don't know
What is the specificity of the knowledge produced in the arts today? Can
they still claim a political, or even a subversive position in the
politicized, aestheticized, technosized and mediatized knowledge
production process? How do we create the appropriate, critical and
creative formats for feedback and support for the (potentially very
different) kinds of artistic research? How do we keep the framework for
such researches open enough so as not to smother them in an
over-protective embrace? And at the same time: how to stimulate the
appearance of alternative forms of knowledge out of artist-driven
formats of research?
Don't Know focuses in these two days on 4 central questions. If you want to know more, please click here.
If you would like to attend the festival please register online.
Our program is in full development, but here you can already have a first glimpse of the set-up, as well as a provisory list of contributors. For location and practical information, click here.
We hope to see you there!
Research, in art is a noisy research
"For the blind man in the dark room looking for the black cat that isn't there."
Contemporary Art Museum St Louis
September 11, 2009 - January 3, 2010
Organised by Anthony Huberman
"Research, in art is a noisy research, where explanations are necessarily flimsy, provisional and always subject to change."
John Keat's negative capability (the ability to tolerate and even enjoy the experience of confusion or doubt.) pg 21
The aim of science is not things themselves but the relations between things; outside those relation there is no knowable reality. Poincaré Science and Hypothesis (1905) pg 25
Alfred Jarry developed his Science of Imaginary Solutions or 'pataphysics. pg 50
For Bataille, nonknowledge is the passion for not-knowing, a type of knowledge that allows us to appreciate, enjoy and know the world. pg 52
Inserting themselves into literature's tradition of tragic-comic pairs struggling to understand the world- Bouvard and Pécuchet, Rosencrantz and Gildenstern, Vladimir and Estragon, Peter Fischli and David Weiss…pg 76
What is now known as the 'Reggio Emilia Method' sees children as little researchers who strive to understand the world, making their own theories to explain it. A teacher's responsibility is to guide their natural curiosity rather than replace it with a knowledge that is foreign to them, Each child has a particular theory in a particular language, making a school into a place of a hundred theories in a hundred languages. pg 80
Austrian philosopher, Ivan Illich sought to expose the dangers of modern industrialization and its effects on education, medicine, energy, transpiration and economic development. Unlike Freire, Illich believed in capitalism and rather than pronouncing its failure warned of its perversions. pg 82
Ranciere 'the student of the ignorant master learns what his master does not know, since… he does not learn his master's knowledge'. pg 84
It is not always easy to be confronted with situations that invalidate entrenched patterns of understanding. The value of this confrontation is directly proportionate to our ability to convert the crisis of insecurity into the fertile potential of change. Diedrich Kramer, things we don't understand curated by Roger M Buergel and Ruth Noack. pg 88
"Research, in art is a noisy research, where explanations are necessarily flimsy, provisional and always subject to change." pg 101
Michel Foucault noted that " curiosity evokes 'concern', it evokes the care one takes for what exists and could exist; a readiness to find strange and singular what surrounds us."
… artists should act on the certainties of heir intuition and claim that truth lies in experience, no matter how incomplete it may be. They would, with Paul Feyerabend, assume an anarchistic knowledge and proceed against method, allowing accidental encounters and personal idiosyncrasies to guide their discoveries. pg 146
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