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MaHKUzine1 2006

MaHKUzine1 2006

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Published by: nighb on Sep 05, 2010
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01/30/2013

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5711161923333742444853566164 
editorial is the medium still the message
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rethinking engagement 
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research reports
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Mahkuzine #
1
is the first edition of a biannual series published by theUtrecht Graduate School of Visual Art and Design. Mahkuzine hopesto initiate a
21
st
century discourse into the topical world of visual art,editorial design, spatial design in both interior and urban settings,and fashion. That discourse should provide links to a novel field of research, called artistic research. Indeed, that is an ambitious project.So, let’s put forward some basic questions as a direction for analyticminds. What could artistic research mean in a variety of fields such asvisual art, editorial design, interior design, urban design, and fashion?How does artistic research differ from the research conducted in fieldssuch as natural science, psychology, or anthropology? What kind of knowledge does artistic research produce?
Paradigmatically, one could claim that research in the field of designis colored by transdisciplinarity, whereas research in the visual artsdisplays intermediality. Both transdisciplinarity and intermedialityemerge in the form as well as the content of the workshops, courses,and programs at the Utrecht Graduate School of Visual Art and Design(M
a
HKU). Symposia such as the series
 Is the Medium still the Message?
;the graduates’ exhibition
The Intermedial Zone
in Museum Boijmansvan Beuningen; and a series of crossover workshops called
 Rethinking  Engagement 
have produced fascinating texts as part of M
a
HKU’scurriculum.
In Mahkuzine
#
1
, all texts deal with elements of both the three basicquestions and the paradigmatic validity of transdisciplinarity andintermediality. In the context of discourse production, they inspire fur-ther reflection in both writing and teaching. And that is exactly whatMahkuzine stands for.
So, what do the authors talk about? With respect to intermediality,Arjen Mulder argues that the question to be asked today is what soft-ware is. Lev Manovich questions transdisciplinarity while stating “Youcan collaborate with people from various disciplines, but if you try todo everything, you will not master anything.” Jeanne van Heeswijkclaims that it goes without saying that “the framework defining artcan be questioned and reformulated from various points of view.”Pascale Gatzen, designs “on the edge of fashion and visual art.” To BibiStraatman, “Design students as post-modern media consumers mustbe familiar with interdisciplinary phenomena such as the consumerculture story of branding”, whereas Matthew Fuller argues that “digitalmedia projects have become so complex that they necessitate workwith people who have skills different from your own.” In chasing
 
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topical forms of iconography, Max Bruinsma claims that iconographiccrossovers generate novel forms of criticalness. And UN Studio/Caro-line Bos argues that the mix of “two typologies of unit based organiza-tion and flow based organization shows that choosing a modernist boxdoes not have to be a rigid principle nor does choosing an avant-gardeblob have to be a principal choice.”
In the context of science crossovers, Petran Kockelkoren tells aboutartist/natural scientist Felix Hess, who equipped his house with largeeardrums, i.e. sensory equipment attached to windowpanes, registeringnatural differences in pressure. Those recorded sounds produced “thesound of the rhythms of nature interwoven with the rhythms of cul-ture.” Annette Balkema talks about electronic, screen based windowswhere “a screen based perception desires to continuously open upwindow after window swarming with visuality and information to bedetected in electronic, compactified forms of depth.” For Esther Polak,“It is interesting to produce new forms of mediations similar to theattitude of artists turning data into sound.”
In Mahkuzine’s section “Research Reports”, Gijs Frieling reports on hisresearch perspectives. In fact, this is the section for reviewing relevantpublications, symposia, and presentations by (M
a
HKU) artists anddesigners in the process of their research projects.
Mahkuzine does believe that all these voices and modulations have thepotential to start spreading the word of Artistic Research while produc-ing an inspiring, fascinating, and topical piece of discourse production.

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