Artistic Research

A permanent process of zooming in and zooming out

The focus of the master’s programme is on artistic research in and through cinema. In our view artistic research starts from the acknowledgment that in the creative field, doing and thinking, practice and reflection are intrinsically related. It’s in and through practice that theory or concepts are developed and it’s through thought and conceptualization that practice is broadened out and deepened. 

The participants’ research should be related to concrete projects or fascinations that they wish to develop during the master’s programme. The relation between research and project can differ: the research could lead to the project or it could come out of it. And it’s equally possible that the research and project are the same: the research ís the project, the project ís the research. Generally the research extends any particular project and will thus be a source of inspiration for future projects; it is a continuously growing reservoir of experiences, knowledge and experiments that one can tap into at any time. And because its extends any particular project it can also be relevant to other professionals or even to other fields of knowledge. Artistic research as a form of knowledge production.

It’s essential to stress that the research projects we’re looking for are not limited to research in the field of art film or arts more generally. The course is equally open to interesting research within commercial or mainstream cinema and similarly to research projects that have a technical or applied focus. 

Artistic research characterized by four elements

  • developing one’s identity or subjectivity as maker and researcher
  • researching and defining one’s methodology
  • researching through experimentation
  • articulating and conceptualizing the process and outcomes of the research 

These four elements determine the exit qualifications of the programme and resonate in the structure of the course.

Artistic research, in the sense here described, distinguishes itself from both academic research and the research that’s customary in the film world. It extends customary film research in its attention for the subjective drive of the maker and in the need to articulate and conceptualize the outcome of the research. The attention for the subjective drive also sets it apart from academic research, from which it also diverges in that artistic research is not necessarily about working within a clearly pre-defined theoretical framework and / or about doing experiments that can be repeated or refuted by others. Instead, it is about thinking outside the box, finding one’s own process and developing one’s own method.