Artistic research as method
In 1993 Christopher Frayling published an essay called “Research in Art and Design” where he introduces a difference between types of arts research. These differences are “research into art”, “research for art”, and “research through art” (Borgdorff, 2012, p. 37). There are in other words different focal points of how research and art relates to each other. Borgdorff continues to distinguish between “(a) research on the arts, (b) research for the arts, and (c) research in the arts” (ibid.). Artistic research is the latter (c) research in the arts.
In artistic research it is the artistic practice that the research revolves around. In 2018, when establishing the new PhD degree in artistic research the Norwegian Ministry of Education and Research stated that artistic practice shall form the core of the artistic doctoral outcome. At the same time, the artistic practice must be accompanied by an explicit reflection, which, when the project is presented, allows others to take part in the way of working and potential insights made possible through the artistic research (Kunnskapsdepartementet, 2018)*.
Robin Nelson (2013) explains in the book “Practice as Research in the Arts. Principles, Protocols, Pedagogies, Resistances” that: “PaR (Practice as Research) involves a research project in which practice is a key method of inquiry and where, in respect to the arts, a practice (creative writing, dance, musical score/performance, visual exhibition, film, or other cultural practice) is submitted as a substantial evidence of a research enquiry” (Nelson, 2013, p. 8-9). It is by researching through the art that the artistic practice transforms and materialises thinking through practice. Nelson (2013) quotes Brad Haseman to explain: “It (practice-led research) asserts the primacy of practice and insists that because creative practice is both on-going and persistent, practitioners do not just ‘think’ their way through or out of a problem, but rather they ‘practice’ to a resolution” (ibid., p. 10).
Artistic Research is conveyed both as an artistic experience where the artistic practice is carried out and is collected and documented in the shape of Expositions. Research Catalogue is developed as a web based publishing platform for these types of Expositions (Schwab, 2012, p. 342-343). In Research Catalogue the researcher can portray their work in an audio-visual way that can enhance the experience of the reader. This is the reason for choosing this platform for my exposition.
As part of this artistic research project, I document the process of developing and performing two live sets, and hone the knowledge of performing numerous DJ sets over the last two years. I use this as a vessel for what I aim to explore in this project, which is namely: how to combine the two and develop a hybrid set?
The master project culminated in the showing of a work-in-progress hybrid set performance in a simulated club setting at Cornerteateret in Bergen December 22, 2023. Close friends, family, my supervisor and colleagues were invited to attend, forming the audience. This performance marks the latest and final artistic exploration and result.
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* “Kunstutøvelsen skal stå i sentrum for doktorgradsarbeidet. Samtidig skal kunstutøvelsen følges av en eksplisitt refleksjon som ved presentasjon av prosjektet gjør det mulig for andre å ta del i den arbeidsmåten og innsikten som det kunstneriske utviklingsarbeidet genererer”