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This overview can be regarded as an atlas or travel guide with which the reader can follow a route along the various professorships. Chapter 2 centres on the professorships that are active in the field of Service Economy. Chapter 3 is dedicated to the professorships that are focussed on the field of Vital Region. Chapter 4 describes the professorships operating in the field of Smart Sustainable Industries. Chapter 5 deals with the professorships that are active in the field of the institution-wide themes of Design Based Education and Design Based Research. Lastly, in Chapter 6 we make an attempt to discover one or more connecting themes or procedures in the approach of the various professorships. This publication is not intended to give a definitive answer to the question as to what exactly NHL Stenden means by the concept of Design Based Research. The aim of this publication is to get an idea of everything that is happening in the NHL Stenden professorships and to pique one’s curiosity to find out more.
In December 2011, dOCUMENTA (13) and EARN (European Artistic Research Network) started to develop a collaborative project. These discussions indicated that the way the notion of research is used today might also produce a confusion of concepts. Is research merely conducted within institutional environments or does it have a broader—connotative—scope? What does it mean for the self-awareness of artists to understand and present their practice as research-based? And last but not least, does the concept of research lead to an expansion of artistic practices or does it restrict them?To evaluate the concept of research, we thus chose two perspectives: the perspective of artists who contributed “activated” research projects to dOCUMENTA (13) and the perspective of artists who are engaged in a Doctoral Fine Art programme within the various academic environments of the art school—specifically at institutes participating in the EARN network. As an introduction to the research workshops and the Doing Research symposium, thirteen artists working on “activated research” and thirteen doctoral researchers were invited to respond to a series of questions on artistic research.
KnowledgeFlows in Marine Spatial Planning - Sharing Innovation in Higher Education(KnowledgeFlows) aims at further enforcing the European higher education community to meet the growing demands for knowledge, skills and innovation within the still emerging field of marine or maritime spatial planning (MSP).Marine Spatial Planning (MSP) is an emerging governmental approach towards a more effective use of the sea. MSP is of great interest in Europe and can be considered a societal process to balance conflicting interests of maritime stakeholders and the marine environment. Many different activities take place at sea, ranging from shipping, fisheries, to offshore wind energy activities. Simultaneously, new and evolving policies focus on strategies to integrate different marine demands in space and resources. MSP is now legally binding in the EU and is much needed approach to manage and organize the use of the sea, while also protecting the environment.KnowledgeFlows will contribute to the development of new innovative approaches to higher education and training on MSP by means of problem-based learning schemes, transdisciplinary collaboration, and advanced e-learning concepts. KnowledgeFlows builds on results from former project outputs (Erasmus+ Strategic Partnership for Marine Spatial Planning SP-MSP), such as the online learning platform MSP Education Arena (https://www.sp-msp.uol.de).The strategic partnership consists of a transnational network of experts both in research and in practice based in the north Atlantic, Baltic Sea and North Sea Regions including Aalborg University (DK, lead partner), The University of Oldenburg (D), the University of Liverpool (U.K.), the University of Nantes (F), the Leibniz Institute for Baltic Sea Research (D), the Breda University of Applied Sciences (NL), University of Ulster (U.K.), and the Finnish Environment Institute (FI). Gothenburg University, also being a higher education organisation, will be associated partner.Furthermore, three international organisations, the Marine Spatial Planning Research Network, the Baltic inter-governmental VASAB and the pan-Nordic Nordregio will be involved in the partnership as associated organisations deeply rooted in the MSP community of practice.The further improvement of curricula, exchange of knowledge and experts, and transparency and recognition of learning outcomes to reach higher qualifications in MSP are key components of KnowledgeFlows. A mutual learning environment for MSP higher education will enable problem-driven innovation among students and their educators from research and governance also involving stakeholders. Related activities on intellectual outputs, multiplier events and lecturing will be carried out by all participating organisations.The intellectual outputs are related to three major contributions to the European higher education landscape:1) an advanced level international topical MSP course (Step-up MSP)2) digital learning facilities and tools (MSP Education Arena)3) designing problem-based learning in MSP (MSP directory)The advanced level inter-institutional topical MSP course will include different teaching and training activities within a problem-based learning environment. Digital learning facilities enabling communication and training will include a further enrichment of the MSP Education Arena platform for students, practitioners and lecturers for including modules forcollaborate learning activities, documentation and dissemination, mobilisation/recruitment, thesis opportunities, placements/internships. Designing problem-based learning in MSP will include topics as; the design of didactics and methods; guidance for lecturers, supervisors and students; evaluation and quality assurance; assessment.Five multiplier events back to back or as part of conferences within the MSP community will be organised to mainstream the outputs and innovative MSP didactics among other universities and institutions.Different teaching and training activities feeds into the intellectual output activities, which will include serious gaming sessions (MSP Challenge (http://www.mspchallenge.info/) and others), workshops, excursions, courses/classes as well as a conference with a specific focus on facilitating the exchange of innovative ideas and approaches among students at bachelor´s, master´s and doctoral level and the MSP community of practice.Project management meetings (twice a year) will assure coherence in project planning and implementation. As the core focus of the strategic partnership is on collaboration, mutual learning, and innovation among educators, students, and practitioners in order to meet actual and future needs regarding knowledge exchange and training within the MSP community, the project will be designed to have long lasting effects.Results
In leaving the more traditional territories of the concert performance for broader societal contexts, professional musicians increasingly devise music in closer collaboration with their audience rather than present it on a stage. Although the interest for such forms of devising co-creative musicking within the (elderly) health care sector is growing, the work can be considered relatively new. In terms of research, multiple studies have sought to understand the impact of such work on musicians and participants, however little is known about what underpins the musicians’ actions in these settings. With this study, I sought to address this gap by investigating professional musicians’ emerging practices when devising co-creative musicking with elderly people. Three broad concepts were used as a theoretical background to the study: Theory of Practice, co-creative musicking, and Praxialism. Firstly, I used Theory of Practice to help understand the nature of emerging practices in a wider context of change in the field of music and habitus of musicians and participants. Theory of Practice enabled me to consider a practice as “a routinized type of behaviour which consists of several elements, interconnected to one another: forms of bodily activities, forms of mental activities, ‘things’ and their use, a background knowledge in the form of understanding, know-how, states of emotion, and motivational knowledge” (Reckwitz, 2002, p. 249). Secondly, I drew the knowledge from co-creative musicking, which is a concept I gathered from two existing concepts: co-creation and musicking. Musicking (Small, 1998), which considers music as something we do (including any mode of engagement with music), provided a holistic and inclusive way of looking at participation in music-making. The co-creation paradigm encompasses a view on enterprise that consists of bringing together parties to jointly create an outcome that is meaningful to all (Prahalad & Ramaswamy, 2004; Ramaswamy & Ozcan, 2014). The concept served as a lens to specify the jointness of the musicking and challenge issues of power in the engagement of participants in the creative-productive process. Thirdly, Praxialism considers musicking as an activity that encompasses “musical doers, musical doing, something done and contexts in which the former take place” (Elliott, 1995). Praxialism sets out a vision on music that goes beyond the musical work and includes the meanings and values of those involved (Silverman, Davis & Elliott, 2014). The concept allowed me to examine the work and emerging relationships as a result of devising co-creative musicking from an ethical perspective. Given the subject’s relative newness and rather unexplored status, I examined existing work empirically through an ethnographic approach (Hammersley & Atkinson, 2007). Four cases were selected where data was gathered through episodic interviewing (Flick, 2009) and participant observation. Elements of a constructivist Grounded Theory (Charmaz, 2014) were used for performing an abductive analysis. The analysis included initial coding, focused coding, the use of sensitizing concepts (Blumer 1969 in Hammersley, 2013) and memoing. I wrote a thick description (Geertz, 1973) for each case portraying the work from my personal experience. The descriptions are included in the dissertation as one separate chapter and foreshadow the exposition of the analysis in a next chapter. In-depth study of the creative-productive processes of the cases showed the involvement of multiple co-creative elements, such as a dialogical interaction between musicians and audience. However, participants’ contributions were often adopted implicitly, through the musicians interpreting behaviour and situations. This created a particular power dynamic and challenges as to what extent the negotiation can be considered co-creative. The implicitness of ‘making use’ of another person’s behaviour with the other not (always) being aware of this also triggered an ethical perspective, especially because some of the cases involved participants that were vulnerable. The imbalance in power made me examine the relationship that emerges between musicians and participants. As a result of a closer contact in the co-creative negotiation, I witnessed a contact of a highly personal, sometimes intimate, nature. I recognized elements of two types of connections. One type could be called ‘humanistic’, as a friendship in which there is reciprocal care and interest for the other. The other could be seen as ‘functional’, which means that the relationship is used as a resource for providing input for the creative musicking process. From this angle, I have compared the relationship with that of a relationship of an artist with a muse. After having examined the co-creative and relational sides of the interaction in the four cases, I tuned in to the musicians’ contribution to these processes and relationships. I discovered that their devising in practice consisted of a continuous double balancing act on two axes: one axis considers the other and oneself as its two ends. Another axis concerns the preparedness and unpredictability at its ends. Situated at the intersection of the two axes are the musicians’ intentionality, which is fed by their intentions, values and ethics. The implicitness of the co-creation, the two-sided relationship, the potential vulnerability of participants, and the musicians’ freedom in navigating and negotiation, together, make the devising of co-creative musicking with elderly people an activity that involves ethical challenges that are centred around a tension between prioritizing doing good for the other, associated with a eudaimonic intention, and prioritizing values of the musical art form, resembling a musicianist intention. The results therefore call for a musicianship that involves acting reflectively from an ethical perspective. Doctoral study by Karolien Dons
"Rising Tides, Shifting Imaginaries: Participatory Climate Fiction-Making with Cultural Collections," is an transdisciplinary research project that merges information design, participatory art, and climate imaginaries to address the pressing challenge of climate change, particularly the rising sea levels in the Netherlands. The doctoral research project aims to reimagine human coexistence with water-based ecosystems by exploring and reinterpreting audiovisual collections from various archives and online platforms. Through a creative and speculative approach, it seeks to visualize existing cultural representations of Dutch water-based ecosystems and, with the help of generative AI, develop alternative narratives and imaginaries for future living scenarios. The core methodology involves a transdisciplinary process of climate fiction-making, where narratives from the collections are amplified, countered, or recombined. This process is documented in a structured speculative archive, encompassing feminist data visualizations and illustrated climate fiction stories. The research contributes to the development of Dutch climate scenarios and adaptation strategies, aligning with international efforts like the CrAFt (Creating Actionable Futures) project of the New European Bauhaus program. Two primary objectives guide this research. First, it aims to make future scenarios more relatable by breaking away from traditional risk visualizations. It adopts data feminist principles, giving space to emotions and embodiment in visualization processes and avoiding the presentation of data visualization as neutral and objective. Second, the project seeks to make scenarios more inclusive by incorporating intersectional and more-than-human perspectives, thereby moving beyond techno-optimistic approaches and embracing a holistic and caring speculative approach. Combining cultural collections, digital methodologies, and artistic research, this research fosters imaginative explorations for future living.
