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- Volume 31, Issue 1, 2024
FORUM+ - Volume 31, Issue 1, 2024
Volume 31, Issue 1, 2024
- Editoriaal
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- Artikel
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Outside the rules, outside the boundaries
More LessAbstractThe following contribution is a written account of Jaana Erkkila-Hill’s keynote lecture at the FORUM+ symposium The art school as an ecosystem: Future perspectives on higher arts education, co-organised with ARIA during the research festival ARTICULATE on 20 October 2023. The event also marked the launch of the FORUM+ October 2023 issue and new dossier “The art school as an ecosystem”.
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Educatief onderzoek in de kunsten. Een praktijkgebonden en nomadisch perspectief
Authors: Joost Vanmaele & An De bisschopAbstractThe introduction of educational master programmes in the arts created an environment within higher education in Flanders in which research conducted by aspiring teaching artists plays an important role. In this contribution, Joost Vanmaele and An De bisschop offer an insight into how KASK & Conservatory Ghent has approached this phenomenon in recent years. Starting from an integrated profile approach, they take research in the arts as their methodical point of departure. In doing so, they arrive at a practice-specific research compass that can guide the many questions that arise within an art education practice.
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- Artistieke bijdrage
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- Artikel
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Staging e-waste: Media archaeology in an e-waste recycling centre
More LessAbstractThis text draws on a recent work experience at the WEEE recycling centre in Apeldoorn, the Netherlands, during which I wrote a series of auto-ethnographic texts. Through a performative of framing recycling work, I attempt to gain insight into the way we relate to the electronic waste we produce. I apply media-archaeological concepts to some of the work experiences I wrote about and address my findings in ecological terms.
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- Artistieke bijdrage
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- Artikel
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Behind the façade. Exploring the different layers of meaning in an organ performance
Authors: Francesca Ajossa & Kurt BertelsAbstractAlthough the organ frequently occupies a prominent place in an acoustic space, the player of the instrument is often barely visible. In this special concert and listening situation, questions are raised regarding certain (missed) expressive-visual opportunities. In this article, we explore how an analysis of the organist’s score-driven movements and performative experiences can lead to the development of a basic choreographic framework. Olivier Messiaen’s organ piece Subtilité des Corps Glorieux (1939) is our case study. The ultimate goal is to use that framework as a practical tool for interdisciplinary creation and communication.
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- Recensie
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