Vi skal jo ikke uddanne kunstnere!: En undersøgelse af kunstnerisk erkendelse som ontologisk mulighed i uddannelsessystemet med gymnasiets mediefag som case.
Oversat titel
We are not supposed to educate artists!: Artistic Cognition as an Ontological Possibility in Upper Secondary Media Education
Forfatter
Semester
4. semester
Udgivelsesår
2026
Afleveret
2026-01-03
Antal sider
46
Abstract
Denne masteropgave undersøger, hvordan kunstnerisk erkendelse kan forstås og artikuleres som vidensform i uddannelsessystemet med gymnasiets mediefag som case. Mediefag indtager en dobbelttydig position: Faget er formelt placeret blandt de kunstneriske fag, men rammesættes i læreplaner og vejledninger primært gennem en kommunikativ og produktionsorienteret logik. Denne spænding danner afsæt for opgavens problemstilling: under hvilke diskursive betingelser bliver kunstnerisk erkendelse mulig, marginaliseret eller tavs i mediefagets vidensgrundlag? Undersøgelsen er forankret i et poststrukturalistisk videnskabssyn og anvender diskursteori med afsæt i Laclau og Mouffe kombineret med teorier om artistic research og æstetisk erkendelse. Kunstnerisk erkendelse begrebsliggøres ikke som en essens, men som en ontologisk mulighed: en vidensform, hvor erkendelse opstår gennem sanselige, skabende og formeksperimenterende praksisser frem for gennem entydig formidling af på forhånd defineret viden. Empirisk bygger opgaven på en diskursanalytisk læsning af centrale ministerielle dokumenter samt tre kvalitative interviews med aktører placeret på forskellige niveauer i feltet: en mediefagslærer, en fagkonsulent og en universitetsunderviser. Analysen identificerer nodalpunkter, ækvivalenskæder og antagonismer, der stabiliserer en kommunikativ fagontologi, hvor produktion, målgruppe og anvendelse fungerer som dominerende organiserende principper. Samtidig peger interviewmaterialet på praksisser, hvor elever og studerende arbejder undersøgende med form, erfaring og personlig stemme, men uden at disse erfaringer gives status som eksplicit vidensform. Opgaven konkluderer, at kunstnerisk erkendelse i mediefaget fremstår som en skrøbelig, men reel ontologisk mulighed. Den praktiseres i undervisningen, men mangler sproglig og institutionel forankring. En tydeligere artikulation af kunstnerisk erkendelse kan udvide fagets didaktiske handlerum og bidrage til en bredere diskussion af, hvilke former for viden der tillægges legitimitet i uddannelsessystemet.
The thesis investigates how artistic cognition can be articulated and legitimised as a form of knowledge within the education system, using Danish upper secondary media studies (mediefag) as a case. Mediefag occupies a double position: it is legally defined as an arts subject, yet in curricula and guidelines it is primarily framed as a communicative and production-oriented subject. This tension raises the central question of under which conditions the artistic can be thought, spoken of and practised as a legitimate form of knowledge in the subject. The study is grounded in a poststructuralist, discourse-theoretical framework, drawing on Laclau and Mouffe’s theory of discourse as well as research on artistic research and aesthetic experience. “Artistic cognition” is not used as an essential definition of art, but as a way of conceptualising an ontology in which artistic practice is understood as inquiry and knowledge production through sensuous and creative processes rather than as the communication of a pre-given message. Empirically, the thesis analyses (1) policy documents and curricular texts from the Ministry of Education and (2) three qualitative interviews with a media studies teacher, the national subject consultant and a university lecturer. Through a discourse-analytic reading, nodal points, equivalential chains and antagonisms are identified in order to reconstruct how the artistic is made possible or marginal in different discursive arenas. The analysis suggests that ministerial documents are dominated by a communicative hegemony centred on production, communication and audience. Aesthetic work is legitimised primarily as a means to effective communication, not as knowledge in its own right. In teachers’ and lecturers’ accounts, however, artistic dimensions appear in practice: students experiment with form and expression, develop personal voices and experience 4 something that is described as more than “just communication”, yet this remains weakly articulated and only modestly supported by the official discourse. The thesis argues that artistic cognition exists as a fragile, but real ontological possibility in media studies. Recognising and naming this form of knowledge could expand the subject’s didactic possibilities and contribute to a broader conversation about the place of artistic forms of knowing in general education.
Emneord