Application and Autonomy: The Reach and Span of Contemporary Art Didactics

Abstract

Aesthetics, as both a variety of practices and a field of research, has now begun a journey toward society and more applied thinking -that is, how can art, art thinking, and different forms of sensuousness interact with or interfere in societal contexts. In this special issue of InFormation we explore the frame of a possible contemporary art didactics, where knowledge production and dispersion in and through art and aesthetics are promoted. Here the qualities of responding to societal needs and challenges are negotiated with the particular qualities of art. The field of didactics is often tied to specific teaching methods, but can also be seen as a more general theory of learning. With the term 'contemporary art didactics', we want to propose a relational field of communication and interaction based on aesthetic activity and competence. In addition, we seek to emphasize the contemporary quality and engagement of this activity and competence. In this first article by the editor of the issue, some of the related discussions on application, autonomy and criticality are presented alongside a proposition to formulate certain specific art based qualities.

Haugerudbekken: Community Improvement through Socially Engaged Art

“…Haugerudbekken was originally undertaken as an independent art project, with no explicit intention to conduct research. However, a growing demand for art entering a societal context (like urban development) calls for research addressing theory and improving best-practice guidance for initiating artists as well as policymakers and others inviting artists to contribute (Christensen-Scheel, 2013). Haugerudbekken's practical explorative nature generates knowledge in relation to SEA in the context of urban development and sharing reflections from our process may inform theory and further practice contributing to a continuing cycle where practice informs theory, and theory informs practice (Engen, in review).…”

“…However, independence presents challenges in terms of lasting impact, and proper maintenance as structures for securing local initiatives for public art are lacking in the City of Oslo's current cultural management. Challenges like these and a growing demand for art to enter a societal context (like urban development) calls for more research addressing theory and improving best practice guidance (Christensen-Scheel, 2013). Our research is based on our experiences from artistic practice in Haugerudbekken.…”

Border Threads

“…It was a deliberate methodological choice to work with user involvement, based on an assumption that the aesthetic quality would be enhanced when people and communities with various perspectives generated knowledge and ideas about borders in a collaborative artwork (Sanoff, 2000). In art, the quality of a participatory art project is not necessarily based on the end product and may instead focus on the artistic process itself and how it materialises, which is of concern in the discussion in this article (Bishop, 2006;Christensen-Scheel, 2013).…”

Barn om kunst

“…At flere av elevene reagerer på det de mener er produksjoner med for mye lys og for høy lyd, samtidig som de etterlyser og ønsker seg noe «enkelt», som «teater» eller noen som «bare spiller et instrument», er saerlig interessant i lys av debatten om målgruppetilpasning og graden av pedagogisk tilrettelegging av kunst for barn og unge (se f.eks. Christensen-Scheel 2013;Danielsen 2014;Haugsevje et al 2015;Heggstad 2014;Hylland et al 2011). 10 Uttalelser som i eksemplene over gjør det naerliggende å stille flere spørsmål ved hvordan man tenker rundt utforming og tilrettelegging av kunstopplevelser, for eksempel i en skolesituasjon.…”