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dc.contributor.authorBarth, Theodor
dc.contributor.editorBarth, Theodor
dc.coverage.spatialNorway, Osloen_US
dc.date.accessioned2021-08-26T09:32:16Z
dc.date.available2021-08-26T09:32:16Z
dc.date.issued2021-08-26
dc.identifier.urihttps://hdl.handle.net/11250/2771351
dc.description1 cover_descriptor, 6 flyers (1HEX): #01—attempt; #02—try again; #03—do something else; #04—return; #05—unlearn; #06—crossover.en_US
dc.description.abstractDuring an Artistic Research day at KHiO’s dpt. of design (13.08.21), PhD fellow Ida Falck Øien asked the co-author (Theodor Barth) a direct question on how to incorporate diary-keeping into the practices of arenas devoted to the presentation and discussion of results and reflections from artistic research: for instance, the PhD viva. Finding that the question was asked by Ida from a place of research practice, and my answer (Theodor Barth) was formulated within the constraints of the mentioned discussion-arena, there was a risk that the question remained substantially unanswered, or tautological, and rather reproduce the problem (if only moving it). Which is why we took the initiative to let the question have the chance of being processed—and met—in a diary: that is, an experimental diary of exactly one-week duration, and posting it here on KHiODA one week after the question was asked during the gathering above. Which means that the question was sought to be addressed, as different tasks conspired to (randomly) meet during this week, using them as occasions to process Ida’s question: we did this as a collaborative venture. She sometimes pitched the flyer entries, alternatively responded to them, with images from her own doctoral work. In this way, we engaged a transaction in knowledge, design and ways of being-in-the world, the led us from criticality to critical theory, and also to some fundamental questions concerning the ethics of glass-plate media. The topics covered by me are representative for the type of exchange that I have at this time of the year (term startup). The concept of ‘agentic’ used by Christina Lindgren in her exposé of the Costume Agency Project. Then an exchange with composer Henrik Hellstenius on Mette Kaabye’s MA thesis on Georges Aperghis (music theatre): discussing e.g. 3rd party readability and 3rd party stakes (ownership, use-value etc.). How, the notion of the phygital—physical + digital = phygital—which gave name to the present flyer series. The borderland role of the unconscious in the edgeland between the physical and the digital. Along with the affordances of parcours (itinerancy) to map unto discours (the journey), in terms of evolving situations and shifting positions. Things that are characteristic of creative processes, featuring design as the animating principle of such processes (in the delimited aspect discussed in the series). How the contingent, speculative and agentic become bundled in what can understand as signs, or sign-production (semiosis). Where specify, rather than generality, is a virtue. What is the contribution of artistic research to contemporary knowledges? In which aspects are these portable and transportable into other disciplines as archaeology, architecture and anthropology? In other words, what is the AR defence, that can also be brought down to a viva. Bringing STEAM to the controversies from the STEM-subjects. In the “crack” between environmental humanities and science technology studies (STS) lays buried a question of how we conceive explanation, and explanatory mechanisms. Can we argue that the STEM subjects—environmentally—is in a state of flux, lateral drift and fragmentation? What can artistic research do that philosophy doesn’t? Whoever is looking for definitive answers to these questions in the present series will find none. But you will find that they are processed in terms that are rich in implications for criteria we may want to discuss, that are critical to what we call a viva in Artistic Research. Essentially, a contribution to an ongoing discussion on the subject matter. The last flyer in the series attempts to deconstruct the phygital down to its workings, as one that is facilitated by a particular work of illustration, to which my attention was drawn by Prof. Andreas Berg. This flyer therefore crosses over from design thinking to a discussion with methodological implications for visual methods in archive studies.en_US
dc.language.isoengen_US
dc.publisherKHiOen_US
dc.relation.haspart1 cover_descriptor, 6 flyersen_US
dc.rightsAttribution-NoDerivatives 4.0 Internasjonal*
dc.rights.urihttp://creativecommons.org/licenses/by-nd/4.0/deed.no*
dc.subjectDiaryen_US
dc.subjectParcoursen_US
dc.subjectDIscoursen_US
dc.subjectPhygitalen_US
dc.subjectPhysicalen_US
dc.subjectDigitalen_US
dc.subjectAnthroponomyen_US
dc.subjectAnthroponomicsen_US
dc.subjectMirrorsen_US
dc.subjectMette Kaabyeen_US
dc.subjectIda Falcken_US
dc.subjectGeorges Aperghisen_US
dc.subjectSemioticsen_US
dc.subjectSemiosisen_US
dc.subjectSynecdocheen_US
dc.subjectMetonymen_US
dc.subjectMereologyen_US
dc.subjectX-factoren_US
dc.subjectVectorial sumen_US
dc.subjectAgenticen_US
dc.subjectAne Thon Knutsenen_US
dc.subjectGeir Harald Samuelsenen_US
dc.subjectNeil Forresten_US
dc.subjectDragos Gheorghiuen_US
dc.subjectFredrik Barthen_US
dc.subjectTransactionen_US
dc.subjectKnowledgeen_US
dc.subjectArten_US
dc.subjectBeingen_US
dc.subjectTim Ingolden_US
dc.subjectArt, Anthropology, Architecture, Archaeologyen_US
dc.subjectPanelsen_US
dc.subjectChristina Lindgrenen_US
dc.subjectCostume agencyen_US
dc.subjectHAIKw/en_US
dc.subjectAby Warburgen_US
dc.subjectMnemosyneen_US
dc.subjectB.M. Keilhauen_US
dc.subjectEllef Prestsæteren_US
dc.subjectComputational vandalismen_US
dc.subjectArchive crawlingen_US
dc.subjectScanningen_US
dc.subjectIPADen_US
dc.subjectGlass-platesen_US
dc.subjectVisceralen_US
dc.subjectSiderealen_US
dc.subjectMachinationsen_US
dc.subjectConversationsen_US
dc.subjectSituationen_US
dc.subjectPositionen_US
dc.subjectHenrik Hellsteniusen_US
dc.subjectDeleuzeen_US
dc.subjectDerridaen_US
dc.subjectParodiaen_US
dc.subjectDesignen_US
dc.subjectDidi-Hubermanen_US
dc.subjectSaussureen_US
dc.subjectJakobsonen_US
dc.subjectPeirceen_US
dc.subjectContingenten_US
dc.subjectSpeculativeen_US
dc.subjectCurrenten_US
dc.subjectPresenten_US
dc.subjectInventionen_US
dc.subjectUmberto Ecoen_US
dc.subjectTranspositionen_US
dc.subjectTravelogueen_US
dc.subjectEdgelanden_US
dc.subjectViva voceen_US
dc.subjectSpecificen_US
dc.subjectPrecisationen_US
dc.subjectSTEM subjectsen_US
dc.subjectSTEAM subjectsen_US
dc.subjectCriticalityen_US
dc.subjectCritical theoryen_US
dc.subjectEnvironmental humanitiesen_US
dc.subjectScience technology studiesen_US
dc.subjectPracticeen_US
dc.subjectGravitational pullen_US
dc.subjectBendingen_US
dc.subjectMax Weberen_US
dc.subjectMechanismen_US
dc.subjectdanceen_US
dc.subjectFashionen_US
dc.subjectImageen_US
dc.subjectGestureen_US
dc.subjectAsynchronous imageen_US
dc.title#01-06 the phygitalen_US
dc.title.alternativeEXPERIMENTAL diary/DIARY experimenten_US
dc.typeDataseten_US
dc.description.versiondraften_US
dc.rights.holderTheodor Barth & Ida Falck Øienen_US
dc.subject.nsiAnthroponomyen_US
dc.subject.nsiDesignen_US
dc.relation.projectProject Spinozaen_US


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