Nicholas Grindell. Berlin: Sternberg. First published 2008 as Der große Preis: Kunst zwischen Markt und Celebrity Culture (Cologne: DuMont).

Holert, Tom. 2009. “Art in the Knowledge- Based Polis.” E-Flux Journal 3. Accessed 4 February 2009. http://www.e-flux.com/journal/view/40.

Lacoue-Labarthe, Philippe, and Jean-Luc Nancy. 1988. The Literary Absolute: The Theory of Literature in German Romanticism. Translated by Philip Barnard and Cheryl Lester. Albany: State University of New York Press. First published 1978 as L’absolu littéraire: Théorie de la littérature du Romantisme allemand (Paris: Éditions du Seuil).

Latour, Bruno. 1987. Science in Action:How to Follow Scientists and Engineers through Society. Cambridge, MA: Harvard University Press.

Latour, Bruno. 1999. Pandora’s Hope: Essays on the Reality of Science Studies. Cambridge, MA: Harvard University Press.

Latour, Bruno, and Steve Woolgar. 1986. Laboratory Life: The Construction of Scientific Facts. 2nd ed. Princeton, NJ: Princeton University Press.

Lesage, Dieter, and Kathrin Busch, eds. 2007. A Portrait of the Artist as a Researcher. Antwerp: MuHKA.

Macleod, Katy, and Lin Holdridge. 2006. Introduction to Thinking through Art:Reflections on Art as Research, edited by Katy Macleod and Lin Holdridge, 1–14. Abingdon: Routledge.

Melville, Stephen. 2001. “Counting /as/Painting.” In As Painting: Division and Displacement, edited by Philip Armstrong, Laura Lisbon, and Stephen Melville, 1–26. Columbus, OH: Wexner Center for the Arts; Cambridge, MA: MIT Press. Published in conjunction with the exhibition of the same name, shown at the Wexner Center for the Arts, The Ohio State University, Columbus.

Menninghaus, Winfried. 1987. Unendliche Verdopplung: Die frühromantische Grundlegung der Kunsttheorie im Begriff absoluter Selbstreflexion. Frankfurt am Main: Suhrkamp.

Miles, Jonathan. 2012. “Fine Art and Research.” In Intellectual Birdhouse: Artistic Practice as Research, edited by Florian Dombois, Ute Meta Bauer, Claudia Mareis, and Michael Schwab, 217–27 London: Koenig Books.

Öberg, Johan. 2010. “Difference or Différance?” In Art and Artistic Research: Music, Visual Art, Design, Literature, Dance, edited by Corina Caduff, FionSiegenthaler, and Tan Wälchli, 40–45. Zurich Yearbook of the Arts 6. Zurich: Scheidegger & Spiess.

Osborne, Peter. 2013. Anywhere or Not at All: Philosophy of Contemporary Art. London: Verso.

Rancière, Jacques. 2009. The Emancipated Spectator. Translated by Gregory Elliott. London: Verso. First published 2008 as Le spectateur émancipé (Paris: La Fabrique éditions).

Rheinberger, Hans-Jörg. 1997. Toward a History of Epistemic Things: Synthesizing Proteins in the Test Tube. Stanford, CA: Stanford University Press.

Rheinberger, Hans-Jörg. 1998. “Experimental Systems, Graphematic Spaces.” In Inscribing Science: Scientific Texts and the Materiality of Communication, edited by Timothy Lenoir, 285–303. Stanford, CA: Stanford University Press.

Rheinberger, Hans-Jörg. 2007. “On the Art of Exploring the Unknown.” In Friese, Boulboullé, and Witzgall2007, 82–93.

Rheinberger, Hans-Jörg. 2009. “Wissenschaftsgeschichte mit George Kubler” / “History of Science with George Kubler.” Texte zur Kunst19 (76): 46–51 / 109–12.

Rheinberger, Hans-Jörg. 2010a. An Epistemology of the Concrete: Twentieth-Century Histories of Life. Durham, NC: Duke University Press. First published 2006 as Epistemologie des Konkreten (Frankfurt am Main: Suhrkamp).

Rheinberger, Hans-Jörg. 2010b. On Historicizing Epistemology: An Essay. Translated by David Fernbach. Stanford, CA: Stanford University Press. First published 2007 as Historische Epistemologie zur Einführung (Hamburg: Junius).

Rheinberger, Hans-Jörg. 2012a. “‘Das Wesen der Forschung besteht im Übersteigen von Grenzen’: Ein Gespräch mit Wolfert von Rahden über historische und aktuelle Grenzverläufe der Wissenschaften.” Gegenworte: Hefte für den Disput über Wissen 27: 38–42.

Rheinberger, Hans-Jörg. 2012b. “Experimental Systems: Difference, Graphematicity, Conjuncture.” InIntellectual Birdhouse:Artistic Practice as Research, edited by Florian Dombois, Ute Meta Bauer, Claudia Mareis, and Michael Schwab, 89–99. London: Koenig Books.

Rheinberger, Hans-Jörg. 2013. “Forming and Being Informed: Hans-Jörg Rheinberger in Conversation with Michael Schwab.” In Schwab 2013a, 198–219. Schwab, Michael. 2008a. “First, the Second: Walter Benjamin’s Theory of Reflection and the Question of Artistic Research.”Journal of Visual Art Practice7 (3): 213–23.

Schwab, Michael. 2008a. “First, the Second: Walter Benjamin’s Theory of Reflection and the Question of Artistic Research.” Journal of Visual Art Practice 7 (3): 213–23.

Schwab, Michael. 2008b. “The Power of Deconstruction in Artistic Research.” Working Papers in Art & Design 5. Accessed 25 November 2011. http://sitem.herts.ac.uk/artdes_research/papers/wpades/vol5/msfull.html.

Schwab, Michael. 2011. Editorial. Journal for Artistic Research 0. Accessed 3 December 2011. http://www.jar-online.net/index.php/issues/editorial/480.

Schwab, Michael. 2012a. “Exposition Writing.” In Yearbook for Artistic Research & Development, 16–26. Stockholm: Swedish Research Council.

Schwab, Michael. 2012b. “The Research Catalogue: A Model for Dissertations and Theses.” In The Sage Handbook of Digital Dissertations and Theses, edited by Richard Andrews, Erik Borg, Stephen Boyd Davis, Myrrh Domingo, andJude England, 339–54. London: Sage.

Schwab, Michael, ed. 2013a. Experimental Systems: Future Knowledge in Artistic Research. Orpheus Institute Series. Leuven: Leuven University Press.

Schwab, Michael. 2013b. Introduction to Schwab 2013a, 5–14. Shapin, Steven. 1984. “Pump and Circumstance: Robert Boyle’s Literary Technology.” Social Studies of Science 14 (4): 481–520.

Shapin, Steven, and Simon Schaffer. 1985. Leviathan and the Air-Pump:Hobbes, Boyle, and the Experimental Life. Princeton, NJ: Princeton University Press.

Slager, Henk. 2009. “Art and Method.” In Artists with PhDs: On the New Doctoral Degree in Studio Art, edited by James Elkins, 49–56. Washington, DC: New Academia Publishing.

Sullivan, Graeme. 2005. Art Practice as Research:Inquiry in the Visual Arts. Thousand Oaks, CA: Sage.

Published

2019-01-11

How to Cite

SCHWAB, Michael. The exposition of practice as research as experimental systems. Palíndromo, Florianópolis, v. 11, n. 23, p. 13–25, 2019. DOI: 10.5965/2175234611232019013. Disponível em: https://periodicos.udesc.br/index.php/palindromo/article/view/14592. Acesso em: 22 nov. 2024.