On research was a 2-day symposium at Haus der Kulturen der Welt, Berlin, on possible modes of ‘artistic research’. In its presentation format, the symposium has also been the showcase of a very effective ‘engaging tactic’, namely of the performance lecture.
From the symposium website:
“The debates about new models in academia, art and education have drawn additional attention to the topic of “artistic research”. What academic methods do artists use and what artistic methods do academics use?
Complementing the discussion, Rabih Mroué and Hito Steyerl focus on the (im)probability of events in the research field of mathematics; Ina Wutdke and Dieter Lesage devote themselves to gentrification debates in the context of academic studies; Xavier Le Roy explains how the academic that he once was became an artist.”
Probable title: zero probability // Lecture Performance by Hito Steyerl and Rabih Mroué // Fri 04.05.2012 20:30h
Kuhle Wampe Remix, oder Wem gehört die Stadt? // Lecture Performance von Ina Wudtke und Dieter Lesage // Sat 05.05.2012 20:30h
Centre for creative collaboration. London.
Space for collaboration
The Centre for Creative Collaboration is a neutral place where people from many different backgrounds – universities, large corporates, SMEs, freelancers – can work together on new things in the belief that real innovation happens at the edge and in the gaps between disciplines.
The Centre supports new types of collaboration using the principles of open innovation providing space for collaborative projects and multi disciplinary working in an attractive and flexible space.
They also provide a catalogue of tools that can help document and organise a project.
extracts from Nirmal Puwar and Sanjay Sharma, “Curating Sociology – Sociological Mutations”, forthcoming in Sociological Review, 2012.
“Curating Sociology points to how sociology can engage with the academy and beyond by turning to and deploying cross-disciplinary collaborative and engaging in a creative knowledge practices – as drama, event, exhibitions, installations, film production and music performance for instance.” […]
“It should become apparent that Curating Sociology does not envision the researcher simply mimicking the role of the curator. Rather, the intention is to adapt some of the recent practices of the curator, and grasp ‘curating as a research process’ (Wells 2007) that embraces creativity and experimentation in the production of public knowledge. O’Neill maintains that curating can involve processual participatory activities, engendering ‘new practices, new meanings, values and relations between things’ (2010: 6). Curating Sociology therefore cannot be reduced to a set of research techniques or methods. Rather, it can be a methodological commitment to collaborative knowledge production for public interventions.”