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Inevitably, then, this is a book that is neither nal not comprehensive, but rather a provisional disclosure of the state of the art within a speci c constituency at a particular moment. But, artist-educators have also expressed a concern about the di culty of maintaining this openness and these values within regimes of increasingly reductivist academic accountancy. Artist-educators have proposed that the creation of a research milieu within higher artistic education can potentia y enact a radical openness, within the day-to-day operation of the institution, to the not- yet-known, not-yet-understood, not-yet-realised and not-yet-imagined. is role involves maintaining and extending a space for a range of practices that have not been exhaustively predetermined and co-opted by the current fashions of art, inte ect and policy while negotiating a language and accountancy of outcomes, outputs and metrics.

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Contradiction seems intrinsic to the role of the professional artist-educator, working to secure a position within di erent public institutional landscapes for the elaboration of art, pedagogy and research that is both transformative and cha enging. For most of the members of the SHARE network, a ending to questions of research form and process while being primarily invested in questions of artistic practice might be read as one more of the many contradictory impulses that we must negotiate. For some, this organisational and procedural focus is anathema to artistic research for others, this approach ‘goes (uncritica y) without saying’. It is a poly-vocal document, designed as a contribution to the eld of artistic research education from an organisational, procedural and practical standpoint. – George Lipsitz, 20001 is handbook for artistic research education is the outcome of three years of work by the SHARE network.

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How to Use this Handbook Living with contradictions is difficult, and, especially for inte ectuals and artists employed in academic institutions, the inability to speak honestly and openly about contradicto- ry consciousness can lead to a destructive desire for ‘pure’ political positions, to militant posturing and internecine ba les with one another that ultimately have more to do with individual subjectivities and self-images than with disciplined co ective struggle for resources and power. As a provisional disclosure of the state of the art within specific constituencies, this publication seeks to be serviceable to many different agendas and projects, and it attempts to do this by demonstrating the lived contradictions of what is simultaneously both an emerging and fully formed domain of research education. The SHARE Handbook for Artistic Research Education is a poly-vocal document, designed as a contribution to the field of artistic research education from an organisational, procedural and practical standpoint. Jointly coordinated by the Graduate School of Creative Arts and Media (GradCAM), the Dublin Institute of Technology (DIT) and the European League of Institute of the Arts (ELIA), the funding bid was comprised of 35 partners from 28 European countries. Over the period 2010–2013, this network was (co)funded through the ERASMUS Lifelong Learning Programme.

The SHARE network brings together a wide array of graduate schools, research centres, educators, supervisors, researchers and cultural practitioners, across all the arts disciplines. SHARE is an acronym for ‘Step-Change for Higher Arts Research and Education’ (a ‘step-change’ being a major jump forward, a key moment of progress).

Mick Wilson and Schelte van Ruiten Contributors: - Henk Borgdorff - Anna Daučíková - Scott deLahunta - ELIA - James Elkins - Bojan Gorenec - Johan A Haarberg - Efva Lilja - Steven Henry Madoff - Leandro Madrazo - Nina Malterud - Ruth Mateus-Berr - Alen Ožbolt - John Rajchman - Schelte van Ruiten - Matthias Tarasiewicz - Andris Teikmanis - Johan Verbeke - Mick Wilson Original description of the book: The SHARE Handbook is the outcome of three years of work by SHARE, an international network working to enhance the ‘third cycle’ of arts research and education in Europe. SHARE Handbook for Artistic Research Education Eds. In my contribution I present approaches and strategies of doing project-work and experimental (artistic) research with present and future technologies through artistic narratives. Critical media arts not only reflect upon new technologies and the ways in which they transform society they also offer a crucial laboratory for the development of new techniques and forms of presenting, structuring and conveying knowledge. 'Artistic Technology Research' in: Wilson, M.