A exposição da prática como pesquisa enquanto sistemas experimentais
DOI:
https://doi.org/10.5965/2175234611232019013Abstract
Michael Schwab
Editor do Journal for Artistic Research (JAR)
Tradução Osmar Yang e Yara Guasque
Artigo publicado originalmente em Inglês (SCHWAB, Michael. “The Exposition of Practice as Research as Experimental Systems”, 2014, pp. 31-40) como capítulo do livro CRISPIN, Darla; GILMORE, Bob. (Eds.). Artistic Experimentation in Music. An Anthology. Leuven: Leuven University Press, 2014.
Downloads
Riferimenti bibliografici
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.
Downloads
Pubblicato
Come citare
Fascicolo
Sezione
Licenza
Copyright (c) 2019 Palíndromo
TQuesto lavoro è fornito con la licenza Creative Commons Attribuzione 4.0 Internazionale.
DECLARAÇÃO DE DIREITOS AUTORAIS
a. Os artigos publicados pela revista são de uso gratuito, destinados a aplicações acadêmicas e não comerciais. Todos os direitos autorais são atribuídos à revista. Os artigos cujos autores são identificados representam a expressão do ponto de vista de seus autores e não a posição oficial da Revista Palíndromo. O (s) autor (es) compromete-se sempre que publicar material referente ao artigo publicado no Palíndromo mencionar esta publicação da seguinte forma:
Este artigo foi publicado originalmente pela revista Palíndromo em seu volume (coloque o volume), número (coloque o número) no ano de (coloque o ano) e pode ser acessado em: http://www.revistas.udesc.br/index.php/palindromo
b. Plágio, em todas as suas formas, constitui um comportamento antiético de publicação e é inaceitável. A revista Palíndromo utiliza o software iThenticate de controle de similaridade