dysfunction-journal

[dysfunction-journal]

DYSFUNCTION #10

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Journée légère décarboner la recherche et la création ?, sous l’égide du réseau GENDER et des Journées scientifiques Nantes Université

6 juin 2024, Nantes Université

Retour sur une journée de recherche s’affichant légère car, après tout, le sérieux n’exclut pas la légèreté. Petit défi néanmoins car les interrogations ont fusé, « Comment cela, tu ne vas pas appeler la journée lé-gè-re ? », « Ça fait pas sérieux ! » « Ça me gêne ce terme de légèreté, il va falloir que tu définisses, que tu justifies… ». Pourtant oui, elle s’est tenue,tendue entre un monde et un autre, fragile mais volontaire, invitant et faisant se rencontrer des cherch-heureu-ses (j’espère) dont le plaisir tout autant que la volonté est d’envisager la recherche, qu’elle soit scientifique ou artistique, avec une polysémique légèreté. Sérieusement, posons le contexte, et ses méandres. L’université de Nantes organise chaque année ses Journées Scientifiques, évènement de mise en visibilité de la recherche conduite dans ses laboratoires. En 2024, certains groupes de recherche transversaux, nommés les Clusters, proposent d’organiser une série de colloques autour de la décarbonation de et par la recherche. Au sein de ces Clusters, le Cluster GENDER approfondit l’apport des études de genre, issues des Sciences Humaines et Sociales, aux différentes domaines Scientifiques et Techniques de l’Université et cultive une attention particulière à l’égard de toutes les formes de recherche n’oblitérant pas les positionnements des chercheuses et chercheurs dans l’espace sociétal. La question de la décarbonation s’entend essentiellement sous un prisme technique. Ainsi, sur le site du Ministère de l’économie, la décarbonation se définit comme « l’ensemble des mesures et des techniques permettant de réduire les émissions de dioxyde de carbone ». Ce regard techno-centré porté sur les enjeux écologiques, pour légitime et utile qu’il soit, mérite être complété, voire guidé, nourri par des réflexions d’un autre ordre. Deux sources ont irrigué cet enjeu de la décarbonation pour le déplacer sur un terrain plus léger : les travaux menés dans le cadre de GENDER et ceux conduits dans le cadre du SAR Special Interest Group (Society for Artistic Research, Special Interest Group « Arts, Economics & Management Crossings  » animé par C. Gauzente, R. Dumoulin, B. Pascaud.) Ce groupe croise les questions artistiques avec les disciplines de l’économie et du management et mobilise, notamment, les travaux sur la décroissance pour proposer des angles alternatifs en matière de recherche. En particulier, en s’appuyant sur la lecture des travaux d’Ivan Illich et son concept de contre-recherche, sont remis en cause les principes tenus pour acquis d’une recherche performante animée par les classements mondiaux, la bibliométrie préférant la quantité à la qualité, la faiblesse des discussions collectives hors-cadre, c’est-à-dire au-delà du monde académique et avec la société entière, des objectifs et enjeux scientifiques. Les membres de la communauté SAR ont été sollicité·es pour livrer quelques-unes de leurs expériences. Les contributions invitées ont, chacune à leur manière, contribué à ouvrir les imaginaires : l’imaginaire de marches que l’on peut rêver à la fois auto-dirigées et collectives comme l’a fait expérimenter Elena Biserna, l’esprit de l’Artlibre que porte Antoine Moreau avec la licence copyleft artlibre qui encourage le partage large des œuvres, la piste de la paresse empruntée par Another Lazy Artist accompagnée par Jacques Rivet et qui vient titiller nos conceptions de l’exercice de création mais aussi de l’exercice de recherche. Ce numéro de DYSFUNCTION garde trace, d’une manière ou d’une autre, de chacune des personnes présentes : Régis Dumoulin, Pascale Kuntz, Aurélien Milliat, Sibylle Orlandi, Benoît Pascaud, Céline Petit, Nancy Sulmont. Mais également la trace des chercheur·euses et artistes hors de l’hexagone adressant un signe contributif pour témoigner de leurs pratiques au prisme de la légèreté et de la convivialité : Desiree Duell et Goner Yener.

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Key Words: Art-based Research, Lightness, Ecology, Decarbonation.

[dysfunction-journal]

DYSFUNCTION #8-9

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Trans-Generatives2030

Trans-Generatives2030 aims at crossing disciplines for generating new ways of thinking and knowing. More than a one-time event (March 14 to April 2nd, 2022), it is a platform for interdisciplinary dialog between trans-generative people, rooted in the universality of human nature and diversity of practices. We value the pluralism of what it means to be a trans-generative person. We celebrate and defend the right to time in the collective life of our communities. For us this is the beginning of a new era and a new conversation. This conversation is necessary to successfully face the grand challenges of the Anthropocene.

From the trans-generative perspective, the Sustainable Development Goals are not meant to define our fate, but are rather a framework for evaluating our present conditions. The clash of nature and technology leading to the collapsing biosphere, puts our collective existence on this planet into jeopardy. A trans-generative perspective on the future is not merely an ideological tool of those who are already here. Instead it provides a secure ground to develop options and opportunity to shape a different kind of future together. This discourse has long been dormant in civil society. It should now become an essential point of reference, bringing together diverse struggles and, hopefully, becoming a way of explaining to future generations what we are about collectively.

Our planet’s environmental crisis has also brought the issue of sustainability into public debate. We are concerned about how to rebuild our communities so that we live and act in ways that benefit our lives as well as our environment. We seek an alternative to the suicidal struggle of nature against humanity. The climate crisis is a crisis of our culture. A trans-generative perspective on climate change opens the way to a new and different kind of life for humans, nature and technology. After all, we are still a long way from integrating the insights of art and nature, as they relate to developing a successful philosophical approach to science.

Public participation is the seed of organizational life, and without it democracy does not exist. We propose to develop participatory organizations as an alternative to hierarchical ones in which voices are silenced by partisan agendas and the exclusion of those who are ‘not with us.’ We believe in a democracy that recognizes everyone’s right to equal opportunity, irrespective of gender, age, race, sexual orientation, religious affiliation or place of origin. We aim to promote inclusion, not as a compromise, but as the best way of ensuring equal opportunities for all and a productive and reasonable debate in the public sphere. A trans-generative vision would stimulate debate that combines public participation and inclusion. We aim to change the way citizens participate in organizations in order to make economics more responsive to the needs and aspirations of the people.

In this perspective, art and the imaginary are not disconnected or opposed to sciences and rationality. Indeed, it is necessary that the insights of art and aesthetics be combined with the hypotheses and findings of scientific research. The arts and creative fields are, and have long been, enriched with scientific ideas as well as the reverse. We accept that poetry may have no direct interest in the divisions of molecules, nor chemists have interest in poems that describe the properties of molecules. However, there is no reason why science and art should remain separated. We have come a long way from the naturalistic view that places art and science on separate planes, and regards them as opposites. The view of art and science as opposites was a product of the Western tradition that viewed a harmonious division of natural science and art as the polar opposite of one another. The Age of Enlightenment had a particular interest in regarding art and science as opposites. This culminated in the influential two-volume Systema Naturae published by Carl Linnaeus in 1735. Classifying nature into categories was an important step towards objective knowledge while artistic descriptions were reduced to illustrations. It was the beginning of mastering nature and using its resources: animals, vegetal, chemicals, minerals, for the benefits of humans and calling it “progress.” Knowledge separated from aesthetics and ethics led to break the equilibrium between humans and the nature.

Re-creating holistic knowledge based on symbolic and analytical meaning, on non-human and human perceptions, on explicability and mystery, should not be seen as a return to pre-enlightenment obscurantism and religiosity. On the contrary, it is the path towards an integrated holistic view of the world, where accumulated knowledge is not oriented towards its own increase as capital, but towards enriching human understanding with other species perspectives. The call to art and the imaginary from within rational organizing is a way to conceive of human societies and activities as re-connected to the environment in a deep sense. Sensing plants and soil, thinking like meteorites, perceiving the invisible, learning from rivers and forests, is complementary to living in flows of digits, creating augmented beings or cooperating with thinking machines. Myths now become what they are: models of existence opened to alien lives and non-human time. This is why we need to intersect the mythical and the imaginary with the rational and scientific. Reconsidering organizational themes like inclusive cooperation, systemic integration, non-destructive adaptation, non-quantitative value creation, extended accountability, wellbeing and social responsibility, individual and collective resilience, in light of the integration of natural and social sciences with art and human sciences, is a path towards more sustainable human organizing oriented to re-balance humanity and Earth.

The present publication hosted by DYSFUNCTION journal gathers most of the contributions to the online and onsite 2022 event Trans-Generatives2030. It completes the ArtemOCC 2022 proceedings publication. Both events are organized by ICN, the UNESCO Chair “Art and Science for implementing the SDGs” and the University of Lorraine CEREFIGE research laboratory.

This text has been generated collaboratively by Philippe’s and Paul’s human minds and the machine-learning artificial intelligence InferKit, after suggestion by Vittoria Daiello and Jordan Tate during their contribution on Open-Source Discourse (see page 15).

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Key Words: Art-based Research, Sustainable Development Goals, Ecology.

[dysfunction-journal]

DYSFUNCTION #7 1/ An Art History from the point of view of Human Activity

By Marie-Pierre Duquoc with the support of Adrian Owen for English translation and interpretation

Published on the occasion of DYSFUNCTION DAY, December 4th & 5th, 2019 organized by Philippe Mairesse, Bertrand Agostini and Estelle Durand ICN Business School Artem, Nancy

2/ A History of Art Workers. (HAW) This history is our history. Here is a version, a vision, it is a starting point, it is incomplete, and completely not objective. It is open to discussion.

3/ In the centre, art... ...around which are organized the works that art produces, and the ArAp: men and women in the service of art and the works that art produces. We make a distinction here among the Art Workers: MA and FA, for male and female art workers, the Ar and the Ap for the Artists and the Arts Professionals with careers in the artistic sector. There is in our history, the FAr and the MAr, the FArP, and the MAp. This small world recognizes itself in the community of the ArAp called the ArApians.

4/ We have HA: Human Activity and CAA: Cultural and Artistic activity. In the activity of the ArAp in the service of art and culture, we distinguish the H for the men and women of the public, the O for artworks; the artists, the actors, in small, medium and large size. We differentiate the amateur artists AmAr, from the professional artists ProAr. Our history will be about the community of Pro ArAp and Art Workers, those who work and live from their work in the field of art, or at least try to.

5/ Cultural Activity and Creation, CAC, for Pro ArAp. In the centre AA, we have Artistic Activity and the ArAp: artists and arts professionals. The artworks and community outreach radiate in the direction of H, men and women of  the public. We can observe how ArApians work together in the direction of the public, and how art, art workers, the ArAp; implement constructions, modalities of exchange and relation in the service of producing artworks. Their circulation, their outreach aim towards the community of men and women, the public.

6/ Frameworks of actions, systems of organization, fields of action, Artistic Activities and Creations (AAC) conditions the shape of artwork. In the centre, the connection of the artwork with one of the sectors conditions the modus operandi, economics, logistics, and education which participate in the production, distribution, and influence of the work. Education, training, influence, selling allow artworks to circulate in private or public frameworks, in various scales, both locally and internationally, each sector determining its specific criteria.

7/ Movements at work in the work, its implementation in movement and circulation. In summary the ArApian's activity is connected at the same time with contexts, conjectures, environments. It is the object of choice, political and economic, aesthetic and cultural; which play out at the level of each ArAp, group of ArAp and far beyond the group, a territory, territories, a nation, nations. It is the imprint of the specific culture from each sector with a lot of nuances, there are many ArAp within other groups and different movements within every sector. Each one in their network embodies, transmits and transports through the production of works and gestures around these works, a certain number of values and beliefs peculiar to the culture of their sector. On the whole, beliefs provoke action and works, sometimes to play, to thwart, to undo and reformulate other beliefs. These beliefs which make choices or these choices which form beliefs, and submit to the movement of the work (Work, here central, because it is at the centre of the activity of the ArAp) and its outreach, in other cultures, other beliefs, other choices and politics. These environmental and contextual variables continuously renew the work, its field, its effects, incidences, influences etc.. whether they be aesthetic, symbolic, economic, societal, political...

8/ Our history will concern the Visual Arts VA.

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Key Words: Art History, Sociology, Human Activity, Visual Arts, Contemporary Art, Professional Artists

[dysfunction-journal]

DYSFUNCTION #6 WHITE  REIGN

An issue dedicated to the career achievements of  James A. “Billboard” Jackson (1878-1960) By Anthony Kwame Harrison and guests

Abstract This issue of DYSFUNCTION centers the career of James Albert “Billboard” Jackson as a catalyst for contemplating the conditions and experiences of Black travel in White supremacist America. Jackson, who pioneered Black entertainment reporting for Billboard magazine in 1920, founded the U.S. Department of Commerce’s Division of Negro Affairs in 1927, and worked for over 20 years as a “special representative” to the Black community for Esso Standard Oil, has yet to be recognized for his pivotal behind-the-scenes role in creating and supporting the Negro Motorist Green Book. Published for a thirty-year period from the mid-1930s to the mid-1960s, the “Green Book” directed Black motorists to accommodating hotels/boarding houses, restaurants, and service stations during the height of Jim Crow segregation. Accordingly, it influenced African Americans’ commercial participation outside of local, known surroundings.

A short introductory essay (p. 2), exploring Jackson’s unacknowledged connection to the Green Book, is partnered with a sketched landscape of roadside billboards spotlighting the three most celebrated trajectories of his varied career (cover). Each billboard features a portrait of Jackson by artist Kevin Earley. These historical foundations set the stage for various commentaries on contemporary conditions of Black travel through racialized geographies. Autoethnographic writings by Anthony Kwame Harrison (p. 4) and Corey J. Miles (p. 12) convey different 21st Century experiences of driving while black through spaces of White domination and dominion. The artistic centerpieces for the issue include a musical/lyrical essay, “White Reign,” composed by Harrison and longtime music collaborator, BlakeNine, as well as three evocative images by Virginia artist, Asa Jackson (p. 4, 8 & 11).  Harrison’s autoethnographic travels take him through the all-White town of New Castle, Virginia. A return trip to New Castle, with colleague and cinematographer Karl Precoda, resulted in the short film, Sundown (p. 9). Lastly, the unsettling experience of visiting New Castle prompted Harrison to choreograph a photoshoot with photographer Richard Randolph (p. 3 & 12).

In line with DYSFUNCTION’s mission of raising critical questions about the role of arts-based research dissemination in academic spaces, this collaborative project—primarily orchestrated by Harrison around his physical and intellectual journeys to learn more about “Billboard” Jackson and the racist forces he dedicated his career to working against—challenges readers/viewers/listeners to grapple with the complexities of American racism as experienced, symbolized, and imagined by two centuries of Black travelers. These works are meant to evoke critical reflections on experiences of Black (auto)mobility that are at times jarring, at others mundane, and sometimes both simultaneously. Weaving together intricate threads of experience and (re)presentation, the showcased pieces portray a world in motion, characterized by complex transactions involving racialized histories, perceptions of place, agency, citizenship, and enduring White supremacy. The messages filtering through these mediated mindscapes are cohesive yet non-comprehensive. Their intentional incompleteness invites those who witness them to dwell in the ambiguity and to ultimately make their own personal, emotional, and intellectual connections. As an addendum to the 2019 Race in the Marketplace (RIM) Research Forum, this issue of DYSFUNCTION opens up space for dialogue by foregrounding complex processes of meaning-making surrounding the relationship between racial identities, structures of power and oppression, and markets. Key Words: Black Automobility, Green Book, “Billboard” Jackson, Race in the Marketplace, Racialized Geographies, White Supremacy

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DYSFUNCTION #5 DYSFUNCTION Day, Nantes

International Research Seminar, December 5th & 6th, 2018 organized by Philippe Mairesse & Catherine Morel Audencia Business School Mediacampus, Nantes

Reaching out to society as a whole and to some specific audiences in particular and demonstrating how research contributes to tackling and answering societal challenges is a pending issue. Coping with the issue requires to question pertinent messages, and to look for new media and means of expression.

Among the identified reasons why dissemination and exploitation of research not always reach their goals are a lack of skills (or interest) to effectively consider the value and possible benefits of the key results outside “typical” community, but also a lack of knowledge of dissemination and exploitation risks and opportunities, especially about alternative channels, routes, stakeholders and competing solutions.

A possible answer to the issue is relying on creative art forms for research and dissemination, as under-used ways of understanding and knowing (Bruce et al., 2013). The utilization of arts‐based methods increases awareness on the empirical evidence or developments of a topic and improves accessibility to research findings in cases where language, literacy, or cultural barriers exist; it expands the possibility to address complex contexts, engages audience members (by stimulating senses and tapping into emotions), and promotes dissemination within communities of practice. Indirect benefits include fostering new audiences interested in research findings, facilitating capacity-building, such as professional learning and skill development around a particular topic.

By creating spaces for debate and dialogue around pressing societal issues, arts‐based methods  can support advocacy around specific issues of concern to influence policy priorities and change, and facilitate partnerships and co-production of knowledge among diverse stakeholders, for example, by offering different modes of expression and representation (Rieger and Schultz, 2014; Kukkonen and Cooper 2018; Lapum et al, 2011). Creative embodied research methods for interdisciplinary research projects using the body to think through ideas provoke new insights and generate innovative ways forward for researchers working in diverse disciplines .

Nevertheless, research in organization science remains attached to classical paper publications, with a limited impact on practice and society (Denis, 2017). Meaningfulness is threatened by running for stars (Rouquet 2017), and voices raise against the academic publication system (Moriceau et al; 2017). “It is time for us to resist, simply by building, and encouraging, our consciousness of desire and desire for consciousness” (Bazin, 2018). Instead of simply resisting and opposing the classical paper format to innovative art-based forms, DYSFUNCTION journal aims at fostering hybrid formats: texts that function as research texts as well as art forms (Bobadilla et al., 2017), a kind of “critically affective performance texts”  (Linstead, 2018).

Key words: Visual Art Sociology, Authorship, Blues Music, Phenomenology, DIY, Body, Teaching Innovation, Hybrid forms

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DYSFUNCTION #4 The Trial of Fiction

Retour sur : Le Procès de la fiction

Curators : Aliocha Imhoff et Kantuta Quirós - le peuple qui manque

Nuit Blanche, 7 octobre 2017 Salle du conseil de Paris

 Is fiction the best way to deal with fiction?

DYSFUNCTION’s editorial team dedicates this issue to the Trial of Fiction by le peuple qui manque (a people is missing). It continues the discussion around fiction started in our previous issue dedicated to a research initiative involving fictitious facts commented scientifically. To further investigate how research can use fiction, we hereby give a partial, incomplete and biased account of the mock trial organized against fiction, which took place during the Nuit Blanche on October 7th, 2017.

Though sometimes considered as artists, Aliocha Imhoff & Kantuta Quirós consider themselves as “curators for theory, art and research.” Their approach resonates with the recent practical turn in academia, as they care about bringing practice into theory. Staging a (fictional) Trial of Fiction is a good example of the challenges and the paradoxes involved when working on forms mixing art and research. The result is neither an academic colloquium nor a dissemination event accessible to everyone. Simulating a trial against immaterial entities that a priori cannot be sued (moral values, concepts, opinions, history) seemed to us a fascinating critical tool requiring a closer investigation.

This issue was stimulating to prepare, we met experts from various disciplines, we got out of our comfort zone to explore other research fields and to challenge the role of research dissemination, and we ended up raising even more questions. How can we grasp the complexity and ambivalence of a complex topic and make it more accessible and artistic without dumbing it down? Hybrid forms that mix art and research hence raise the question of knowledge production. Should they be tools to explain complex research findings in a form that is comprehensible by everyone? Or does artistic transformation and fictionalization create a decrease in knowledge and make complex research findings weaker while trying to make them accessible to everyone?

Thus, our objective in this issue is not to make another trial in print, nor is it to draw conclusions on the content of the debates. We are rather interested on questioning the very form that a people is missing adopted. DYSFUNCTION’s approach in this issue is to present ‘data’ that is collected, transformed and presented as ‘layers of meaning’, the various texts of different types collide and overlap to create a different representation of the Trial of Fiction reflecting the complexity of the debates.

The dialogical form of this issue gives voice, several months after the event, to the ‘actors,’ the participants, and the public, in order to gather their thoughts, feelings, perceptions and personal recollections of the trial , as an attempt to critically and affectively reenact the experience of the event - which was multiple and disparate.

Our artistic and research process focuses on revealing the polyphony and plurality of experiences through different types of texts: interviews, conversations, transcripts, articles, through different graphic forms: excerpts, irregular columns, illustrations disconnected from the texts, colours, overlaps, … Our objective with such a format is to apply our own hypothesis about art-based research methods and the production of « critically affective performance texts » (Linstead, 2018). The issue you are reading right now in all its appearances and content becomes a “hypertext”. Far beyond the written words it includes the layout, graphic forms and regimes of (il)legibility at work.

In DYSFUNCTION’s first issue (July 2017), we detailed four key processes we went through in order to produce such different art-based dissemination outputs. As we were working on the Trial of Fiction, we activated these four processes, which shaped our editorial choices and our investigation.

First, the Dissensual process: Building commons on agreeable disagreement, which we identified as a major moment in the collective building of any art-based research involving several researchers and/or artists. Many points of view confronted and disagreed, during the Trial as well as in this printed account. But contrary to a trial, which aims at deciding who is right and who has been wronged, we aim at presenting the various perspectives and let the readers free to build their own judgement. The form of a printed newspaper plays a major part in this process, by demanding the reader to choose a reading strategy across the pages. Furthermore, we not only aim at investigating which agreeable disagreement carries the content of the trial, but also which agreeable disagreement emerges from the reading of our art-based take on another research experiment also based on art.

Second, the Alterity process: Alterity is the method and the purpose: the self can be altered because it is alter. Accessing the given is not a question of objectivity nor subjectivity. It is the question of the mutual relation between the given and the observer. Rather than pretending to access the perfect alterity through the gate of data, we should remain conscious of how our self is affected by the data. The process is subsumed by the motto Let data affect you. Here our « data » consist in reports, accounts, opinions, notes, but mainly and over all, in encounters with the Trial’s participants. Affected by these encounters, we therefore account for the relational moves that occurred during the investigation process, not in an explicit, analytical and rational way, but through the various shaping, extractions, quotes, and unequal weighing of the reported conversations, which should mirror our own affected selves as well as the contributors affected selves, all remaining strangers to one another. The complex entanglement is reflected by the uneasiness of the reading and the jumps from one speaker to another, one kind of discourse to another, one colour to another, without the artificial coherence privileged in classical publications.

Third, the process of Alteration, rather than considering the collected data as an access to the “fact”, consists in fictionalizing it. What we would like the reader to grasp is the fictionalization of the real operates on two levels. Fictionalizing justice in a mock trial is the first layer. The second layer is the fictionalization of the research itself that the process inevitably produces. For us, rather than seriously diving into the issue of fiction against facts, the most interesting parts of the mock Trial are the imaginary and performative dimensions. Its strength as an art-based research is not to conclude about the guiltiness of fiction or the real, it is to tell a story, the story of the Trial of Fiction, which we contribute to the dissemination of.

Forth, the Staging process (Mise-en-scène). We stage a mise-en-scène of the mise-en-scène of a theatrical judiciary ceremony: as another layer on layers of staging. By doubling the Trial with our approach and imagining other future possible events and performances around this issue, we thus operate a re-framing of the Trial and position it in the field of art-based research, which considers the performativeness of a never-ending text game as a playground. Our goal is to foster what art-based research should aim at starting a continuous ongoing conversation, where any reader is an actor and can change the end.

The conversation is now on…

Key words: Fiction, Mock Trial, Nuit Blanche, Theory Curating, Philosophy, Literary Theory, Symposium Performance, Literature, Historiography, Fake News

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DYSFUNCTION #3 A Marco For Everyone

A conversation about and with Marco Decorpeliada. With Yan Pélissier (YP), Olivier Vidal (OV), Stéphane Debenedetti (SD), Véronique Perret (VP), Philippe Mairesse (PM), Eila Szendy (ES). Interview conducted as part of the French National Research Agency’s ABRIR project (art to reassess the critical transformations of organisations), 4th May 2017.

From: marco <marco.de@yahoo.fr> Date: 8th April 2004 03:50:56 HAEC To: Sven Legrand <slegrand@free.fr> Subject: DSM 4

Dear Doctor Sven, I’ve just realised why the logic of the codes of the DSM 4, and therefore that of the diagnoses/labels that have been given me, eludes me. It’s because they (the DSM 4 doctors) are in cahoots with the guys who create the codes for Picard Surgelés produce: they use the same codes! I’m used to Picard catalogues (from which I always buy the same products as I don’t like going shopping and as when I eat something once, I carry on eating it for 6 months or more) and I’ve noticed that the last three catalogue figures and the first three DSM figures are the same.

e.g. 20.1 Constant catatonic schizophrenia = whole cooked prawns 25. 0 Bipolar schizoaffective disorder = 2 onion, cheese and anchovy pissaladières 42. 0 Obsessive compulsive disorder = steamed, julienned carrots 45. 0 Somatisation = shell-on mussels 41. 1 Generalised anxiety = three-cheese pizza 52 5 Vaginismus = sautéed veal, boned shoulder and silverside 60. 0 Paranoid personality = extra large browned potatoes 65. 4 Paedophilia = pear, vanilla mousse with bits 90. 9 Hyperactivity = walnut cake etc.

I took these examples at random, but you know as well as I do that chance does not exist and it’s not for nothing that “shell-on mussels” corresponds to “somatisation”, or “boneless sautéed veal” to “vaginismus” or “bipolar disorder” to “2 pissaladières”. You see? Anyway, I’ll stop there. I really wanted to share this discovery with you, as it will probably change a great many things in psychiatry. ... and probably in my own life too .... This means I have a lot of work to do, which I’ll tell you about at our next group session. See you soon then, Very gratefully Marco D.

Key words: Psychiatry, Outsider Art, Oulipo, Psycopathology, DSM, Fiction, Conference Performance, Psychoanalysis

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DYSFUNCTION #2 MANIFESTO

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Bobadilla N, University of Rouen Lefebvre A, University Paris 1 Panthéon-Sorbonne Mairesse P, University Paris 1 Panthéon-Sorbonne

Read the Manifesto

Key words: knowledge production, art-based research, ethic, research dissemination, artists’ publications, art outside of art.

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DYSFUNCTION #1 Critics, ethics and challenges in Art-Based Research dissemination

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Bobadilla N, University of Rouen Lefebvre A, University Paris 1 Panthéon-Sorbonne Mairesse P, University Paris 1 Panthéon-Sorbonne

Abstract

This article aims at raising critical questions about the role of art-based research dissemination within academia, and to explain why it has become an issue. Even if art-based methods applied to management have exploded as a research field, today there are complex topics such as ethics positioning that remain unsolved and that should not be dealt with lightly.  Our increasing preoccupation for the art and management research encounter has been a bit peachy until now, but it is important to highlight the risk of ingenuous ideals underlying the use of art-based methods in management research. Our article complicates “Ethics Creep” by proposing an understanding of ABR (art-based research) that locates it at the intersection of various discourses about the role of science and the ethics of knowledge production and dissemination. Our research brings three main contributions: First, it provides a methodological description of our process from raw data to artistic dissemination. Second, it provides a discussion about the ethical and political issues of knowledge dissemination through arts. Third, it links our method with ethics, by detailing our process in four moments addressing the main ethical issues we identified.

This article is based on the “ANR ABRIR” (2014-2017,) a four-year art-based research project supported by the French National Research Agency (ANR). It focuses on the work of its dissemination and valorisation team of which the three authors were active members.

Key words: knowledge production, art-based research, ethic, research dissemination, artists’ publications, art outside of art.