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Hay posibilidad de que en un futuro puedan venir nuevos equipos partners para esta entrega, como paso con la SS Lazio. A estos se los conoce como equipos partner. De Wikipedia, la enciclopedia libre.

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Tel: ; K-Cineplex Screen 3 at 7. The Dark Knight Rises 12 Rio 1 at 7. Tel: ; K-Cineplex Screen 1 at 5. The Dictator 15 Rio 3 at 8. Tel: ; K-Cineplex Screen 4 at 5. Rio 3 in 3D, in Greek at 6. Rio 4 in 2D, in Greek at 6. K-Cineplex Screen 3 in 3D, in English at 5. K-Cineplex Screen 5 in 2D, in Greek at 5. Tel: Haywire 15 Rio 6 at 7. Tel: Haywire 15 K-Cineplex Screen 5 at The Dictator 15 Rio 5 at 6, 8 and 10pm, weekends at 4.

Rio 6 in 3D, in English at 6 and 10pm, weekends at 4. Rio 6 in 3D, in Greek at 8pm, weekends at 8. Tel: Snow White and the Huntsman 12 Rio 2 at 10pm, weekends at July Medieval Paphos Castle. Curium Ancient Theatre, Limassol. With English and Greek subtitles.

RSVP essential: mvasilara peaceplayersintl. Quaker fitXlevel Games Competition looking for the fittest men and women in Cyprus with groups of four completing ten exercises as fast as possible. Finikoudes Promenade, Athinon Avenue, Larnaca. Tomorrow Music Haris Alexiou and Dimitra Galani Two of the greatest female voices from Greece present a programme with popular songs by great composers as well as songs written by themselves.

Municipal Gardens Theatre, Limassol. Tel: Dorsaf Hamdani One of the leading representatives of contemporary Arabic music performs live within the framework of the Ethnic Festival. Heroes Square, Limassol. Part of the official cultural programme of the EU Presidency. Starting at Solomou Square, Nicosia. Email: info amfidromo. Arminou Village, Paphos.

Pegeia Coalition of Independents Monthly meeting all welcome, refreshments at the bar. Paliomonastiro Park. Pixides Live On the occasion of the recording of their first album Greek rock band play live. Phaneromeni Square, old Nicosia.

Multiple locations in Limassol. Starts from 7. Tel: www. Paphos Harbour. From 5pm. July and August Paradise Place, Pomos, Paphos. Performances run at various times from 9pm to 9. Until July Every Saturday and Sunday at 8. In Greek. Casteliotissa Hall, old Nicosia. MondayFriday: 10am-1pm and 5pm-8pm. Saturday-Sunday: 6pm-9pm. Until August Ancient Odeon, Paphos. Dimitris Mihlis Solo painting exhibition. Every Friday through Sunday at 8. MondaySaturday: 10am-1pm and 4pm-8pm.

Fax: Email: whatson cyprus-mail. Include full details, a contact number and good quality photos. It was originally a Christian catacomb that was home to some 12th century frescoes. This centuries old terebinth tree, often referred to as the hanky tree, has a legend of its own and it is believed that those who hang personal offerings on its branches will be cured of any illnesses or ailments they may have.

These personal offerings are usually handkerchiefs and even today many locals and visitors leave theirs in the hope of a cure. The tree is festooned with handkerchiefs, some of which have decomposed into rags, left by local people once they have prayed in the chapel and drunk the water below it.

The art project will come to fruition by late September and what McConnon plans to do, is collect handkerchiefs and pieces of lace from the public to create a very large handkerchief which will then be used to cover the entire sacred tree. The tree will remain covered for two weeks. Those wishing to take part in this unsual project must send in their white hankies to the artist by September The artwork The Megalo Tama will be created as part of a larger art project Insight, which is sponsored by the Ministry of Education and Culture and the department of antiquities for the presidency of the EU.

The Megalo Tama — Donation for Handkerchiefs Art project by Miriam Mc Connon that uses handkerchiefs donated by the public to create a very large handkerchief to cover the sacred tree at Ayia Solomoni church in Kato Paphos. Deadline September To donate a handkerchief or for further information contact Miriam on Address: 6a Prevezis Street, Paphos, , Cyprus. Email: miriammcconnonart gmail. Others sweep of diaspora communities.

If music is a universal language er, these that overcomes barriers, together, uits of artists represent some of the fruits ever-increasing cross-cultural mingling. As a member of the European Forum he fesof Worldwide Music Festivals, the tival shares the vision that the world is a mosaic of local traditions and music estival with equal values. The music of the Middle East is now ow ry coming full-circle as contemporary om musicians assimilate elements from ad their many of the musical forms that had ed in the beginnings in Arabic music.

Raised mdani musical traditions of Tunisia, Hamdani. Entitled Sharing Stories, the project is inspired by the history of sites, issues and themes that the sites reveal, discovering current and future daily life. Choreographers unfold the characters of the performers, their emotions, thoughts and moods. She honours the great female singers of the Arab world by recreating their artistry.

At a young age she stood out for her talent and dedication to music. Her father and grandmother were a great source of inspiration and encouraged and supported her enthusiasm for the world of music. A star dancer, choreographer, public persona, television celebrity and fashion designer, among other things, Tadmor is a well-known, well-loved member of the Tel Aviv creative elite.

For years, he has showcased his phenomenal physique in self-choreographed solos or pieces made by internationally acclaimed artists. Symphony Orchestra. Hamdani is also the recipient of numerous awards and prizes having won the second prize for Arabic Music in Jordan in and the Golden Disc of Tunisian Song in If legendary Lebanese singer Fairuz is the queen of Arabic song, then Hamdani is the princess.

The skill with which she handles eastern but also western musical techniques has ranked her among the leading representatives o of contemporary Arabic music renaissa renaissance. For he her concerts in Cyprus she will be partic participating with virtuoso musicians violi violinist Mohamed Lassoed, cellist Anis Fliss, percussionist Mondher Ou and kanun player Slim Jaziri. Free July Heroes Square, Limassol. July Phaneromeni Square, old town Nicosia. By Ledha Socratous.

Some of you might be familiar with him as he performed three different pieces of his work to close the 15th European Dance Festival on June 30 at the Rialto Theatre in Limassol. The duo have now joined forces for Sharing Stories. Along with eleven dancers, the artistic group will make their way through the streets of Nicosia and lure or attract the unsuspecting passerby through the world of movement.

Two performances are coming up on Monday and Tuesday which will last approximately 70 minutes. The starting point is Solomou Square, moving on to. From Henri Cartier-Bresson to Bruce Davidson, a new e capital through the eyes of celebrated international phot. Hung in chronological order in the spacious Linbury Gallery, the images look at London through the eyes of foreign visitors, refugees and new residents.

The result. More often than not, women are in the frame too. A street. But Cartier-Bresson still. A beautifully dramatic, modernist photograph in composition and tonal range, it creates an existential detachment between the men and the camera. A focus is on the glowing white cup held by the blonde man but then the eye moves around the differently positioned hands touching their faces and emphasising the feel of a classical painting. Examples in this exhibition are similarly dramatic and cinematic, most perfectly illustrated by the blonde in a wig at a Petticoat Lane Market stall.

Wearing a neat tweed suit and suede shoes, he stares from behind dark Roy Orbison shades like a perfect model for a Donovan or Duffy shoot. Dille was born in Germany in , emigrated to Canada in and travelled widely before settling in Europe and moving to Wales. Sue Steward puts her favourites in the frame photograph by Jacques Henri Lartigue of his fur coated friend Bibi opens the exhibition and introduces that treasured gift for photographers: smog, whose grainy effect lends mystery, suspense and romance to many scenes.

Punks, mixed-race couples and Bay City Rollers fans all symbolise the unrest and offer more familiar scenes from the Thatcher era. Here are six photographs that caught my eye. He documents the changing society through portraits of mixed-race couples, proudly liberated gays and the hippy rock lifestyle. The usual chaos of rubble is gone and low walls outline the original rooms. The stunning composition is built around a wide road lying on the diagonal across the frame and moving like a river towards the Thames and the distant misty skyline where Tower Bridge is silhouetted.

Standing intact, it is a sym-. His main attraction was socially marginalised people. His sensitivity towards his subjects has created a precious and vast archive of people at. This portrait of a ticket collector is unusual in comparison with the typical interaction he enjoys with his subjects. Her stern, startled expression suggests that Davidson was using the portable Leica that still always hangs around his neck, and which caught her unawares - a cheeky charac-.

The strong light from the carriage windows were perfect for this fast-action moment, which contrasts with his carefully composed series of people riding the New York Subway - a selection from which appeared last year at Tate Modern. Several of his stunning photographs feature in this exhibition, some, like the boat-man approaching Tower Bridge, taking a long perspective, others honed in on small quiet scenes such as an East End shop where a horse blocks the doorway.

Send your classified by fax or email and pay by credit card, cheque or cash. Nicosia - email: classified cyprus-mail. Very good working conditions no lower than the relevant collective agreement. Previous teaching or experience with special needs essential. Good knowledge of English language necessary and patience and good communication skills a must. Hours 7.

You are requested to cast your vote by logging on to a link at www. This is an opportunity for each of you to have an impact on world events. Get as many Greek Orthodox, other Orthodox and Christian friends of yours to sign the petition and make history. AA could be the answer. Call to speak to an AA member.

Details of meetings are available on www. Al - Anon is for family and friends of those with a drinking problem. Call Nicosia 99 for more information and details of meetings. Nicosia - tel: 22 fax: 22 him as they should! He is in a foster family for over 4months now! He is around 1 year old, medium size, great with children! If you want to give Chris the forever home he deserves please call 99 mondayfriday and arrange an appointment to meet him!

A great way to release tension and stress at the same time exercise your body, made for all ages and genders. Find out more information on www. Personalised Clinical Pilates by Physiotherapists in Nicosia. Individual assessment and supervision of exercises. More info on For information look at www. Very intelligent and easily trainable. Gets on very well with other dogs once he gets to know them! In a foster home - still needs a forever home! Various breeds and sizes.

Will only be given to responsible dog-lovers. Adoption contract and medical package obligatory. Nicosia area. For info , , Telephone or Also keeps your home warmer in winter. For free no obligation quotation ring Tyrone on covering Paphos, Polis and Pissouri areas. Free estimates! Special offers now available. For a quote call Rickys Cleaning Services on all areas rickyscleaningservices gmail.

Curtains, Roman blinds, Vertical Blinds need to be surveyed. Collection Service available. We also do repairs. Paphos - tel: 26 fax: tracts, sales agreements, conveyancing, wills, administration of estates, general litigation, power of attorney, land registry matters, companies, translations, immigration etc And all legal matters. Nicosia centre.

For info Selling at very low prices for clearance. Partial sea views, near to electricity and water supplies. Please note tel nos. Ideal for the construction of apartment building or 1 or 2 large houses. The condition of the car is excellent.

For information call For info. Stainless steel appliances, washing machine. Sky satellite tv. Covered parking. Can be rented furnished or not. Available in aprox. For many more properties with photos visit our website at www. All claims against the assets of the Company must be made in writing and include the claim amount, basis and origination date.

The deadline for submitting claims is 23rd November 3. Any claims that are not received by the company prior to the date set forth above will not be recognized. All claims and payments must be sent to P. Visit smaller ports than larger cruise ships, stop at a taverna for lunch, then hop back onboard for a snorkelling stop in the afternoon — this truly is an experience like no other! New luxury 2 bedr apartment with nice view, sq. New luxury modern 3 bedr apartment,sq.

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Modern furniture with new appliances. Good sea views. Located in a fabulous village. A must see! Fully furnished with all appliances. This complex offers a lovely communal pool area and security barrier entrance. Close to amenities, a great central location. Fully furnished washing machine etc. Covered veranda, and undercover designated parking.

Phone Euro per month ono. And a 1 bed new apt, attractive and spacious, furnished with S. Beautifully furnished throughout. Larnaca District. Quote TLL Situated in quiet area, very modern near Kato Paphos close to Neapolis University, close to supermarkets,. Euro per month 3. Near Cynthiana Beach hotel and close proximity to Coral Bay. Overlooking the sea and metres from beach. AC in bedroom. Downstairs guest wc. Good sized enclosed pretty garden offering sea views. Situated on a quiet complex with communal pool area.

Enclosed garden with private pool. Drive for off street parking. Available unfurnished with sky satellite. Situated in a great central location. Master with ensuite. Large storage room. Covered veranda, garden with mature plants, private pool offering sea views. Off street parking. A beautiful home. Available unfurnished or fully furnished and includes. Guest wc. Beautifully furnished with quality modern furniture. Shutters to all windows. Roof terrace with sea views. Fully enclosed garden with storage shed, covered barbeque area and private pool offering lovely views.

Rental price includes pool cleaning. Covered verandah, private drive for off street parking. Situated in a quiet residential area. A must to see! Spacious living rooms, all bedrooms with modern ensuites. Separate utility room with access to side garden.

Family bathroom. Large verandah overlooking the pool. Sep storage room, covered parking and additional store. Swimming pool, and landscaped gardens. Open plan living area and dining area.. Guest WC. Large balcony, off-street parking. Open plan living area. Fitted kitchen, utility room. Parking, Swimming pool and landscaped garden areas.

Very quiet area. Fitted kitchen, 2 double bedrooms, master with en-suite. Minutes into Paphos. Or close offers 5. Set in a rural setting the property enjoys privacy with no immediate neighbours. Stairs to 2 further double bedroom with en-suite. Doors out to large covered verandah with panoramic views.

Large gardens. Pool and parking. TALA - 5 bed, 3. Very large property with open plan living area. Fitted kitchen, storage cupboard, guest WC. Ideal for dual living. Heated swim-. Electric gates and garden areas. Parking for several cars. Fitted kitchen and breakfast area.

Stairs to 2 additonal bedrooms and family bathroom. Doors out to balcony. Pretty landscaped gardens and off street parking. Pool facilities are available close by. Consists of 3 large rooms 1 small. Located in quiet area. Building recently plastered and painted. For more information please call: Nicosia General Drug Law Enforcement Unit Located in quite area. Italian Kitchen, big verandas, big storeroom and convenient parking.

Tel www. Price 1. Phone , TALA, 5 bdrm villa for sale. Title deeds. Car parking. Plot: sq. Narcotics Helpline Domestic Violence Centre For information call: Joseph Coleman Tel. Spanou at 99 — msspanou googlemail. We also hold a Discussion Group every Thursday evening at 7.

Christopher Klitou Mobile: Fax: You can email us at: klitoux logos. Special Tuesday sales held on the 1st, 2nd and 3rd Tuesdays of each month. Free parking. Sellers from 7am, buyers from 8am. For further advice or assistance contact the clinic or visit the website www.

Nikosia: Am 1. Samstag im Monat in der St. Sonntag im Monat in der St. Barnabaskirche um 18 Uhr Paphos: Am 2. Sonntag im Monat im Hof des Klosters um 9. Herold, Tel oder im Internet www. Clear exposition of the Bible in the presence of God, and relevant to our lives. Our Sunday services start at am sharp, and the Wednesday Bible discussion at 7 pm.

International Evangelical Church Reformed is located at St. For further information call Steve at , or email: iee. Also Midweek Meetings Details: Colin Paul by the Pillar Sunday 8. Comedy, starring Dean Martin and Jerry Lewis. Last in series. Romantic comedy, starring Meg Ryan and Kevin Kline.

Second spin-off from the Crime Scene Investigation series, starring Gary Sinise as a hard-boiled investigator and tackling crime around the seamy side of New York City. Action, starring Steve Howey. Disaster drama, starring Kim Delaney. With News at See Film Picks.

Thriller, starring Michael Douglas. Nathan decides to drop in on Taylor after visiting Haley, hoping to take their relationship a stage further. Peyton and Jake do their best to keep baby Jenny a secret from Nicki, and Anna gets a surprise visit from her ex-girlfriend which tempts her to reveal her sexuality to her parents. LiveCyBC2 Radio Napa Page Eight might be worth seeing just for him, but in fact it has a great pedigree - written and directed by well-known playwright David Hare best known for Plenty , also starring Rachel Weisz, Ralph Fiennes and Judy Davis.

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This is something else altogether. Made in Charmingly bad, though its stirring Olympic climax may pale in comparison with the real thing. Released straight to DVD in London Boulevard Novacinema3, Avatar LTV, The Moon is going to go face to face with both Jupiter and Venus this weekend, but this can actually lighten your mood. With the Sun and Mercury set to combust, you can come up with some brilliant brainwaves. If you are solo, this is a great time to charm your admirers.

Why not surprise them too? You can certainly live for the moment. If this does happen, see it as an opportunity to get things moving again. You love life is a broad canvas, and this can be a weekend when you can take great pleasure from striking out and doing something daring or adventurous. Your mind can also thrive on any mental challenges.

If you are getting together with your folks this weekend, or even the extended family, the most important thing is to avoid misunderstandings. And one of the best ways to do this is to resolutely refuse to react immediately to anything that unfolds.

Steer clear of a known gossip. Sad to say, this type of person can get a warped pleasure from preying on your fears. For a zodiac sign that rarely does things without forethought, you can surprise yourself by just how impulsive you can be. When it comes to buying an expensive item, try to rein in a desire to spend now. Your mind can absolutely buzz with possibilities this weekend. Yet there could still be a misunderstanding threaded amongst all this. Knowledge in Motion. Bielefeld: transcript-Verlag.

Bielefeld: transcript-Verlag, Bielefeld: transcript-Verlag; Copy to clipboard. Log in Register. Full Access. Dance as Culture of Knowledge. What is an Artistic Laboratory? Artistic Research. Body Knowledge and Body Memory. Dance History and Reconstruction. Critique versus Critical Practice? Professional Education and Retraining in Dance.

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The general rule is that artistic educations must rest on an artistic basis and be research-related. Tuition is free in Sweden, except for non-EU students. Doctoral candidates are salaried and there is separate funding for artistic research. We can admit students by audition. Teachers, professors, examiners and supervisors can be hired by expert peer panels on artistic merit without academic degrees. This offers opportunities that artists in many other countries never get close to.

We can today educate and research on artistic basis. We also have doctoral candidates and professors, who engage in artistic research on scientific basis or with double merits using scientific methods in practice-based processes. This follows the Bologna Agreement10 from , when 29 European countries agreed to work for a common structure within higher education. The Bologna Agreement rests on the so-called Lisbon Convention11 about aiding and promoting internationalization, exchange and co-operation.

Research should be regarded as a complementary opportunity for a very limited number of artists. To enter an artistic research programme means to explore strategies for developing methodologies, techniques, forms for presentation and documentation of the artistic process, based on your artistry, experience and skills; in dialogue with other artists, to further research and also contribute to new forms of education at the institutions.

This was achieved through active lobbying from university vice-chancellors, researchers and artists. Since three art schools have merged to create SKH , nine higher educational institutions are now represented on this national platform. Since , 71 artistic researchers GU and LU are the two universities with the longest experience of research education in this field.

Three arts doctors come from HB and five from LU, which now has the greatest number of doctoral candidates for the arts degree. With the establishment of SKH, this university now has a rapidly growing number of doctoral candidates, but it has yet to receive the right to defer doctoral degrees. The choice between a degree on artistic or scientific base must be made from the needs of each artist as researcher.

In Sweden, a country with a population of 9,7 million , there are about 5 students in higher arts education. The artistic research programmes must offer interesting research environments, in close dialogue with senior researchers. Who Has Artistic Competence? For this to be the case, there must be a common standard for the kind of merits required for different positions and assignments, and how these should be assessed.

Artistic competence can be defined differently according to cultural traditions and the criteria can vary greatly. A professor within the arts is qualified to be appointed if proven to have skills in the arts as well as pedagogy. As a basis for judging the suitability of a professor, the degree of skills must be in accordance with the demands required by the position. The examination of pedagogical skills must be as thorough as the examination of scientific or artistic skills. Beyond this, each higher seat of learning is free to decide which standards should apply for the employment of a professor.

Unofficial translation In some universities there is considerable ignorance about what is meant by artistic skills and artistic merit, which is obvious when artistic merit is used to employ staff simply because they lack scientific merit. This is possible only if you have done something unique that cannot be achieved through studies. This example is somewhat dated, but I refer to it since it was publicly debated and similar arguments are still current. When it comes to pedagogical skills, they must not necessarily be judged from teaching experience.

Pedagogical skills develop also in other situations, where knowledge and experience is transferred and communicated. The art universities in Stockholm conducted a project about gender equality and staff structures a couple of years ago. It was then decided that artistic merit should be weighted higher than academic merit if the position required artistic merit, a regulation that is by no means uncontested and still under debate.

There are those who maintain that an applicant with a PhD should have priority, but there are many of us who are assured that artistic merit must be the basis and that complementary, relevant pedagogical and research competence can be acquired through artistic activity and be validated as equal to academic degrees. The lack of academic education and research education within the arts in many other countries also creates a problem. If academic merit is a must, the base for international recruitment of artists as staff becomes very narrow.

The criteria for examining applications for a professorship vary greatly. The most controversial questions, the ones that vary most between the schools, are how artistic merit is weighted in relation to academic degrees and what criteria to use for the examination of pedagogical skills. The field of artistic research needs to make room also for the obstinate and those who do not always combine their artistry with good pedagogy. Sometimes you need to recruit an exceptionally competent artist within a specific area focused on research, who is not necessarily suited to deliver basic education.

This can be fully acceptable as long as this person has the ability to communicate and discuss the research process; it can be extremely valuable, just as a professor can be recruited mainly to teach and supervise, as long as the basic criteria for a professorship are fulfilled.

The same goes for lecturers. What the field really needs is plurality. Above all there is a need for dynamic, strong artistry of the kind that has so far shunned academia. These fields of research need strong artists to contribute to knowledge formation, new didactic work forms and a development of qualitative criteria. These artists are not complacent, they demand improvements of research organization, infrastructure, leadership models and positions. Many positions within the arts are time-limited.

When hiring an artist, the university has the license to choose between permanent employment or a time-limited position. In both cases the work is often part-time, to allow an active, updated contact with the activities on the various arts markets. The Higher Education Ordinance sets the rules for this, but there are variations in the local regulations for the different educational institutions.

Artists active in the profession, who want to share and work within education, are today crucial for the development of our disciplines. Not because they are professionals, but because they possess the knowledge and the experience that we want to educate for and research in. Most researchers are still active in the profession or represent a leading practice, even though there are schools with another recruitment policy within the arts, hiring mainly on pedagogical merit, as mentioned earlier.

More Statistics After having stated in chapter one, the second paragraph of the Higher Education Act that all education shall be on scientific or artistic base, there is an additional statement to underline that scientific and artistic research are considered equal: What is further said about research includes also artistic research, unless otherwise stated.

One of them concerns statistics. There is no development without statistics. We know this from our professional activities on the market, where funding is based on numbers, one of the steering. This goes also for education and research. To promote an increase in research funding to the universities, funding from the VR, or other research financiers, you must be able to show what goes on in the field, how much is done and what it costs.

All other fields of research are listed within their subject areas, defined by the Organization for Economic Co-operation and Development, OECD16 which among other things is responsible for international statistics and the PISA study17, something school politicians are extremely occupied with. In the listing of fields of research, artistic research comes under the humanities, hidden inside art studies.

This makes it hard for us to show what we are doing. I suggest that there is a need for a new listing of fields of research that highlights artistic research to the same extent as scientific research, so that we can argue for a better infrastructure and specific funding. One way would be to develop our national lists and thereby show the strength of the research conducted under the Swedish model, while OECD keeps thinking about what to do with artistic research.

The proposal has been distributed to a number of countries and organizations, who in turn have sent it on to OECD. I was recently reminded by Giuseppe Silvestri, Professor Emeritus of the University of Palermo President of the Music Conservatory Vincenzo Bellini , that just twelve years ago it was considered impossible to list artistic research.

This is a quote from the Frascati Manual p. The Frascati Manual was revised in and this is what it now says on the same subject: 6. What About Quality? For us as artists it is crucial that examinations and development of quality criteria are done in a peer environment. Quality criteria are set also by publications and forums for presentation.

When the government invests resources in an area, there must be some feedback to guarantee a value for the funding. It is therefore urgent to act on the lack of national co-operation in the area of quality assurance.

The work done by the Ministry of Education and Research is also vital, for instance through If the subject of artistic education and research is regularly discussed in these dialogues by university directors vice-chancellors, deans, prefects, heads of administration , this must be communicated into the system, not passed over as something peripheral. A university that conducts artistic research must clearly include this in its overall research strategies.

This is not always the case today. It is simpler and more obvious for those art universities that have artistic education and research as their prime objects. Some of the quality assurance in research concerns archives and accessibility. The artistic research done within academia, both research education and senior research, must be made accessible in the full complexity of its presentation: as exhibitions, performances, concerts, films, objects, text, etc.

This situation is not fully in place today. I consider that this is a conclusion by someone without relevant insights or without access to relevant information. This is where artists as researchers must take more responsibility and stand up for our research and insist on participation in the fora we depend on for the development of our field of knowledge. There are quite a few digital peer-reviewed publications on artistic research in Europe and the number is growing steadily.

This is a platform where you can open an account for free, work with your project and make material available for access and dialogue whenever you want. In there were close to 3 accounts in RC. In thirteen institutions were Portal Members, i. The agreements would regulate how peer-groups should be appointed.

The distribution of resources within science is today highly dependent on bibliometry, i. There are ongoing efforts to build up bibliometric systems for artistic research at several Swedish universities, for instance GU and UmU; one example from Finland is the Aalto University. This presupposes the evolution of a peer-culture, of 27 To simply give each other credit.

The strategic development of artistic research must be secured through the administrative regulations, regulations for employment and research strategies of the institutions. As a staffer you can influence this by joining collegial boards and other decision-making organs within the institution.

In the end it often comes down to funding. How do we get funding for our research and our artistic production processes? Research Funding When you apply for funding, or when you want to make a presentation or publication, you are subject to competition. For professional artistic activities in Sweden there is the Arts Council29, which distributes state funding to the regions, to institutions and independent groups and there is the Arts Grants Committee30, which distributes state funding to individual artists.

Since the Arts Grants Committee also has the oversight of economic and social conditions for artists through analysis and evaluation. Both the Arts Council and the Arts Grants Committee take an interest in artistic research, but no funding designated for this purpose. Besides these national authorities there is also funding of artistic activities through regions, municipalities, foundations and private institutions, sometimes also for artistic research.

About professional actors, dancers and musicians are employed there, when they are out of work. The alliances do not provide funding, but by paying for training, skills development and continuous education, they do contribute to artistic research. I also know of a small number of artists, who have been able to finance research and productions via crowd-funding All Swedish higher education institutions receive state funding designated for research. These funds are distributed by faculty boards or other board structures.

Besides the resources provided by the institution, every researcher is expected to apply for external funding. Many apply to VR, which has a committee for artistic research, but artistic research is the only field without a permanent secretary and without representation on the board.

This means that VR does not include artistic research in its overall work for research infrastructure, nor in its international oversight. It would be useful if VR could treat the artistic research fields in the same way as the scientific.

That would also promote cross-discipline cooperation. There is considerable interest in collaboration between art and different fields of science, which would be easier, given greater autonomy for the artistic research field. Independent parties always do better work together, compared with a situation when one party is dependent on the other.

Another strong wish expressed by different researchers is to develop the application system, so that it is better suited for artistic research, for instance by accepting other media visual, audio, etc and not just text. If we as artistic researchers were better represented in the fora where research infrastructure is discussed, progress would be faster.

As mentioned earlier, most researches are expected to find external funding for their work. They have to put considerable efforts into applications and reports. Much time is also spent on explaining the aim and purpose of the projects more on project descriptions in chapter 3. The international board at PEEK consists of six people, artists and academics from different countries and fields of art.

None from the host country. Applications are in English. The whole board has access to all applications, but the responsibility for respective projects is shared out among the members. The responsible member recommends peers. Each project is distributed to twothree peers, anywhere in the world, with relevant knowledge for the specific project.

The responsible member will also examine the project. The entire board then discusses the projects based on a presentation and recommendation, their own competence and the different peer reviews. After that a decision is taken on funding. A positive decision means full funding. The peer reviews are anonymized and forwarded to all applicants after the decisions are made. At PEEK there is also a special programme aimed at In Sweden, VR works somewhat differently. For artistic research it has a committee of seven national members.

The VR board appoints these members out of candidates proposed by the universities. A number of members must be active in artistic research and represent different art forms. The committee is delegated for this work by the VR board. The committee treats all applications, but can invite a person with complementary competence if needed. This expert does not take part in decisions.

Applications are in Swedish with a summary in English. Projects can be approved with full funding or partial funding. Sweden is a small, rich country that invests more in the arts, in education and in research than most other EU countries. On the Universitas ranking Sweden comes in as no 2 in the world after the USA in terms of quality of studies, research facilities, resources, etc.

Rankings are very much based on resources. Qualitative systems in different countries are now trying to design ranking systems also for educational institutions within the arts. The annual meeting of ELIA in asked the board to deal with this task. Friends of ranking argue that this also guides students to the best programmes and contributes to raising staff standards.

Much of my reasoning here concerns questions that are mainly a task for university boards, vice-chancellors, prefects, deans and research coordinators. If all is well within the fields of artistic education and research, these positions are properly staffed by artists on artistic merit or other people with deep insights and a close link to the disciplines they are in charge of.

They are bestowed with power over resources, organization and steering. It is important that we as artists and researchers understand the mechanisms that affect our everyday life, that we have knowledge There is no such thing as fairness. However much we fight with criteria for decisions, they will always to some extent be subjective. Fairness is sometimes an argument used to explain why artistic researchers cannot compete for production resources with other artists on the market.

It is reasonable that those who get paid by academia cannot demand funding for their own participation, but the rest of the production resources for a public presentation should always be able to compete for funding on equal terms. One condition for frontline artistic research in the performative arts is the application of the research in a public production that can be expensive to produce, may involve many participants and often goes beyond the research project itself.

This is a discussion we must have with the authorities that decide on funding and financing, such as the Arts Council and the Arts Grants Committee. What also needs to be protected are the democratic and collegial structures that today guarantee decision making and a level of transparency that clearly elucidates both criteria for decisions and motivations for what is decided.

The Critics The academic world can provide knowledge production and insights about art with the relevant competence in administration, staff and research platforms. How successful this activity will be is dependent on which artists want to participate and how we manage to take responsibility, avoid territorial wars and collaborate with colleagues, also in other fields of knowledge.

There are still those who question artistic research, not just among academics and theorists who dismiss artistic methods and processes as unscientific blather, but also among artists who fear an academization of art and the formation of a second-rate caste of artists, i. Other misunderstandings include the idea that artistic research is aimed at explaining art or that artistic research is simply humanistic research with artistic elements.

There are also those within the humanities, who are opposed to artistic research on the grounds that they are already engaged in what we say that we want to do, when they work practice-based, do research about art or when artistic forms of presentation are used to popularize or communicate scientific research.

Another reason for opposition within the humanities is simply the competition for research funding. I have a sense that the humanities have traditionally been short of funding, both for education and research. And now we come from the arts and demand our own funding… The fact that we have come this far in Sweden depends on artists, who have stood up for their disciplines, produced qualitative research, made relevant demands and argued for a development.

Academics within the humanities have also done a lot of good for artistic research, particularly those who have seen the importance of artists doing research and being engaged. Together we have asked for the opportunity to conduct both advanced research and education, stood up for our disciplines as something more than just skills training. Her article is interesting and includes other aspects than I have covered.

My interpretation is that it is not artists as researchers who consider that the field is under development. This comes from other people, for instance within the humanities, who do not feel at home in the research structures, methodologies and practices established by artistic researchers. It may also come from critics in the media or other debaters.

From my perspective I see qualitatively very prominent artistic research environments and truly awful environments — just like in most other fields of research; good and bad researchers, good and bad research, good and bad environments. A field of research should be under constant development, which is what we are. The question that should be asked instead is this: What does it mean when after almost forty years a field of research is still not owned by its own researchers? Artists, researchers and decision makers from many countries, look at the Swedish model to find out what impact artistic research has on art.

We can also see that many artists come here and contribute to the establishment of stronger international research environments. As artists, we have always been willing to move about, looking for markets and possibilities to conquer what we need to attain our goals.

But we must clearly be aware of the development in general. Even I worry about the development. The Situation in Some European Countries Working as an artist and artistic researcher demands consciousness of the international context. All countries have different laws, regulations, cultures, traditions and conventions when it comes to artistic activity, as well as the politics of artistic education and research.

Artistic research, arts-based research, practice based research, research in the arts, artistic development work… There are a number of labels used in this field that somehow indicate different definitions. In some countries the idea of artistic research is still completely ruled out.

In those cases research must be scientific, but can be art-based and presented as a practical work, as. The reader gets acquainted with the definitions mentioned above and their historical background. Henk is a musicologist, who has dedicated his own research to the field of artistic research. With his work he has contributed among other things to practice based research in music, to research infrastructure and not least to the development of JAR.

For this he has earned great respect among artists and researchers in various disciplines. More and more artists in different countries show an interest in artistic research. The commercialization of the art market makes artists look for alternative ways to deeper insights in their own work, in relation to the work of others, in an international context.

Even the market players move into this area. They place the emphasis on playfulness and the kind of risk-taking that triggers a dynamic discussion about our transforming world. Other fora like Documenta in Kassel exhibit scientific processes and findings as art. In Stockholm, Bonnier Konsthall and Tensta Konsthall both co-operate with scientists and artistic researchers.

There are also individual artists who exhibit this interest, like choreographers Emio Greco56, Jan Fabre57 and William Forsythe58, who have all started their own research labs. Wim Vandekeybus59 has research activities as well as DV Koen Vanmechelen61 opened his own university, The Open University of Diversity, when the Belgian system did not want to accept his activities as research.

They are all men. Many women do research, but they rarely build organisations or structures around their projects. One exception is Anne Teresa de Keersmaeker62 and P. Look at the younger generation of artists, look at the home pages of innovative artists you are interested in. This is a new challenge to the higher artistic education and for artistic research.

Here are some brief examples of the status of artistic research in a few European countries. Sometimes it is difficult to translate descriptions of systems and programmes, since different countries and cultures use one and the same word to describe different things, but this is what I come up with: Austria The six most important art institutions have university status since Their research programmes are mainly tuned towards philosophy and the humanities. In the University for Music and Performing arts in Graz65 started a three-year doctoral It is designed for artists with a well-documented artistic practice and experience of research or investigative, innovative practices.

One of the main actors on artistic research, the University of Applied Arts Vienna68 states: "Some research institutions base their development of internal logics on expertise, drawing on exemplary forms of cutting-edge practices, while others have gone in the direction of designing options for the present while reflecting on the future. Both are rewarding approaches for both art and science. In Austria there are no fees for education except for non-EU students.

Professional artists may apply for funding if they can show an infrastructural connection to a higher educational institution. Belgium Higher arts education in Belgium does not have university status, and must co-operate with universities in order to confer doctoral degrees. The Orpheus Institute72 in Ghent has a unique position within the field of music.

It runs an international research programme and post doc activities: the Orpheus Research Center Together with the research coordinators within the Flemish conservatories74 the Royal Conservatory of Antwerp, the Royal Conservatory of Brussels, the Royal Conservatory of Ghent and the Lemmens Institute75, they have created a platform to share good practices in artistic research and research education.

Hogeschool Sint-Lukas76 in Brussels runs a socalled Master-after-Master programme and a research programme called Transmedia. No degrees are awarded on artistic basis. As far as senior research is concerned it is fair to say that music leads the way. The Orpheus Institute stands out in this respect. The committee screens applications in this field. The Croatian system of higher education comprises 10 universities consisting of 67 faculties, art academies and schools of professional higher education , 14 polytechnics and 23 colleges of applied sciences.

Art Tuition fees are determined by each institution of higher education. One university with prominent art academies is the University of Zagreb79, founded in , the oldest continuously operating university in South Eastern Europe. The University of Zagreb Senate adopted new statutes for the university in England In England the word science is primarily applied to natural sciences, excluding the category known as humanities, which is often placed alongside or including arts.

Artistic research, known as practice as research in England, was initiated in the early 90s and mainly conducted within the fine arts, design and performing arts faculties of universities. While much of this research might be described as about and for art and has been practice based, in the last ten years an increasing number of research projects have been through practice, wherein practice is the site and outcome of the research.

A degree always demands some kind of written element and the nature and extent of this varies between universities. The programmes are mostly three-year full time, but many students are studying part-time. Today many art schools have university status. The Royal College of Art82 is known as an independent post-graduate institution. Another prominent actor in the field of practice as research is Goldsmiths University of London If you sign up for a practice based PhD, you are expected to present your research in a series of artworks and a written thesis of 40 words.

A doctoral degree is generally required for a teaching position at the university level and is sometimes needed to apply for research funding. While PhD candidates still look to academic careers, the artist as researcher undertaking doctoral studies is also often looking for self-development and have other career perspectives.

In Practice as Research there are developments across the university sector of a more experimental kind. One example is the Centre for Research into Creation in the Performing Arts85 ReScen under Middlesex University, a cross-discipline artist driven research centre, which has been in existence since Middlesex also offers an ArtsD Doctor of Arts , which is designed explicitly to give opportunities for exceptional art makers across disciplines to study at a doctoral level wherein the main focus is the development of practice.

Finland In Finland artistic research has a long history. The Aalto University opened in as a multidisciplinary university, comprising the School of Economics, the School of Arts, Design and Architecture including media, scenography and film and the four Schools of Engineering that were formerly the University of Technology.

Aalto University was the first to offer a postgraduate degree The Sibelius Academy also started The Theatre Academy followed in Since then all research including research in art pedagogy belongs under the umbrella term artistic research and includes art practice. The Academy of Fine Arts was committed to artistic research from the start. It offers a Doctor of Fine Arts degree with an emphasis on artistic work of high quality and artistic research in the associated artistic fields.

Today all doctoral work is performed on artistic basis at the Theatre Academy and the Academy of Fine Arts. Artistic research education as a four-year programme was instituted in Doctoral candidates are accepted without funding and are rarely salaried.

All others have to finance their studies from private or other independent funds. From the outset, examinations were predominantly theoretical, but have managed to expand the scope for and faith in artistic practice. This is particularly noticeable in the Academy of Fine Arts, which in has 37 doctoral candidates. The University of Lapland Faculty of Art and Design88 has entered the discussion on artistic research and now promotes practical doctorates.

It does however acknowledge the existence of artistic research and offers some funding, but these projects compete with projects from humanities. France In France, there is a distinction between art schools answerable to the French Ministry of Culture and Communication, and university art faculties answerable to the French Ministry of Higher Education. There are also specialized applied-art schools, some of them answerable to the Ministry of Higher Education and others to the private sector.

The Ministry of Culture, together with the Ministry of Higher Education have, as an adaptation to the Bologna system, created centres of excellence in artistic education, through multi-site or multi-disciplinary institutions, in close cooperation with the university system.

Post diploma degrees 3rd cycles have been implemented since at different research institutions. A major issue in the new reform is to give the art institutions a greater opportunity to engage in artistic research. Arts Plastiques ; these degrees are not on artistic basis and demand a written thesis to go with the artistic representation.

Art schools can as yet only offer diplomas based on individual art or design projects as an initiation to research. What is mostly labelled as artistic research and research training in France, can be considered a part of the humanities and research about art. There is no funding designated for artistic research on artistic basis.

The National Agency for Research95 has some funding for practise-based research. Germany There is no such thing as an artistic degree at the level of research education in Germany. Artists are accepted within the traditional PhD system at several universities. The most radical methodologies These institutions offer degrees for practice-based research on scientific basis.

In addition, UDK has a wideranging research programme within philosophy and the humanities with a profile on the arts. All these programmes are predominantly theoretical. There is no public funding specifically allocated for artistic research. There is also artistic research education practise-based although on a scientific basis with a clearly theoretical content in Cologne Artefakten, since and Hamburg Offenbach, since Merz Academy in Stuttgart has a joint research project with the Academy of Fine Arts Vienna, to give a few more examples.

There are also artistic research practices that are not labelled as research. The composer and director Julian Klein and a group of artists have worked in this institute since with intra-disciplinary art projects together with scientists from different fields of art and science. The discussion about artistic research is very lively with a strong focus on the lack of art-based academic degrees. Some critics claim that a Doctor of Arts would carry a lower status than a PhD.

Others worry that a Doctor of Arts degree would force the arts into old-fashioned academic structures. There are professors appointed on artistic basis, but they are engaged in teaching and have no time for research or tutoring like professors appointed on scientific basis. It was initiated in as a national research school on the third-cycle-level on par with the Norwegian PhD programmes. In its first eleven years of existence, the programme has employed some one hundred fellows, of which 41 have received degrees.

In the autumn , there are 53 active research fellows. A significant difference is that the Norwegian programme is for three years four years in Sweden. In Norway it was also decided to use This distinction is rooted in the Norwegian legislation regarding higher education, where kunstnerisk utviklingsarbeid artistic development work is defined as an aim for the educational institutions on par with forskning research.

The dissertation is primarily a documented and commented work of art. No demand for a written text. There is a request for critical reflection, with the format open for the fellow to choose. Since there is a new funding scheme for artistic development work directed at post doc researchers, senior lecturers and professors senior research. This funding is distributed by the same committee that runs the fellowship programme. Other art education is conducted in faculties of art at the major universities.

More than a hundred PhDs have been deferred within fine arts at the National University of Art since the programme was instituted in All programmes demand a Master of Arts MA. Both the MA and the PhD are mainly theoretical and the degree is awarded based on science. Switzerland Higher arts education in Switzerland does not have university status. Most of the programmes demand a written thesis. There is a total of seven Art and Design Schools in Switzerland with research education.

It has the longest, most varied tradition in doing artistic research and it offers an artistic PhD. The school in Berne runs a joint doctorate programme with Berne University, which is a more scientific yet art-based PhD. The other four art and design schools in Switzerland Basel The develop-ment of these schools is still at an early stage. As far as senior research is concerned, Switzerland is not that far. The first generation of PhD or doctoral students will get their degrees in There are some Swiss and international post docs affiliated, especially with the various research units of ZhdK.

The Swiss National Science Foundation provides funding for artistic research as well as some private foundations. There is most often a fee for the doctoral candidates. How much you have to pay varies. One example is the school in Berne where you have to pay Swiss francs per semester regardless of nationality.

Political Strategies — How to Make the Impossible Possible Many artists are thrown between hopelessness read: powerlessness and success read: empowerment. If we want to take power over our lives and activities, we must take responsibility for what we claim to be and what we wish to do or what we do. In order to do that we must understand the context within which we work and we must express ourselves. We know how to express ourselves and we do it through art, but also in conversation, by text, public discussion, by networking to give voice for many people — and through research.

It is both exciting and important to make art visible as a possible road to the knowledge and the insights we would otherwise not gain. To make you aware that it is fun, frightening and absolutely essential to make art — as art — take a place in our everyday lives and lend a voice to that which would otherwise not be heard.

Our communicative skills are honed through art. Artistic representations raise our awareness of the importance of art for the We also put up resistance against the increasing commercialization of art by demonstrating alternative strategies for the creation of realities. The acceptance of art as a field of knowledge is crucial for this process to take place, without the artist being forced to rely on idealistic unpaid fringe activities, as is now the tendency in many countries.

To be an idealist is not in contradiction to taking a political stand. As an idealist you must always relate to thinking and how your own ideas connect to the perceived reality. Today there is a merger between these expressions. There are other competences than artistic ones that develop through and within artistic activities, such as leadership, pedagogy and didactics.

Many artists work in teams to deal with very complex contexts that often put great demands on the ability to communicate and pedagogically transfer content through didactically relevant methods. Many artists work with projects involving large budgets and logistically complicated sequences, which puts great demands on leadership. Many artists are continually subject to being scrutinized critically and commented on in the media, which sharpens communicative capacities and strategic thinking.

Many artists are strong entrepreneurs, with an amazing ability to find solutions for what seems utterly impossible, that is to produce, distribute and sell activities nobody ever thought they wanted; to create a market. Many artists contribute to development, not just of the arts market, but they interact and influence other branches. Art and artistic endeavours have many positive side effects.

Some of those side effects are driven and developed by research that has art as its object. Strategic Choices Strategies for political action and for artistic endeavours, must be shaped specifically in relation to the cultural context.

From my perspective it seems that in Sweden, as in the rest of Europe, both educational and research policies have been dominated by a utilitarian concept in the first years of the new millennium. Oftentimes art is not seen as an asset — as simply art — but rather as an artistic skill to be used for other sectors in need of a creative stimulus and the techniques of creativity.

In all this mirrors a possibly commendable wish to illustrate the use of artistic activities, but the end result is that art become less visible as art. Society will lose many of the voices that contribute to a deeper understanding and dialogue about the contemporary by critical reflection and their ability to stimulate creativity and innovative abilities.

Instead, they focus on the politics of subsidies, support systems and old-fashioned institutional, sometimes even industrial, practices. Both these fields of politics act to my mind far too much in a national context, failing. We do, but today it is not enough to produce art. We must also collaborate and act on other platforms. Within universities and higher educational institutions the tradition for critical examination must be maintained to make way for new thoughts and progress.

That is where new insights will be gathered and knowledge developed that will help us move forward. I claim that strong, radical educational programmes should give the student tools for a professional career as an artist based on individual choices and visions. Developing skills to work on traditional markets or in the creative industries is just a bonus.

The goal for higher education and research is not to service existing markets, but to foster vivid discussions and develop future markets. A good political strategy is therefore to simply produce art, artistic knowledge production, critical reflection and good conditions for communication of all this. For some of us the word itself, the debate, the text or the research can be the way.

That is how we have influenced the development of the Swedish model. But there is still need for an aggressive argumentation and strong visions in favour of art, of the opportunities it offers both in relation to our past and what is to come. Sweden is a small, democratic country with a relatively short distance between the general public and the government, which facilitates a dialogue with the powers that be.

So what can we learn from our experience of different political standpoints, educational systems and market structures? We must work with each other — not against. We must work in an international context that facilitates the development of good research environments. The more knowledge we have about regulations and other restrictions, the better we can be at Some artists are better at this than others and that is how it must be.

We should help each other. Everybody cannot do everything, but we must look at each other with open eyes and pay respect where it is deserved. If we, from our artistic experience and competence, learn more about the systems, regulations and statutes that organize our society, we can more easily make use of them and strengthen the conditions for good work and research processes. With insights about things we perceive as shortcomings, follows a responsibility to criticize and suggest improvements.

We cannot limit ourselves to what we think is possible or impossible. We must gain knowledge. We must be aware. A good policy for culture, education and research opens vistas to new ways of looking at the world.

It widens our definition of knowledge to include also bodily and practical experience as carrying a meaning, it relies on other forms of knowledge and an expanded definition of language. The diversified artistic research collaborates with many other fields of knowledge and players, nationally and internationally, inside and outside of academia.

What we lack are strong peer fora and the dialogue between these areas within politics. As I see it, the political system creates demarcations between those who should co-operate, conserves cultural-bureaucratic systems and hinders those who should help each other. I believe in the importance of knowledge, critical thinking and action.

Progress is not driven by normalcy or averages. Research and innovative artistic activities challenge conventions and stretch the limitations that fence in our thinking and our activities. As artists we stimulate progress. We hold the empirical experience of art through which we relate to reality, interpret it and reshape it. In this respect it can be argued that our work is hermeneutical. Hermeneutics is a scientific term for interpretation; originally of biblical text, today a way of exploring the basic conditions for human existence.

Research takes time. Dialogue takes time. Inherent in research processes are the academic systems of inertia, which bring forward an attitude of slowness and patience, to me a kind of artistic, tentative exploration. As artists we are often told that what we want to achieve is impossible. Years of training have helped me acquire methods of constructive rebuttal to such statements. I resist efforts to force movements into conformist boxes with this response: Who are you to say that what I want is impossible?

What right have you to judge my world of ideas? Then I turn the perspective around and ask myself: What is it I wish to explore? Methodologies In our daily practice we develop methodologies. The method or the methods are the answer to the question: How? Practice makes them gradually more familiar and possible to describe. If you have several different methods in your work process you can combine them to a methodology. What is it I do?

How do I do it? If you are pleased with how your work processes and the work develops, you are probably also pleased with the methods used to achieve this. Most artists I know are not pleased. They live with the doubts that are generated by critical scrutiny and a will to develop. That is when that other question arises: How do you do it?

This is the decisive question that announces a readiness to dialogue, to discuss our processes in order to find out what we can learn from each other. Add the question: What do you do and why? And you have the prerequisite for a good research environment. Methods grow out of the process generated by the work and contain the tools needed in work logistics. In regular art production, we normally do not need to define our methods or express ourselves in relation to others. The need arises only in relation to an educational situation or in research, or if we seek dialogue to develop our ways of working.

The choice of methods says a lot about our different attitudes toward artistic creativity, toward processes, research, politics and toward the notion of art. In artistic research there are no standard methods. We have a great acceptance for individual or genre specific methods and the evolution of methods over time during the process of work and research.

An artistic researcher works mainly through artistic methodology, although some find support also in scientific methodologies. Artists who distance themselves from artistic research as too academic often have experience of for instance the British tradition, where the emphasis often has been on systematization both of artistic methods and processes, with ideas of using scientific method terminology as the starting point for exploratory practices.

This comes from the tradition of practice based research or practice as research, which I will return to below. One example. The intention may be benevolent, but out-dated and based on a form of pedagogy that most arts programmes have discarded a long time ago. The situation in England is developing and today you can find higher educational institutions working with the focus on artistic knowledge formation.

A useful way of discovering your own methodologies, is to reflect over the work process through text in a wider sense, i. This is training to break silence, stimulate critical reflection and it leaves a material to study your practice afterwards, or make available to others, who can help you to new insights.

It can also contribute to insights that will motivate you to write and develop an artistic theory. Various fields and directions within the arts often develop different reflective formats, using different media and attitudes. In daily positioning, for instance to the relation between the process and the product, between the performer and the audience, the representativity of the work is reformulated over and over again.

If you practice critical reflection it will add argumentation for the development of the work. What validates it? What motivates you to insist on dialogue? A methodology is a collection of tools in the work and research process that describes how we do what we do.

It develops over time, during the work. The methods are revised to stay relevant. The methodology shall not only carry the work forward in practice, it must also provide ways of dealing with doubt, hesitance, shortcomings and other problems. Sometimes it is as important to have good methods to handle success.

We know that failure is more formative than success. To be able to handle success as positively formative it is good to develop methods also for this. Methodology also highlights attitudes toward creativity, toward Being able to talk to others, to show and in various ways share insights about how we work is a good source for progress.

Theories Artists establish theories by theorizing their practice. Textual work by artists is an important part of the success of artistic research, since these artists express the formation of meaning and creation of reality through art and thereby make their thinking available, not just in practice or through an object, but also in text. My interest in movement connects to theories of immateriality.

How bodies behave and act inside a certain form of productive system, such as the one defined by communication and flows of information. Technology plays an important role in information reproduction and circulation.

What I would like to formulate practically and theoretically throughout the next years is the notion of incorporated technology and how it affect us both physically, emotionally and affectively. With this project I would like to look for other formats of writing about work, to get beyond explanation and clarification.


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