Artistic Research and Art Education: Singularity of Entanglement

If art education and art didactics such as Artistic Education or Artistic Art Education are no longer based on educational thinking but rather on art, then it must relate to the gain of knowledge of artistic thinking and acting and the interwoven with them to gain knowledge and educational processes from the arsenal of the artistic forms of thinking and action used here. Artistic research, as a specific form of artistic thinking and acting, can help to broaden 72 Synnyt / Origins | 2 / 2019 | Non-peer reviewed | Full paper and deepen our understanding of the social and personal relevance of this alternative view of the world and self and the repertoire of artistic investigation. It then forms a reservoir of methodological possibilities, which are of great relevance for art didactics and methodology.

Nicolas Weisenburger fills with his diverse visual and textual considerations two portfolios, of which I would like to present the first volume here by way of example.He is dedicated to the intensive examination of his own research question "The artistic research process on the alienation of barks, tree and fragments in drawing, painting and printmaking" (Weisenburger 2018) mainly in the medium of drawing and painting.Volume II, on the other hand, extends the investigations into the field of printmaking, more precisely to gravure printing.I show them here, therefore, to make it clear that artistic research and artistic thinking (and action) can be seen in a processual way and that occur in a process of different steps in a finding process as a tentative search process.This is characterized by a high degree of identification with the matter, the object of investigation and a non-linear course of investigation, which is open to coincidences, by-ways and abortions.In a specific way, which is by no means undisputed in the discourse on artistic research, research at the levels of the sciences and the arts is decisive.Artistic science, artistic research and artistic project work together form the further work but also with artistic research.This forms the core activity of an artistic education or artistic art education with its trinities of research, construction, transformation (operational elements) and induction, experiment, contextuality (structural elements).In addition, Aesthetic experience, Art experience, Artistic experience as three moments of artistic competence.Art education is based on a performative didactic that finds itself in (spiritual) movement.This is characterized by the principle of chaos, movement, form (processual elements).Artistic research is a transition zone between scientific research and artistic project work.
artistic research, including the intensive artistic project work and the contexts integrated in it, forms artistic thinking.This, in turn, makes it possible to increase artistic competence and art-teaching art didactic performance.This is essential in scholastic and extracurricular artistic educational contexts.Weisenburger subdivides the individual examination parts in his artistic portfolio or workbook.These range from "Aspects of my artistic personality -a self-reflection", "experimental situations", "expanding contexts" as "intermezzi", to subsequent "reflections on the course of action", to "didactic considerations" and to media changes (Weisenburger, 2018).
In advance, the student sends a motto that frames his own research metaphorically: "With proper care, a small seed can grow into a large tree that can bear many fruits.All of these fruits will become seed for new sprouts, a dense forest over time" (Weisenburger, 2018).
The procedural actions Nicolas Weisenburger presents as follows here.

Self-responsibility
The self-responsibility for this development process is taken over automatically by those students like Nicolas Weisenburger who are involved in it, and these are increased in the course of the rapprochement.However, this is not primarily about the well-known methods of art history (eg the iconological-iconographic method of Erwin Panofsky), which are to be found on the reception-oriented side, but much more concerned with the producing side of artistic thinking and action processes and the resulting outcomes.If, in the light of a dismantling of the concept of genius, it is not just about divine intuition, artistic intuition, or foreign beings who order to "paint the upper right corner black" (Sigmar Polke, ironically, underlining the understanding of the genius), becomes more or less uncovered conscious acts of aesthetic-artistic thinking and acting, which open up the production process itself, hold it for a long time and end it.Under this question, students can also relate to their own artistic thinking and action practice and further sensitize themselves to research awareness.p. 59).That art in the sense of artistic research is an epistemic practice.

The future of contemporary art
In pointing out the manufacturing process and the constant critical questioning, in the sense of scientific research, probably also the future of contemporary art, which does not want to be consumed by consumption and global production or solidify into formalism, "is a stronger focus the aesthetics of production" (poiesis) (Mersch, 2015, p. 14) in the sense of production aesthetics or aesthetic production rather than aesthetic experience, on design and creative practices that operate in the sensuous.For the transformation of the classical concept of knowledge and cognition in the sense of the abolition of discursive connotations, for the award of medial practices of operating and experimenting with a view to the aesthetic production, the "event" for a "knowledge" and its "production" with the respective production conditions in concrete manufacturing practices to be opened up (poiesis) (p.14).Significantly, in these processes of art, the producing hand, with its diverse practices, and the obstacles, movements, material resistances, and technical difficulties that come in the art of making it, are called the "eventfulness of the performative", i. E. that which you at the same time 'miss ' and 'befall' (p. 14).

Thinking in other media
Mersch favors in his reflections on current practices of aesthetic knowledge education thinking in other media beyond the usual language action, that he understands as practice, as acting with, in and through materials: 'Thinking' is then understood as a practice, an action with materials in materials through materials -for example, through the placement of colors -or with media in media or through media -for example, through the brush, the stroke, through a specific medial arrangement or by the approach of sound, etc., -without this, however, already the tacit knowledge, as it has become relevant for science research, to give preference.From Synnyt / Origins | 2 / 2019 | Non-peer reviewed | Full paper his point of view, there is a wide range of strategies, methodological rigor and discipline in dealing with principles such as observation, material and field research, rehearsal and modeling, systematic study of different sources, experiments, self-built laboratories.Here, the meta-level of reflection is a necessary follow-up work that consists in researching research, investigating investigation methods, confusing objects, disrupting series of experiments, questioning work as a work, as well as the relationship between production and chance, including Modes of publication, documentation and exhibition (Mersch, 2015, p. 61).

No static information
Even if the production of the form of knowledge is closely linked to its presentation, the art scientist Johanna Platter argues that it can become a form of knowledge.Knowledge does not show itself as static information about the aesthetic object, not the final product of the artistic process is relevant, but the performative production as 'release of knowledge'.In artistic research, Platter sees a focus on the specific way of dealing with the respective subject matter (Platter, 2016, p. 244).This art is about the induction of effects, jumps, instead of intentionalities and calculated uses as a result of a precise plan with previously imagined "finalism of the work genesis", instead of the act of "unlocking" and "free-settling happening" (Mersch, 2015, p. 12) in the midst of aesthetic practices.It's about openness, openness and impact, without knowing where to go.Production of art manifests itself in self-exposure as self-generation from something that comes before thought and to which no language can reach, in liminal zones of transition, in the no-man's-land of the uncertain, in zones of the transitory.

Singularity of entanglement
"It is the singularity of entanglement in the world, its violence or subjectification that are under scrutiny, so that the meticulous work of art is to consider each of these aspects as well as the