In 2020, materials from the workshop, activity program and exhibitions were collected in a book, Oslofjord Ecologies. Artistic Research on Environmental and Social Sustainability3. The bookencompassed ten research articles by authors from different fields and a section documenting artistic works and activities.Two contributors were PhD fellows and artists, relaying artistic research in the form of written articles as well as artistic works. Three articles were written by researchers in art theory, art pedagogyand science theory, while five artists reflected on artistic research and artistic work in an ecological context.Through the work with Oslofjord Ecologies a question of arose: Can artistic methods and ways of engaging with the environment have an impact beyond the artwork’s effect as a tool of communication or as an object positioned within the art context itself? In short: What can art do in a dire ecological crisis? The experience of Oslofjord Ecologies made me think of the artistic method as an inherent quality of the artwork and a possible asset in interdisciplinary collaboration.Artistic practice may create relationships, and interactions across epistemologies. This is because methods are invented by the artist while referencing other practices, research paradigms or aesthetic, theoretical and professional perspectives.The method carries meaning and contributes to layers of interpretationand reception as well as facilitating innovative production. My essay How to Set the Table for Collaborations: Artistic Sensibilities and Methods4 develops these thoughts further.

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This text is published in: in Theories and Practices of Contemporary Artistic Research, a Transdisciplinary Approach edited by Domenico Quaranta. https://hdl.handle.net/11250/5359313