The Academy is Back: On Education, The Bologna Process, And the Doctorate in the Arts by Dieter...

8/7/2019 The Academy is Back: On Education, The Bologna Process, And the Doctorate in the Arts by Dieter Lesage

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Dieter Lesage

The Academy isBack: On

Education, theBolognaProcess, andthe Doctorate inthe Arts

A Biennial plans to take the form of an art schoolon Cyprus and ends up as a series of seminars inBerlin. An artistic director of Documenta tossesup the word Bildung and one hundred magazinestry to catch it. Uninteresting art fairs actuallyorganize interesting public debates. According toTom Holert, ÒWithin the art world today, thediscursive formats of the extended library-cum-seminar-cum-workshop-cum-symposium-cum-

exhibition have become preeminent modes ofaddress and forms of knowledge production."1

While ÒeducationÓ has become, as Mai AbuElDahab noted on the occasion of theannouncement of the plans for the 2006Manifesta Biennial 6 on Cyprus, Òthe buzz wordin the art world,Ó and it is possible, as Irit Rogoffdid more recently, to speak of an Òeducationalturn in curating,Ó it seems to be much lessfashionable to go into too much detail aboutinstitutions of art education as such.2 Inobservations such as these the stress is placed

on expanding the notion of the academy, ratherthan on deepening the concept of the academystricto sensu. Their aim appears to be to includeas many art institutions as possible within thefield of expanded academia, rather than todefine the specific role of the art academy assuch. Very often, the academic turn seems to bea way to turn away from the academy: indeed, ifthe art field becomes an academic one, thenwhat an academy has to offer can also be foundelsewhere, at other institutions and self-organized initiatives constituting the field ofexpanded academia. The suggestion seemsclear: we don't need the academy.ÊÊÊÊÊÊÊÊÊÊAlthough there certainly are some notableexceptions, many participants in the debates oneducation and the arts, even if they aren'tnecessarily hostile towards the art academy asan institution, clearly shy away from discussingthe particularities of higher art education.3 Oneof these particularities, insofar as Europe isconcerned, is the way in which art academies areinvolved in the so-called Bologna Process, whichis supposed to lead to the establishment of aEuropean Higher Education Area in 2010, which

should, in accordance with the Lisbon Strategy,contribute to the establishment of the EuropeanUnion as the worldÕs biggest knowledge economystarting next year. In these debates, ÒBolognaÓ isat most allowed to play the role of annoyingbackground music to their high-spirited essays:they almost never confront the detailedcharacteristics and implications of the BolognaProcess as such. The motto that governs theirstatements seems to be: ÒBologna is bad, solet's not talk about it any further.Ó Thus, whilerightly refusing the (art) academy the monopoly

on (art) education, one conveniently allowsoneself not to think about the (art) academy

e-flux journal #4 Ñ march 2009 Ê Dieter Lesage

The Academy is Back: On Education, the Bologna Process, and the Doctorate in the Arts

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Jill Magid, Evidence Locker , 2004. Installation view in A Portrait of the Artist as a Researcher 2.0, Beursschouwburg, Brussels, 2008. Photo:Tiziana Penna

altogether. This doesn't mean that there aren'tany relevant discussions going on within (art)academies, on the contrary. But many of thehigh-profile voices in the contemporary debateson education and the arts aren't going to tell youwhat these internal discussions are about, evenif occasionally they may be very well positionedto do so. Therefore I set myself the task of talkingabout a few things that some of my esteemed

colleagues seem rather reluctant to talk about.ÊÊÊÊÊÊÊÊÊÊAt art academies in many of the forty-sixEuropean countries participating today in theBologna Process, the doctorate in the arts hasbecome the subject of heated discussions.4 Firstof all, there is the existential question manypeople ask: Why should there be a doctorate inthe arts, rather than nothing? Weren't we happywithout it? It is no secret that many people seeneither the socio-economic necessity nor theartistic relevance of a doctorate in the arts.There is fierce opposition to it from people within

higher arts education, universities, and the artsfield Ð at least in so far as it still makes sense todraw a clear-cut distinction between higher artseducation, universities, and the arts. Indeed,among many other things, the Bologna Processcould be described as a deconstruction of the olddemarcations between precisely these three

sectors. In any event, from various positionswithin these sectors in the process ofdeconstruction that is called Bologna, voices areheard opposing the doctorate in the arts. Againstthese voices Ð whether coming from the grumpyold folks who prefer to continue to live in a worldthat no longer exists and cling to the character ofinstitutions as they once knew them, or from thejumpy young ones who already live in a world yet

to come and fly at the character of institutionswhich they believe they know are no longeruseful Ð I would like to fiercely defend thedoctorate in the arts.ÊÊÊÊÊÊÊÊÊÊA defense of the doctorate in the arts is aninstitutional condition of possibility for thedefense of a doctorate in the arts. A doctorate inthe arts will always be defended according to acertain concept of the doctorate in the arts, laidout in rules that have previously been defendedwithin the responsible university or faculty boardor council. As a matter of fact, the latter kind of

defense might turn out to be as exhausting asthe defense of a doctorate as such. It willcontinue to demand a good deal of struggle inorder to establish that the doctorate in the artsmeets artistic Ð rather than merely academic Ðrequirements and expectations. In this respect,strange as it may seem, many of today's

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strongest opponents of the doctorate in the artsare more trustworthy allies in the struggle for anartistically meaningful doctorate in the arts thansome of those who count themselves among itsmost outspoken and enthusiastic proponents.The way in which some people today defend theconcept of a doctorate in the arts is utterlyunconvincing and probably part of the reason forthe strong opposition to it.

ÊÊÊÊÊÊÊÊÊÊThose opposing the doctorate in the arts areindeed so outspoken, one may wonder how theidea of a doctorate in the arts came up in the firstplace. A reminder of a few crucial steps in theBologna Process may be helpful inunderstanding the ideaÕs emergence incontinental Europe. The Bologna Process waslaunched with the Bologna Declaration on June19, 1999.5 Now, all countries participating in theBologna Process are supposed to do so of theirown accord. Unlike an Intergovernmental Treaty,the Bologna Declaration is not a legally binding

document. European sanctions are not whatdrives the whole process, but rather what somehave called Òinternational peer pressure.Ó Withthe 1999 Bologna Declaration, the then twenty-nine participating countries committedthemselves, but were not formally obliged to the:ÊÊÊÊÊÊÊÊÊÊ

¥ Adoption of a system of easily readableand comparable degrees . . . in order topromote European citizens employabilityand the international competitiveness ofthe European higher education system;

¥ Adoption of a system essentially based ontwo main cycles, undergraduate andgraduate. Access to the second cycle shallrequire successful completion of first cyclestudies, lasting a minimum of three years.The degree awarded after the first cycleshall also be relevant to the Europeanlabour market as an appropriate level ofqualification. The second cycle should leadto the master and/or doctorate degree as in

many European countries;

¥ Establishment of a system of credits -such as in the ECTS system - as a propermeans of promoting the most widespreadstudent mobility.

¥ Promotion of mobility by overcomingobstacles to the effective exercise of freemovement . . .

¥ Promotion of European co-operation inquality assurance with a view to developingcomparable criteria and methodologies;

¥ Promotion of the necessary Europeandimensions in higher education, particularlywith regards to curricular development,inter-institutional co-operation, mobility

schemes and integrated programmes ofstudy, training and research.6

ÊÊÊÊÊÊÊÊÊÊThe 1999 Bologna Declaration focused agreat deal on the question of how to enhance themobility of students and teachers. Counter to theongoing backlash against mobility (whereinpeople ask about your ecological footprint assoon as they discover your above-averagemobility), I think it is important to defendmobility, not as the obligation, but as the

freedom to move. For this reason, thehypermobile actors within the field of expandedacademia, whatever their reservations about theacademy as an institution might be, shouldendorse this aim of the Bologna Process Ð unlessthey would want to consider the advantages ofdescribing academies as closed, regionallyoriented institutions operating in contrast to theopen and globally oriented institutions ofexpanded academia.

Ina Wudtke, A Portrait of the Artist as a Worker (rmx.), 2006 (middle),Dieter Lesage, Output, 2006 (left) & Herman Asselberghs, RepŽrages,2006 (right). Installation view in ACADEMY. Learning from Art, MuHKA,Antwerp, 2006. Photo: MuHKA Antwerp

ÊÊÊÊÊÊÊÊÊÊHowever, it appears that the BolognaProcess, insofar as it created instruments ofcomparison between study courses across anexpanded Europe, also created instruments thatpurport to show in an objective way that studycourse X in country A doesn't have the same

value as study course Y in country B. Indeed, aninstrument of comparison may show the

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Symposium The Researcher, The Artist, Her Portfolio and Its Supplement, 14 March 2008, Beursschouwburg, Brussels, 2008. Photo: Tiziana Penna

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Lecture by Douglas Irving Repetto, 13 July 2007, in A Portrait of the Artist as a Researcher , freiraum/quartier21, Vienna, 2007. Photo: Dieter Lesage

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incomparability as much as the comparability ofits subjects. Just because they have instrumentsof comparison at their disposal doesn'tnecessarily mean that countries have becomemore eager to accept equivalences betweendiplomas. Whereas in the past the acceptance ofequivalences between diplomas was based ongeneral criteria such as the number of studyyears, criteria for comparison today tend to be so

sophisticated and bureaucratic that there mightalways be a reason why study course X in countryA is not quite the same as study course Y incountry B.ÊÊÊÊÊÊÊÊÊÊThis belongs to the standard anti-Bolognarhetoric of expanded academia to say that theBologna Process leads to the homogenization ofEuropean education. In reality, however, theBologna Process is implemented in very differentways. One could claim that the Bologna Processis basically about setting up devices that allowfor comparison between national or regional

educational systems only to discover howdifferent these systems are. As a result, theBologna Process gave rise to very elaboratediscourses on the multiple differences betweennational or regional educational systems, and onthe singularity of particular educational systems.The discourse on the supposed singularity of theGerman Meisterschule Ð regarded as highlysuccessful as it is, and entirely incompatiblewith the (partly imaginary) characteristics of theBologna Process Ð grew together with theBologna Process discourse and explains thesuccess of the German art academies in theirresistance against the Bologna Process.7 So far,the Bologna Process has proved more successfulat showing all the differences betweeneducational systems in its expanded version ofEurope (which includes forty-six Europeancountries, not only the twenty-seven memberstates of the EU) than at homogenizing them.8

ÊÊÊÊÊÊÊÊÊÊIn the early years of the Bologna Process,the primary interest lay with the introduction ofthe bachelor and master cycles, rather than thedoctoral degree.9 It was only with the meeting ofthe Bologna Follow-Up Group in Berlin in 2003

that the third cycle leading to the doctoratebecame a priority. Two years later, in Bergen in2005, the Ministers responsible for HigherEducation affirmed that: three to four years isthe normal workload of the third cycle; theadvancement of knowledge through originalresearch is at the core of doctoral training;doctoral programs should promoteinterdisciplinary training and develop so-calledtransferable skills in order to meet labor-marketneeds; the outcomes-based-approachframework for qualifications should also be

applied to doctoral-level qualifications; and soforth. In London in 2007, the Minister responsible

for Higher Education in the forty-six countriesnow involved in the Bologna Process invited theEuropean University Association to work onÒtransparent access arrangements, supervisionand assessment procedures, the development oftransferable skills and ways of enhancingemployability.Ó In response to this demand, theEuropean University Association established in2008 a Council for Doctoral Education.10 Thus the

idea of the doctorate in the arts emerged withthe growing focus of the Bologna Process on thethird cycle.ÊÊÊÊÊÊÊÊÊÊAlthough academics involved in theestablishment of the rules for the doctorate inthe arts did pay attention to the demand that thenew doctorate should respect the specificity ofan artistic education Ð to the extent that theyaccepted the idea that artists present a portfolioof their work as a doctorate Ð most of themfiercely defended the idea that a doctorate in thearts would be inconceivable without a written

supplement. As a result, the format of the newdoctorate often requires both an artistic portfolioand a Òwritten supplement.Ó The insistence ofacademics on the obligation to produce a writtensupplement appears to demonstrate a lack ofconfidence, either in the capacity of the arts tospeak in a meaningful, complex, and critical wayin a medium of their choosing, or in their owncapacity to make sound judgments on themeaning, complexity and critical potency ofartistic output as such. What might happen nowis that, because it complies with the long-standing format of the doctorate, juries will basetheir assessments primarily on a reading of thewritten supplement, as if it were the doctorateitself, at the same time being tempted toconsider the artistic portfolio as merely itssupplementary illustration.ÊÊÊÊÊÊÊÊÊÊContrary to this, the evaluation of adoctorate in the arts should focus on thecapacity of the doctoral student to speak in themedium of his or her choice. And if this mediumis film, or video, or painting, or sculpture, orsound, or Ònew,Ó or if the doctoral student wantsto mix media, it will obviously require from a jury

ways of reading, interpretation, and discussionother than those required by an academic text.To impose a medium on the artist is to fail torecognize the artist as an artist. An artist whowants to obtain a doctorate in the arts should begiven the academic freedom to choose his or herown medium. Even then it would still be possiblethat he or she chooses text as the mostappropriate medium for his or her artisticpurposes. Therefore, one should be prepared forthe moment when a writer will present a novel infulfillment of the primary requirement for a

doctorate. According to the currently prevailingformat of the doctorate in the arts, however, the



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writer would be asked to supplement his novelwith another text, a written supplement. Wouldanyone seriously want this? What should thatwritten supplement say?ÊÊÊÊÊÊÊÊÊÊWhile the Bologna Process facilitated therecognition of Òartistic researchÓ as afundamental task of art academies Ð a taskwhich many of them were already performingÒbefore BolognaÓ Ð universities and academies

are now struggling both with the concept ofartistic research itself and with the question ofhow to assess the output of artistic research.This is a very complex discussion, one with whichuniversities can occasionally appear impatient.At the same time, universities generally donÕthave accepted answers to the question of how toassess the output of scientific research either.Sometimes universities seem to be tornbetween, on the one hand, their own academicuncertainties, and, on the other, the leadershiprole that policy makers bestowed on them within

the academicized process of higher artseducation. When universities tell academies, forinstance, that the unquestioned norm inacademic evaluation is Òdouble-blind peerreview,Ó this contradicts the fact that, within thescientific community itself, this norm has beenunder attack for many years, and that a numberof high-profile scientific journals, such as theBritish Medical Journal, have made the decision(motivated by scientific studies) to abandonblind peer review in favor of open review, inwhich the name of the referee is known to theauthor of the article under review.12 Today, itseems a scientifically proven fact that thequality of open review is as good as that of blindreview.13

ÊÊÊÊÊÊÊÊÊÊWhen universities tell academies thatcitation analysis provides an objective criterionto measure research output, they are again,deliberately or not, concealing the fact thatcitation analysis is considered by many in thescientific community to be a very flawedprocedure for measuring research output. Infact, ever since Eugene Garfield published thefirst Science Citation Index , in 1964, it has been a

very controversial instrument, its possiblemisuses being recognized from the verybeginning by leading scientists, such as NobelPrize winner Joshua Lederberg. Lederberg, whilepromoting it as a tool for research, fiercelyrejected it as a tool for measuring researchoutput.14 Not only are all known citation indexesfar from complete, they are also horribly biasedin favor of articles and against books. To that onemight add that the Science Citation Index and theother citation indexes are products sold byThomson, a media corporation which also owns

many academic journals. To me, this sounds verymuch like a conflict of interest. Nevertheless,

many research managers continue to considercitation analysis, based on the use of Thomson'scitation indexes (which enjoy an absolutecommercial monopoly), as a useful tool formeasuring research output. In discussionsbetween universities and academies, it is oftensuggested that academies should inventÒanalogousÓ tools for measuring artistic researchoutput. And thus it happens that some people

are beginning to dream of an Art Citation Index,while others are talking about the need toclassify artistic venues in the same way asacademic journals are classified according totheir Òimpact factor.Ó It might not now be longbefore somebody invents the new science ofÒartometrics.ÓÊÊÊÊÊÊÊÊÊÊThe Bologna Declaration as such does notconstitute an absolute evil for education, but theinstitutional and political struggles to imposecertain of its interpretations do present manydangers, of which most people working at art

academies are very well aware. The good news isthat, due to what many people working andstudying at academies experience (with goodreason) as harassment by the Bologna Process,the academy is also in the process of reinventingitself. The pressure in the field of expandedacademia, in which many other types ofinstitutions are readily offered as alternatives tothe overregulated field of higher arts education,certainly plays a key role too in this process ofreinventing the academy.15 Some academies aresuccessfully reinventing themselves through thecooptation of people who made their careeroutside the academy, as writers, critics,curators, artists, and so forth. It may seem inblatant contradiction with the academicizationprocess of European higher (arts) education thatis the Bologna Process, but it isn't. If theMinisters responsible for Higher Educationwould like their academies to become or staycompetitive within a field of expanded academia,in which there are many attractive alternativemodels of education, one should endowacademies with enough autonomy to positionthemselves strategically within this field. The big

frustration of many academies all over Europetoday is their lack of autonomy, which doesn'tallow them to make the decisions considerednecessary by those trying to manage them.Meanwhile, the argument for autonomy issplendidly made by those academies in Europethat have been able to maintain or even augmenttheir autonomy, such as the impressive Academyof Fine Arts in Vienna.16 At art academies of thisscale, there is enough critical mass to allowthem to stand confidently next to their big sisterthe university, rather than becoming a

department within it. Even more, they've becomeuniversities themselves.



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ÊÊÊÊÊÊÊÊÊÊToday, the academy is asking not to beconsidered as the only legitimate place of arteducation, but as a credible partner within thisendeavor. The time of academy-bashing is over.Indeed, the academy is back, almost. It'sabsolutely fine to situate yourself outside theacademy. But one shouldn't hesitate to play arole within an academy, as many formeroutsiders today do quite successfully. It is my bet

that the art academy is going to be the defininginnovative institution within the art field in thenext twenty years, much more so than museums,galleries, biennials, whatever. There might evencome a time when museums of contemporaryarts will be run as the exhibition facilities ofnearby academies, just as the Swiss FederalInstitute of Technology Zurich today runs MonteVeritˆ as a conference facility. If museums ofcontemporary arts desire to belong to the field ofexpanded academia, as indeed they seem to, thisscenario makes perfect sense. And maybe one

day we will be quite accustomed to the fact thata solo exhibition in a museum of contemporaryarts can't be anything but the presentation ofa...doctorate in the arts.ÊÊÊÊÊÊÊÊÊÊ×This text is a version of a lecture to be presented inAmsterdam on March 18, 2009, in the Studium GeneraleRietveld Academie lecture program titled ÒMonte Veritˆ (2) orthe Academy as a Model for ÔBeing in the World.ÕÓ Manythanks to Gabrielle Schleijpen and Jorinde Seijdel for theirkind invitation.

Dieter Lesage is a Belgian philosopher, writer, andcritic. He has been a visiting professor at the PietZwart Institute of the Willem De Kooning Academie inRotterdam (2003Ð2005) and the Institut fŸrKulturtheorie of the Leuphana UniversitŠt LŸneburg(2007), with a Eurolecture grant from the AlfredToepfer Stiftung F. V. S. He is currently a lecturer andresearch coordinator at the Department of Audiovisualand Performing Arts, RITS (Erasmushogeschool,Brussels), and a member of the editorial board atAfterall. He is a co-editor of A Portrait of the Artist as a

Researcher: The Academy and the Bologna Process(Antwerp: MuHKA, 2007). With Ina Wudtke, he curatedthe exhibitions ÒA Portrait of the Artist as aResearcherÓ (Freiraum/quartier21, Vienna, 2007) andÒA Portrait of the Artist as a Researcher 2.0Ó(Beursschouwburg, Brussels, 2008). He lives in Berlin.



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ÊÊÊÊÊÊ1Tom Holert, ÒArt in theKnowledge-based Polis,Ó e-flux journal, no. 3 (February 2009),http://www.e-flux.com/journal/view/40.

ÊÊÊÊÊÊ2See Mai Abu ElDahab, ÒOn Howto Fall With Grace Ð Or Fall Flaton Your Face,Ó in Notes for an ArtSchool, ed. Mai Abu ElDahab,Anton Vidokle, and FlorianWaldvogel (Amsterdam:

International FoundationManifesta; Nicosia: Manifesta 6,2006), 7; Irit Rogoff, ÒTurning,Ó e-flux journal, no. 0 (November2008), http://www.e-flux.com/journa l/view/18.

ÊÊÊÊÊÊ3Among the most notableexceptions of voices that are ofcritical importance to the artworld and (nevertheless) don'tshy away from talking about the(boring) Bologna Process areauthors such as Beatrice vonBismarck, DiedrichDiederichsen, and StephanDillemuth. See, e.g., Beatricevon Bismarck, ÒGame within the

Game: Institution,Institutionalisation and ArtEducation,Ó in Art and ItsInstitutions: Current Conflicts,Critique and Collaborations, ed.Nina Mšntmann (London: BlackDog Publishing, 2006), 124Ð131;Diedrich Diederichsen, ÒTheAcademy as an Exception:Artistic Research and theDoctorate in the Arts,Ó in APortrait of the Artist as aResearcher: The Academy andthe Bologna Process, ed. DieterLesage and Kathrin Busch(Antwerp: MuHKA, 2007), 66Ð71;Stephan Dillemuth, ÒTheAcademy and the CorporatePublic,Ó ibid., 72Ð75.

ÊÊÊÊÊÊ4In order to be accepted as aparticipating country in theBologna Process, nation statesdonÕt have to be a Member stateof the European Union.According to the BerlinCommuniquŽ of September 19,2003, all European countriesthat signed the EuropeanCultural Convention, accept thebasic premises of the BolognaDeclaration, and strive toimplement the Process at thenational level, can becomeparticipating countries in theBologna Process. The current

number of countriesparticipating in the BolognaProcess is forty-six. San Marinoand Monaco, two more countriesthat signed the EuropeanCultural Convention, are notparticipating in the BolognaProcess for lack of highereducation institutions.

ÊÊÊÊÊÊ5Many of the most distinguishedamong those who speak andwrite so much about educationand the arts do not seem awarethat there is no such thing as aÒBologna Accord.Ó Indeed, thereis a fundamental differencebetween an Accord and a

Declaration. Today, you and Icould make a solemn

declaration that one day wewould like to sign an Accord. Inthat case we would have aDeclaration, but not yet anAccord. Or, rather, it could bethat yesterday we signed a littleAccord stipulating that today wewould make this solemnDeclaration. And once we reachthe final Accord we can make itknown to the world in a jointDeclaration. But once we have afinal Accord, we don't need thespectacle of a joint Declaration

for the Accord to be valid, unlessit is explicitly stated in theAccord that it is invalid withoutthe spectacle of a Declaration.

ÊÊÊÊÊÊ6My emphasis. For the full text ofthe Bologna Declaration, go tohttp://www.ec.europa.eu/education/policies/educ/bologna/bologna.pdf.

ÊÊÊÊÊÊ7See Karin Stempel, ÒZum Standder Dinge,Ó in Who is afraid of master of arts?, ed.Internationale Gesellschaft derBildenden KŸnste, AnnetteHollywood, and Barbara Wille

(Berlin: InternationaleGesellschaft der BildendenKŸnste, 2007), 23Ð32.

ÊÊÊÊÊÊ8See Ulf Wuggenig, ÒArt Schools,Universities and the BolognaProcess,Ó in A Portrait of theArtist as a Researcher: TheAcademy and the BolognaProcess, 142Ð148.

ÊÊÊÊÊÊ9The information which follows isalso to be found on the officialWeb site 2007Ð2009 of theBologna Secretariat, which ismaintained by the Ministry ofEducation of the Flemish

Community of Belgium. Seehttp://www.ond.vlaanderen.be/hogeronderwijs/bologna.

ÊÊÊÊÊÊ10See the EUA-CDE Web site,http://www.eua.be/events/eua -council-for-doctoral-educat ion.

ÊÊÊÊÊÊ11For a polemical evocation of thisstruggle concerning the conceptof Òartistic research,Ó see myessay ÒA Portrait of the Artist asa ResearcherÓ in A.C.A.D.E.M.Y ,ed. Angelika Nollert, Irit Rogoff,Bart De Baere, Yilmaz Dziewior,Charles Esche, Kerstin Niemann,

and Dieter Roelstraete(Frankfurt am Main: Revolver,2006), 220Ð222. HermanAsselberghs, Ina Wudtke, and Iparticipated as a collective inthe exhibition ÒACADEMY.Learning from ArtÓ at theMuseum of Contemporary Art(MuHKA) in Antwerp (September14ÐNovember 26, 2006). Seealso Herman Asselberghs, DieterLesage, and Ina Wudtke,ÒReflections,Ó in ibid., 32Ð39.After the ÒACADEMYÓ project,the continuation of thesereflections on the concept ofartistic research took the form oftwo symposia co-organized withKathrin Busch (at the Leuphana

UniversitŠt LŸneburg, May11Ð12, 2007) and Sabeth

Buchmann (at the Academy ofFine Arts Vienna, June 1, 2007),and two exhibitions co-curatedwith Ina Wudtke: ÒA Portrait ofthe Artist as a Researcher,Ófreiraum/quartier21, Vienna,JulyÐAugust 2007 (with artistsHerman Asselberghs, AnnetteWehrmann, and Office KerstenGeers David Van Severen), and ÒAPortrait of the Artist as aResearcher 2.0,ÓBeursschouwburg, Brussels,March 2008 (with artists

Jacques AndrŽ, HermanAsselberghs, Sven Augustijnen,Sonia Boyce, Art Jones, and JillMagid). A large part of thediscursive output of the so-called Re:RESEARCH project(funded by the Rits school foraudiovisual and performing Arts,Erasmushogeschool Brussels) isto be found in A Portrait of theArtist as a Researcher: TheAcademy and the BolognaProcess.

ÊÊÊÊÊÊ12On the motivation behind theBritish Medical JournalÕs changein editorial policy, see RichardSmith, ÒOpening up BMJ peer

review: A beginning that shouldlead to complete transparency,ÓBritish Medical Journal 318(January 2, 1999): 4Ð5.

ÊÊÊÊÊÊ13Sandra Goldbeck-Wood,ÒEvidence on peer review Ðscientific quality control orsmokescreen?,Ó ibid., 44Ð45. Onthis issue, see also Susan VanRooyen, Fiona Godlee, StephanEvans, Nick Black, and RichardSmith, ÒEffect of open peerreview on quality of reviews andon reviewers' recommendations:a randomised trial,Ó ibid., 23Ð27.

ÊÊÊÊÊÊ14

On the history of the ScienceCitation Index and ofscientometrics, see PaulWouters, The Citation Culture(PhD diss., University ofAmsterdam, 1999).

ÊÊÊÊÊÊ15For a very interesting descriptionof the relationship between theacademy and expandedacademia, see Jan Verwoert,ÒSchool's Out !-?,Ó in Notes for an Art School, 56Ð63.

ÊÊÊÊÊÊ16See Stephan Schmidt-Wulffen,ÒLernen fŸr die Kunst von Heute.

MasterplŠne und RealitŠten inWien,Ó in Who is afraid of master of arts?, 85Ð93.



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