Tom Holert, "Art in the Knowledge-based Polis," e-flux journal, no.3 (February 2009), →.
See Mai Abu ElDahab, "On How to Fall With Grace – Or Fall Flat on Your Face," in Notes for an Art School, ed. Mai Abu ElDahab, Anton Vidokle, and Florian Waldvogel (Amsterdam: International Foundation Manifesta; Nicosia: Manifesta 6, 2006), 7; Irit Rogoff, "Turning," e-flux journal, no. 0 (November 2008), →.
Among the most notable exceptions of voices that are of critical importance to the art world and (nevertheless) don't shy away from talking about the (boring) Bologna Process are authors such as Beatrice von Bismarck, Diedrich Diederichsen, and Stephan Dillemuth. See, e.g., Beatrice von Bismarck, "Game within the Fame: Institution, Institutionalisation and Art Education," in Art and Its Institutions: Current Conflicts, Critique and Collaborations, ed. Nina Möntmann (London: Black Dog Publishing, 2006), 124-131; Diedrich Diederichsen, "The Academy as an Exception: Artistic Research and the Doctorate in the Arts," in A Portrait of the Artist as a Researcher: The Academy and the Bologna Process, ed. Dieter Lesage and Kathrin Busch (Antwerp: MuHKA, 2007), 66-71; Stephan Dillemuth, "The Academy and the Corporate Public," ibid., 72-75.
In order to be accepted as a participating country in the Bologna Process, nation states don't have to be a Member state of the European Union. According to the Berlin Communiqué of September 19, 2003, all European countries that signed the European Cultural Convention, accept the basic premises of the Bologna Declaration, and strive to implement the Process at the national level, can become participating countries in the Bologna Process. The current number of countries participating in the Bologna Process is forty-six. San Marino and Monaco, two more countries that signed the European Cultural Convention, are not participating in the Bologna Process for lack of higher education institutions.
Many of the most distinguished among those who speak and write so much about education and the arts do not seem aware that there is no such thing as a "Bologna Accord." Indeed, there is a fundamental difference between an Accord and a Declaration. Today, you and I could make a solemn declaration that one day we would like to sign an Accord. In that case we would have a Declaration, but not yet an Accord. Or, rather, it could be that yesterday we signed a little Accord stipulating that today we would make this solemn Declaration. And once we reach the final Accord we can make it known to the world in a joint Declaration. But once we have a final Accord, we don't need the spectacle of a joint Declaration for the Accord to be valid, unless it is explicitly stated in the Accord that it is invalid without the spectacle of a Declaration.
My emphasis. For the full text of the Bologna Declaration, go to →.
See Karin Stempel, "Zum Stand der Dinge," in Who is afraid of master of arts?, ed. Internationale Gesellschaft der Bildenden Künste, Annette Hollywood, and Barbara Wille (Berlin: Internationale Gesellschaft der Bildenden Künste. 2007), 23-32.
See Ulf Wuggenig, "Art Schools, Universities and the Bologna Process," in A Portrait of the Artist as a Researcher: The Academy and the Bologna Process, 142-148.
The information which follows is also to be found on the official Web site 2007-2009 of the Bologna Secretariat, which is maintained by the Ministry of Education of the Flemish Community of Belgium. See →.
See the EUA-CDE Web site, →.
On the motivation behind the British Medical Journal's change in editorial policy, see Richard Smith, "Opening up BMJ peer review: A beginning that should lead to complete transparency," British Medical Journal 318 (January 2, 1999): 4-5.
Sandra Goldbeck-Wood, "Evidence on peer review – scientific quality control or smokescreen?," ibid., 44-45. On this issue, see also Susan Van Rooyen, Fiona Godlee, Stephan Evans, Nick Black, and Richard Smith, "Effect of open peer review on quality of reviews and on reviewers' recommendations: a randomised trial," ibid., 23-27.
On the history of the Science Citation Index and of scientometrics, see Pail Wouters, The Citation Culture (PhD diss., University of Amsterdam, 1999).
For a very interesting description of the relationship between the academy and expanded academia, see Jan Verwoert, "School's Out !-?," in Notes for an Art School, 56-63.
See Stephan Schmidt-Wulffen, "Lernen für die Kunst von Heute. Masterpläne und Realitäten in Wien," in Who is afraid of master of arts?, 85-93.
