The four major strands are:

A) Diverse Knowledge

B) Diverse Ethics

C) Diverse Means

D) Diverse Aesthetics

Strand A programme



This strand will explore artistic knowledge. What is the relation between artistic research and knowledge? How does knowledge affect an artist’s production? Can we assume cultural diversity as a way of responding to the demands of a diverse knowledge base? Does the PhD model of ‘new knowledge’ fit with the expectations of the Art School?

Strand B programme

DIVERSE ETHICS Convenors: Paul Haywood, University of the Arts London, UK & Stephanie James, Syracuse University, USA


In this complex and conflict-ridden arena, it has become crucial not only to identify, but also to reconsider the ethical basis and scope of the art education institution, in order to retain its relevance in the society of the future. Teaching ethically and the ‘ethical’ have made it imperative for lecturers to consider different methods. In this strand we intend to investigate how feminist, LGBTQ or culturally diverse approaches to pedagogy and teaching have enhanced the curriculum and the depth of our understanding of cultural production.

Strand C programme

DIVERSE MEANS Convenors: Dean Hughes, Edinburgh University, Scotland & Christine Pybus, Crawford College of Art and Design, Cork, Ireland

Art education offers differing examples of how young artists are educated relative to the values and dogma of contemporary fine art and the resources that effect its production. With a discursive model of art education now most prevalent across European institutions, this strand will discuss new and emergent modes of peer based learning, the present means by which young artists are educated and the relationship between meaning and means.

Strand D programme

DIVERSE AESTHETIC Convenors: Jason Bowman, University of Gothenburg, Sweden & Andris Teikmanis, Latvian Academy of Arts, Latvia

Considering art education in terms of an interaction between aesthetic and political practices determined by Rancière’s aesthetic regime of arts, this strand will debate whether the social and economic engagement of art schools should be addressed by the politicization of aesthetics; even if only to avoid another aesthetization of politics, amongst other issues.