Diana Lindbjerg

Fine Art (Master's Programme)

David Rych

<h1>MFA Studieprogram evaluering 2020-21</h1><h2>&nbsp;</h2><h2>Studieprogramrapportens datagrunnlag</h2>	Angi datagrunnlaget som rapporten bygger på. Eksempelvis: ·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<a href="https://spfarm.ntnu.no/system/doq/SitePages/Home.aspx" rel="noopener noreferrer" target="_blank" style="color: rgb(149, 79, 114);">Emnerapporter</a>·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Tidligere <a href="https://spfarm.ntnu.no/system/doq/SitePages/Home.aspx" rel="noopener noreferrer" target="_blank" style="color: rgb(149, 79, 114);">studieprogramrapporter</a> og studieprogramrådsreferat·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<a href="http://www.ntnu.no/karstat/login.do" rel="noopener noreferrer" target="_blank" style="color: rgb(0, 102, 204);">FS-rapporter</a> (karakterer, gjennomførings- og frafallsstatistikk etc.) <ul><li class="ql-align-justify"><a href="https://innsida.ntnu.no/wiki/-/wiki/Norsk/dbh" rel="noopener noreferrer" target="_blank" style="color: rgb(0, 102, 204);">Statistikk om studier og studenter fra DBH</a> og <a href="http://dbh.nsd.uib.no/statistikk/kategori_studenter.action" rel="noopener noreferrer" target="_blank" style="color: rgb(149, 79, 114);">DBHs studentdataoppslag</a></li><li class="ql-align-justify">AD-<a href="https://studntnu.sharepoint.com/:x:/r/sites/UtdanningskvalitetvedAD/_layouts/15/Doc.aspx?sourcedoc=%7BD5194C38-3C3E-4970-8371-EAC00CFF17B3%7D&amp;file=BBK%20pr%2006.09.21.xlsx&amp;action=default&amp;mobileredirect=true" rel="noopener noreferrer" target="_blank" style="color: rgb(149, 79, 114);">gjennomstrømning</a>:</li><li class="ql-align-justify"><a href="https://studntnu.sharepoint.com/sites/TeamSite/5077/Dokumenter/Forms/AllItems.aspx?viewid=bcb865df-bbb4-412a-8014-d6462593aecc&amp;id=%2Fsites%2FTeamSite%2F5077%2FDokumenter%2FOpptak%20og%20opptaksstatistikk" rel="noopener noreferrer" target="_blank" style="color: rgb(149, 79, 114);">Opptak og opptaksstatistikk ved AD</a></li><li class="ql-align-justify"><a href="https://www.studiebarometeret.no/no/student/studieprogram/1150_mfa/" rel="noopener noreferrer" target="_blank" style="color: rgb(149, 79, 114);">Studiebarometeret</a></li><li class="ql-align-justify"><a href="https://rapport-dv.uhad.no/#/views/Studieprogramledere_0/Sker-ogstudenttall?:iid=1" rel="noopener noreferrer" target="_blank" style="color: rgb(149, 79, 114);">Star-tableau</a> informasion</li></ul> <h2>Bakgrunn - kort om Opptak og gjennomstrømning</h2>Seen over the last 5 years, the Mfa program at the Academy of Fine Art in Trondheim, NTNU sees both more applicants and more starters per. year. The STAR report for the program states that the number of applicants has increased from 77 in 2017 to 96 in 2020. The challenge is that the general competition with similar programs in Scandinavia and internationally makes a difference between those who receive offers to those who actually start the education is decreased to about 50%. In addition, the international master suffers from network fluctuations - the program has difficulty in systematizing the spread and publicity of the program to the same extent as is possible, for example, on the BFA program where applicants are can be recruited from preschools in scandinavia.Bakgrunn - kort om studieprogrammets profil og utvikling&nbsp;Program profile, uniqueness, dimensions etc.:&nbsp;The MFA in Fine Art has been reformulated as an international master study program in 2014, from its precursor the Master Program of Fine Art at the Trondheim Academy of Fine Arts.&nbsp;The MFA program is gaining international reputation for foregrounding a focus on artistic research and a cross disciplinary approach, where critical reflection and debate are considered complementary to self-directed artistic research and practice. The program is based on a Scandinavian and Northern European model. Comparable education in Norway is offered by the Oslo Academy of Fine Arts (KHIO) and the Bergen National Academy of Arts (KMD). In terms of study plan however very few art departments/academies in the Scandinavian region offer a comparable configuration to KiT.&nbsp;The MFA program prepares students to succeed in multiple environments, offering a broad-based curriculum, with interdisciplinary and international components and emphasizes teaching and learning in projects and exhibitions, on site at museums and other cultural venues, in exchange with communities, and in various media and online.The education is primarily studio-based, but the program is not craft-oriented – the focus is on processual and discursive aspects of the arts. All art-making activities are considered serious intellectual endeavours. Students in the program concentrate on developing practical skills alongside developing their intellectual and critical abilities in working out their artistic positions.&nbsp;Teaching and counselling methods&nbsp;Students within the International MFA program have a studio space and access to collaborative workspaces and workshops for wood, metal, plaster, printmaking, photo, video, sound and computer-based work. Students carry out research independently and work on projects under close guidance of supervisors.&nbsp;Individual mentoring lies at the core of art education - as a result tutorials remain one key component in this field of study, and are the preferred learning activity of the student body.A continuous tutorial pattern has been widely seen as a backbone of the program, since art students follow an individual art practices connected to research, and benefit most from a continuous and focused responses from the department’s academic staff.&nbsp;As of autumn 2017, individual supervision at the institute has been reshaped with a new tutorial structure, which involves all teaching faculty on the base of their contractual employment percentages to provide supervision to students across both study programs. Every student at the Institute of Fine Art has two supervisors, one of which is also course coordinator and responsible for their examinations in main courses. In 2020/21, students were required to meet with the main supervisor three times during each semester and twice with the second supervisor. Aside from the formal arrangement with first and second supervisors, students may at any time contact other professors and teachers to request individual tutorials.Only since autumn 2020 the division of student supervision among teachers is not only based on contractual percentages of teachers, but also taking into account their differing individual workloads at the department.&nbsp;The structure of the two-year program is based on three semesters with distinct assignments and seminar modules, while the fourth semester is dedicated to final graduation presentations and the aim of thesis submission.Throughout the academic year, the students’ individual projects are part of a main master course, which offers a broad range of pedagogical formats including seminar modules, group critiques, workshops, student-led seminars and projects, guest lectures and exhibitions.&nbsp;During semester three and four, the MFA candidate completes a body of independent artwork known as the final thesis project. To accompany the artwork, the student is required to submit a thesis paper. This senior project culminates in a MFA thesis exhibition, a collectively produced show, displayed in a professional manner with a unified theme/concept produced as a result within the MFA programme and a requirement for the granting of an MFA Degree in Art.&nbsp;&nbsp;Program development - revisions and changes in content and form&nbsp;The program structure was fully revised in 2015 with a new study plan and elective course structure active from autumn 2016 onwards, with consensus across faculty and student body that it was a very successful transition. The study plan has since been subject to yearly improvements and minor revisions.&nbsp;The progression of the study plan for MFA studies at KiT:2014/15 the MFA program is one 30 study point course. Art and Common Space is the only additional artistic course subject: a single course worth 22.5 ECTS, which was utilizing up to three different course codes for one single course for both Bachelor and Master students.&nbsp;2015/16 Introduction of elective courses in a pilot year without ECTS, offering a wide range of subjects allowing for artistic specialisation and in some courses alignment with NTNU’s strategic areas of research2016/17 elective subjects are part of the study plan. Intensive modules are introduced in the major subjects – with a focus on artistic research, artistic entrepreneurship, publishing and exhibiting as an artistic practice.2017/18 introduction of continuous individualized supervision for all students at the department(2018/19 BFA elective course subjects are introduced – following the example of the MFA program)&nbsp;In the academic year 2020-21, a comprehensive revision of the course structure of the program was initiated with effect from the following year 2021-22, while 2020-21 was implemented without structural changes from earlier but with a strong impact by Covid restrictions. Much teaching was digitized for long periods and the teaching environment was characterized by the physical limitations - group teaching took place digitally, while working in studies and one-on-one tutoring could be completed.&nbsp;In 2020-21, there was still an overall lack of a demarcation of resources for the comprehensive and time-consuming element of recruitment and admission. However, a system has been prepared administratively by the study administration using online formats that streamlined the admission process.&nbsp;&nbsp;Vurdering av Læringsutbytte·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Is the learning outcome description updated and relevant?The LUB is overall relevant and represents the main goal of the program: To develop an artistic practice at the highest possible level on the basis of artistic research and artistic entrepreneurship. Thus the LUB identifies in simple terms some of the overall characteristics of the MFA program, and is updated consequently in yearly revision.&nbsp;·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Do all subjects and the connection between them contribute to the students achieving the learning outcome for the program?The main courses concentrates on the development of an individual artistic practice and the contextualization of studio work. The objective is to focus and develop an MFA thesis project which is to be presented and defended in the MFA exhibition and final exam at the end of the two-year term. It covers the entire range of research and concept development, reflection, articulation, and realization. ​It prepares MFA candidates for a practice-based research in contemporary art. It aims to help MFA candidates to steep themselves within related theories and forms of analysis within their area of artistic research. A series of thematic complementary elective courses supports, actualizes and develops methods, critical reflection, writing and methods of the practice and research. Taking effect only from this year of study, the course portfolio is slimmed and clarifies the anchoring of the program in two main electives in spring: Artistic Entrpeneurship and Artistic Research. With this recent revision a number of excessive course variations have been eliminated from the program.&nbsp;·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Is the learning environment good?The learning environment is undergoing development - new hires and managerial focus on collaboration and team building significantly improve teaching intensity, frequency, exchange and development of professionalism. There is still some way to go for an optimized collaborative program and institute but important steps are being taken with the involvement of scientific staff and participation in planning, coordination and administration. A new Head of Study Programs have helped ignite new practical perspectives in the program.&nbsp;·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Are there challenges that indicate that the study program should undergo a periodic evaluation earlier than planned?The program is seen over a 5 year period in a radical development towards a structured and contemporary updated art education. The last periodic evaluation took place in 2016-17 and the next evaluation will start in the autumn of 2021.&nbsp;&nbsp;

Studieprogramleders vurdering av programkvalitetenSummary of the quality of the program:&nbsp;The International MFA program competes with similar programs across Scandinavia and the EU. Favouring factors are the absence of tuition fee, spatial possibilities and an international profile of the study program, which is reflected in faculty members and guest lecturers. Artistic research in the context of academic research appears to be the most prominent asset of the program for recruitment, but also a sustainable interaction with science and technology in the framework of NTNU.&nbsp;The MFA program is currently suitable for two cohorts of 40 students in total. The admission frame was increased by “overbooking” applicants in admission. The intake in 2020 of 22 students is the highest achieved to date.It can be generally stated that the quality of applications to the program is high and increasing with an international recognition of the program. This indicates that efforts of international recruitment have been successful but the outreach to potential candidates needs to be wider, and at the same time more specific with a distinct profile and an investment into directed recruitment campaigns.&nbsp;The structured study plan with elective courses for individual specialisation is unique to KiT and has been received very positively and resonated well with applicants from abroad. Survey results from most courses in the study program indicate a reliable quality and student satisfaction with the teaching offers. The structuring of the teaching into transparent and pre planned pattern has been further improved over the year 2020-21 with a high level of satisfaction among students&nbsp;However the variations of a covid year makes this report not representative for the actual program and cannot factually be considered for further structural development of the study plan – but the general adaptation to restrictions with the introduction of e-learning tools and strategies needs to be considered when it comes to teaching formats and deliverables.Courses could generally be continued, mainly due to the student-centered approach in of the program, while other course elements were maintained in digital form. All collaborative online tools provided by NTNU continue to be in use, while new opportunities are being taken advantage of, and will be maintained to a reasonable degree in future developments of the program. However the efficiency of the institution at large has been limited, administrative processes more complicated and the resulting lowered quality for the students also reflected in their feedback.&nbsp;&nbsp;Specific elements and trends affecting the quality of the program:&nbsp;&nbsp;Creating a sustainable and balanced model for the use of the gallery in the program – a learning area that is both a study program lab and public exhibition space.&nbsp;The fluctuation in staffing at KiT continues to affect the educational climate. Changing faculty and guest teachers will continuously have an impact on contents of the courses and pose a real threat to the program, resetting the institutional memory and routines in regular intervals comprising a large administrative workload for the institution.&nbsp;Demarcation of ressources for recruitment and admission processes.&nbsp;Clarification of the element of field work.&nbsp;Challenges with administrative and organizational tasks: Implementation of teachers' administrative and communicative functions.&nbsp;Missing: documentation of the teaching in teaching specifically with regards to the 15 ects courses.&nbsp;From the Reaccreditation process 2019, the following remains: The link between research and teaching must be updated and implemented - how is research present in the teaching of the individual courses?&nbsp;The internationalism and diversity of the MFA students’ prior experience and education is a source of tremendous energy, but it also poses a challenge to establishing a shared conceptual framework.&nbsp;Teaching is idiosyncratic, with individual interpretations of liberty and democracy&nbsp;Recruitment / competition on an international level is increasing – overbooking more students, lower quality, more effort coordinating and two years short to compensate&nbsp;Technical media equipment needs to be updated to fulfil the demands of an art production, which is to a large extent technologically oriented. Excellent working conditions are the prerequisite to maintain an international reputation of the institute as a site of pioneering research and production and to attract qualified applicants to the master study program.&nbsp;&nbsp;&nbsp;Assignments for the studyplan revision:&nbsp;<ul><li>Update recruitment strategy</li><li>Creating a sustainable and balanced model for the use of the gallery in the program – a learning area that is both a study program lab and public exhibition space.&nbsp;</li><li>Demarcation of ressources for recruitment and admission processes.</li><li>Clarification of the element of field work.</li><li>Missing: documentation of the teaching in teaching specifically with regards to the 15 ects courses.</li></ul>&nbsp;&nbsp;&nbsp;

Tiltak

Rebranding of MFA profile: Focus on Research Entrepreneurship, interdisciplinarity and collaboration - Clearly state the purpose and vision of the programme in the description and LUB.

Integration of potential voluntary studytrips in the studyplan according to rules and regulations 

Revision of courses more related to research areas and research projects. Describe the different ways in which MFA students can be involved in research projects

Make visible and clear research in teaching – update course descriptions.

Improve and develop the use of Timeplan - Further support the improved routines of attendance 

New work-placement course

Writing in to the studyplan group critiques, 3+2 and changing 1-to-1 guidance to common formats into main course

Describe coordinated collaborative teaching formats

Prioritize and clarify PhD students' roles in teaching 

Change Job prospects section on NTNU web

NTNU:TIA:REST

Fakultet for arkitektur og design

Faculty of Architecture and Design

Leslie Jeanne Johnson

Seen over the last 6 years, the MFA program at the Academy of Fine Art in Trondheim, NTNU sees both more applicants and more starters per. year. The STAR report for the program states that the number of applicants has increased from 77 in 2017 to 136 in 2022. The challenge is that the general competition with similar programs in Scandinavia and internationally makes a difference between those who receive offers to those who actually start the education is decreased to about 50%. In addition, the international master suffers from network fluctuations - the program has difficulty in systematizing the spread and publicity of the program to the same extent as is possible, for example, on the BFA program where applicants are can be recruited from preschools in Scandinavia. Intensive work was done last year to address and improve recruitment with good success, this year we must focus on consolidating the efforts.&nbsp;﻿The MFA in Fine Art has been reformulated as an international master study program in 2014, from its precursor the Master Program of Fine Art at the Trondheim Academy of Fine Arts.&nbsp;&nbsp;The MFA program is gaining international reputation for foregrounding a focus on artistic research and a cross disciplinary approach, where critical reflection and debate are considered complementary to self-directed artistic research and practice. The program is based on a Scandinavian and Northern European model. Comparable education in Norway is offered by the Oslo Academy of Fine Arts (KHIO) and the Bergen National Academy of Arts (KMD). In terms of study plan however very few art departments/academies in the Scandinavian region offer a comparable configuration to KiT.&nbsp;&nbsp;&nbsp;The MFA program prepares students to succeed in multiple environments, offering a broad-based curriculum, with interdisciplinary and international components and emphasizes teaching and learning in projects and exhibitions, on site at museums and other cultural venues, in exchange with communities, and in various media and online.&nbsp;&nbsp;The education is primarily studio-based, but the program is not craft-oriented – the focus is on processual and discursive aspects of the arts. All art-making activities are considered serious intellectual endeavours. Students in the program concentrate on developing practical skills alongside developing their intellectual and critical abilities in working out their artistic positions.&nbsp; &nbsp;In the academic year 2020-21, a comprehensive revision of the course structure of the program was initiated with effect from the following year 2021-22, while 2020-21 was implemented without structural changes from earlier but with a strong impact by Covid restrictions. Much teaching was digitized for long periods and the teaching environment was characterized by the physical limitations - group teaching took place digitally, while working in studies and one-on-one tutoring could be completed.&nbsp;&nbsp;

2021-22 Admission on MFA has also cut its last ties to the general international admission deadlines. BBK and MFA now shares an entrypoint KUNST when student choose studies. The challenge is that in the NTNU program catalogue we still look similar to the other programs so of the 136 applicants only 57 was complete applications and could be evaluated academically. 36 received offers for admission. 4 applicants was offered waiting list places. Waiting list was activated and after the deadline and 23 students arrived at matriculation in august.&nbsp;&nbsp;&nbsp;Admin challenges for admission Spring22&nbsp;Although the application requirement text have been carefully revised over the past years we still struggle with some standard text in søknadsweb that states that you can submit additional papers up to 14 days after deadline. Our text specifically explains that all materials must be submitted before 1st march. The consequence is that the administrative process of preparing the submitted material for evaluation is delayed with higher risk of mistakes as this part relies on manually checking lists for potential (within the acceptable limit) candidates. This part of the process is split between admission office, international office and KiT and the collaboration and co-understanding has undergone a positive development over the past year, but admission spring22 in MFA was influenced by a change of staff in International office, but the admission office and study admin at KiT are continuously working on developing the process to ensure a solid and more lean process.&nbsp;&nbsp;Due to the multi-layered process there was an administrative double distribution of candidates. This caused some confusion and extra labour in the process.&nbsp;Improvements: lean workflow interface based on the current model for assessing candidates between staff members. This could be a semi-automated excel.&nbsp;&nbsp;&nbsp;&nbsp;Teaching and counselling methods&nbsp;&nbsp;Students within the International MFA program have a studio space and access to collaborative workspaces and workshops for wood, metal, plaster, printmaking, photo, video, sound, and computer-based work. Students carry out research independently and work on projects under close guidance of supervisors.&nbsp;&nbsp;&nbsp;Individual mentoring lies at the core of art education - as a result tutorials remain one key component in this field of study, and are the preferred learning activity of the student body.&nbsp;&nbsp;A continuous tutorial pattern has been widely seen as a backbone of the program, since art students follow an individual art practices connected to research, and benefit most from a continuous and focused responses from the department’s academic staff.&nbsp;&nbsp;&nbsp;As of autumn 2017, individual supervision at the institute has been reshaped with a new tutorial structure, which involves all teaching faculty on the base of their contractual employment percentages to provide supervision to students across both study programs. Every student at the Institute of Fine Art has two supervisors, one of which is also course coordinator and responsible for their examinations in main courses. In 2020/21, students were required to meet with the main supervisor three times during each semester and twice with the second supervisor. Aside from the formal arrangement with first and second supervisors, students may at any time contact other professors and teachers to request individual tutorials.&nbsp;Only since autumn 2020 the division of student supervision among teachers is not only based on contractual percentages of teachers, but also considering their differing individual workloads at the department.&nbsp;&nbsp;2021-22 supervision model keeps being refined but is continuingly difficult to schedule and with the many variables in staffing. Supervisors also play a role in end of semester evaluation and through the 21/22 academic year the need to further clarification of the supervisor role and responsibilities has come to focus and is to be developed further in&nbsp;22/23.&nbsp;&nbsp;&nbsp;Evaluation criteria are specified in each course in a written description. The grade is pass/fail&nbsp;and you are evaluated on your participation as well as your production of work. As an art education is highly dependent on the group sharing and negotiating attendance is a key factor and 2021/22 we begun a heightened awareness on this with academic staff members increasingly responding to the need for documentation to ensure good case-handling of students who fail to qualify for evaluation due to too much absence.&nbsp;&nbsp;&nbsp;Graduation spring 22 – Into the pink sun.&nbsp;The previous arrangement with TKM Gråmølna about hosting the MFA show finished in 2020. KULL2022 who is to date our largest graduating MFA group had no fixed venue for their graduation show. Coming out of covid as well this created a lot of pressure and expectations from the students. The result became an elaborate program over 14 venues, stretched over a month, with a complementing website. The program and show was great but it had some practical consequences in relation to final oral examination as not all works where able to be presented in the same time- or physical space.&nbsp;In order to ensure equal examination for all students sensor agreed to a digital version where KiT provided an elaborate documentation of works and events. It was a version known to the students as we had used it during the pandemic and went well.&nbsp;&nbsp;Although we would not advise this for a standard solution, it is a good example of the digital versatility we have acquired during the pandemic that have allowed us to practice.&nbsp;&nbsp;The structure of the two-year program is based on three semesters with distinct assignments and seminar modules, while the fourth semester is dedicated to final graduation presentations and the aim of thesis submission.&nbsp;Throughout the academic year, the students’ individual projects are part of a main master course, which offers a broad range of pedagogical formats including seminar modules, group critiques, workshops, student-led seminars and projects, guest lectures and exhibitions.&nbsp;&nbsp;&nbsp;During semester three and four, the MFA candidate completes a body of independent artwork known as the final thesis project. To accompany the artwork, the student is required to submit a thesis paper. This senior project culminates in a MFA thesis exhibition, a collectively produced show, displayed in a professional manner with a unified theme/concept produced as a result within the MFA programme and a requirement for the granting of an MFA Degree in Art.&nbsp;&nbsp;In 2020-21, there was still an overall lack of a demarcation of resources for the comprehensive and time-consuming element of recruitment and admission. However, a system has been prepared administratively by the study administration using online formats that streamlined the admission process.&nbsp;2021-22 as a response to previous years feedback and recommendations from last periodic evaluation the courses <a href="https://www.ntnu.edu/studies/courses/BK3201/2021#tab=omEmnet" rel="noopener noreferrer" target="_blank" style="color: inherit;">BK3201, Exploring Artistic Entrepreneurship</a> and <a href="https://www.ntnu.edu/studies/courses/BK3202#tab=omEmnet" rel="noopener noreferrer" target="_blank" style="color: inherit;">BK3202, Introduction to Artistic Research</a> are introduced as electives for MFA in spring.&nbsp;&nbsp;Timeplan is tested out for main courses in spring 22 for main courses to respond to the need for communicating course activities. The long term delivery of TP grunnlagsdata is a challenge for KiT and the learning process in long term planning will take some years. But the expectation of a schedule is there from the students side and it is becoming an increasingly valuable tool for responding to our increasing focus on attendance.&nbsp; 2021-22 – Exchange and KUNO&nbsp;Some exchanges were not able to happen due to covid restrictions in receiving country in&nbsp;&nbsp;More students are using KUNO network to get familiar with other schools and or make use of facilities that we do not have at KiT. This is an overall positive trend but as the students receive their ESTC points from us as the home institution it is important that the exchange stays are confirmed by the main course teachers. Study admin and academic staff will continue to work on a good model to ensure that this happens.&nbsp;Erasmus placements – two students from the graduating students 2022 was awarded funding for a one year work-placement in EU. With an increasing focus and skill in the administration we are now able to focus more on the opportunities within Erasmus, Nordplus and other funding opportunities. There is still much to learn in this regard and evaluation on procedure is necessary.&nbsp;Goal for 2022-23 is to renew exchange agreements and study admin continue to explore work placement opportunities.&nbsp;

&nbsp;&nbsp;Program development - revisions and changes in content and form&nbsp;&nbsp;The program structure was fully revised in 2015 with a new study plan and elective course structure active from autumn 2016 onwards, with consensus across faculty and student body that it was a successful transition. The study plan has since been subject to yearly improvements and minor revisions.&nbsp;&nbsp;The progression of the study plan for MFA studies at KiT:&nbsp;2014/15 the MFA program is one 30 study point course. Art and Common Space is the only additional artistic course subject: a single course worth 22.5 ECTS, which was utilizing up to three different course codes for one single course for both Bachelor and Master students.&nbsp;&nbsp;2015/16 Introduction of elective courses in a pilot year without ECTS, offering a wide range of subjects allowing for artistic specialisation and in some courses alignment with NTNU’s strategic areas of research&nbsp;2016/17 elective subjects are part of the study plan. Intensive modules are introduced in the major subjects – with a focus on artistic research, artistic entrepreneurship, publishing and exhibiting as an artistic practice.&nbsp;2017/18 introduction of continuous individualized supervision for all students at the department&nbsp;(2018/19 BBK elective course subjects are introduced – following the example of the MFA program)&nbsp;2019-20 BBK program changes and elective courses is now part of the study plan&nbsp;2020-21 MFA/BBK – reduction in electives for spring semester (version 2 of autumn electives are discontinued)&nbsp;2021-22 MFA – spring electives, term 2 new courses <a href="https://www.ntnu.edu/studies/courses/BK3201/2021#tab=omEmnet" rel="noopener noreferrer" target="_blank" style="color: rgb(5, 99, 193);">BK3201, Exploring Artistic Entrepreneurship</a> and <a href="https://www.ntnu.edu/studies/courses/BK3202#tab=omEmnet" rel="noopener noreferrer" target="_blank" style="color: rgb(5, 99, 193);">BK3202, Introduction to Artistic Research</a>&nbsp; Vurdering av Læringsutbytte&nbsp;<ul><li>Is the learning outcome description updated and relevant?&nbsp;</li></ul>The program and the department profile at large need an update: Focus on defining new and versatile roles for visual art and artists – Artistic Entrepeneurship. Societal and worklife relevance and sustainability as focus areas. Otherwise the LUB is overall relevant and represents the main goal of the program: To develop an artistic practice at the highest possible level on the basis of artistic research and artistic entrepreneurship.&nbsp;&nbsp;<ul><li>Do all subjects and the connection between them contribute to the students achieving the learning outcome for the program?&nbsp;</li></ul>The main courses concentrates on the development of an individual artistic practice and the contextualization of studio work. The objective is to focus and develop an MFA thesis project which is to be presented and defended in the MFA exhibition and final exam at the end of the two-year term. It covers the entire range of research and concept development, reflection, articulation, and realization. ​It prepares MFA candidates for practice-based research in contemporary art. It aims to help MFA candidates to steep themselves within related theories and forms of analysis within their area of artistic research. A series of thematic complementary elective courses supports, actualizes and develops methods, critical reflection, writing and methods of the practice and research. Taking effect only from this year of study, the course portfolio is slimmed and clarifies the anchoring of the program in two main electives in spring: Artistic Entrepeneurship and Artistic Research. With this recent revision several excessive course variations have been eliminated from the program.&nbsp;&nbsp;<ul><li>Is the learning environment good?&nbsp;</li></ul>The learning environment is undergoing development - new hires and managerial focus on collaboration and team building significantly improve teaching intensity, frequency, exchange and development of professionalism. There is still some way to go for an optimized collaborative program and institute but important steps are being taken with the involvement of scientific staff and participation in planning, coordination and administration. A new Head of Study Programs have helped ignite new practical perspectives in the program.&nbsp;&nbsp;<ul><li>Are there challenges that indicate that the study program should undergo a periodic evaluation earlier than planned?&nbsp;</li></ul>The program is seen over a 5 year period in a radical development towards a structured and contemporary updated art education. The last periodic evaluation took place in 2016-17 and the next evaluation will start in the autumn of 2021.&nbsp;Periodic evaluation was planned for Autumn 22 and is currently in process&nbsp;&nbsp;&nbsp;Studieprogramleders vurdering av programkvaliteten&nbsp;&nbsp;<ul><li>Summary of the quality of the program:&nbsp;</li></ul>&nbsp;The International MFA program competes with similar programs across Scandinavia and the EU. Favouring factors are the absence of tuition fee, spatial possibilities and an international profile of the study program, which is reflected in faculty members and guest lecturers. Artistic research in the context of academic research appears to be the most prominent asset of the program for recruitment, but also a sustainable interaction with science and technology in the framework of NTNU.&nbsp;&nbsp;The MFA program is currently suitable for two cohorts of 40 students in total. The admission frame was increased by “overbooking” applicants in admission. The intake in 2022 of 25 students is the highest achieved to date.&nbsp;&nbsp;&nbsp;It can be generally stated that the quality of applications to the program is high and increasing with an international recognition of the program. This indicates that efforts of international recruitment have been successful but the outreach to potential candidates needs to be wider, and at the same time more specific with a more distinct profile and an investment into directed recruitment campaigns – Artistic Entrepreneurship.&nbsp;&nbsp;The structured study plan with elective courses for individual specialisation is unique to KiT and has been received very positively and resonated well with applicants from abroad. Survey results from most courses in the study program indicate a reliable quality and student satisfaction with the teaching offers. The structure was last year modified with two ‘line’ electives in the spring semester – Artistic research and Artistic entrepreneurship, giving MFA students two different focusses. The results are yet to be assessed but the revision follows the plan to strengthen the profile of the program. It is strongly advised on the basis of development of the intake of students to further sharpen the profile of the program in the direction of Artistic Entrepreneurship.&nbsp;&nbsp; &nbsp;&nbsp;

Specific elements and trends affecting the quality of the program:&nbsp;The program and the department profile at large need an update: Focus on defining new and versatile roles for visual art and artists – Artistic Entrepeneurship. Societal and worklife relevance and sustainability as main focus areas.&nbsp;&nbsp;&nbsp;‘what can you become?’ The description on NTNU website on <a href="https://www.ntnu.edu/studies/mfa/job-prospects" rel="noopener noreferrer" target="_blank" style="color: inherit;">Job prospects - Master of Fine Art (MFA) - NTNU</a> is currently modest in its promisses. Creating a more open but specific profile could aim for a more broad set of examples of Alumni work that is not restricted to more traditional artworker. The success of a former art student is not only meassurable in grants and institutional purchases.&nbsp;&nbsp;&nbsp;&nbsp;Demarcation of ressources for recruitment and admission processes.&nbsp;&nbsp;&nbsp;&nbsp;Missing: documentation of the teaching in teaching specifically with regards to the 15 ects courses.&nbsp;&nbsp;From the Reaccreditation process 2019, the following remains: The link between research and teaching must be updated and implemented - how is research present in the teaching of the individual courses? There is a general focus throughout the MFA courses on conducting research, which then becomes a platform for further development be it an artwork, an exhibition, or a collaborative project. The focus manifests itself as a discussion of questions for exploration and sources which might reference those questions. Artworks, exhibitions, and projects are also critiqued; discussed and analyzed; in terms of the research, or foundation of the work.&nbsp;&nbsp;&nbsp;Recruitment / competition on an international level is increasing – overbooking more students, lower quality, more effort coordinating and two years short to compensate&nbsp;It is often difficult to judge quality when students come from far reaching international communities with different educational systems. KiT looks for students with the possibility to flourish within the program, with the given resources; even if they come from a wide range of educational backgrounds&nbsp;&nbsp;&nbsp;Technical media equipment needs to be updated to fulfil the demands of an art production, which is to a large extent technologically oriented. Excellent working conditions are the prerequisite to maintain an international reputation of the institute as a site of pioneering research and production and to attract qualified applicants to the master study program - Better access to technical media and instruction needs to be investigated as part of KiT being embedded in a technical university.&nbsp;&nbsp;Communication and Time plan&nbsp;&nbsp;Communication to the students about teaching is still characterized by some unclarity and we have not yet reached the goal of more streamlined and timely communication. In 2021-22, the study administration decided to use TimePlan. The need to be able to communicate presence to students is an important measure in strengthening expectations for students. This requires more detailed teaching for a longer time in advance. Many ad hoc changes are constantly being made there, which are communicated by e-mail rather than as changes to the Timeplan or blackboard. Lack of integration of the Timeplan and Blackboard unfortunately also makes this difficult to implement as the changes have to be made in several sessions.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<ul><li>Assignments for the studyplan revision:&nbsp;</li></ul>&nbsp;The program and the department profile at large need an update: Focus on defining new and versatile roles for visual art and artists in the program description&nbsp;– Artistic Entrepeneurship. Societal and worklife relevance and sustainability as focus areas.&nbsp;&nbsp;&nbsp;Demarcation of ressources for recruitment and admission processes.&nbsp;&nbsp;Documentation of the teaching in teaching specifically with regards to the 15 ects courses.&nbsp;&nbsp;Make visible and clear research in teaching – update course descriptions&nbsp;&nbsp;Missing: documentation of the teaching in teaching specifically with regards to the 15 ects courses – find standard of documentation of tutoring.&nbsp;&nbsp;Better access to technical media and instruction needs to be investigated as part of KiT being embedded in a technical university.&nbsp;&nbsp;Improve and develop the use of Timeplan&nbsp;&nbsp;&nbsp;

KiT has a diverse potential in the thematic fields of strategic importance (e.g. international orientation), program design (e.g. individualized curriculum, student-centred teaching, co-teaching), relevance to society and working life (e.g. guest lecturers, career-path skills) and learning environment (e.g. space situation, combination of individual and group teaching). The evaluation panel identified four overarching topics regarding a further quality development of the BA and MA degree programs in Fine Art. Transdisciplinary courses and collaborationThe embeddedness of KiT in the technology-oriented university NTNU is a unique selling proposition in the (inter-)national field of art universities. At present, unfortunately, contact between KiT students and lecturers and other disciplines and departments is limited. The course Experts in Teamwork (EiT) in which students of artistic and scientific disciplines meet, exchange, and learn from each other successfully, is a promising example for a transdisciplinary course. The evaluation panel recommends developing new types of transdisciplinary courses across faculties and with partners outside NTNU. New joint activities and formats that promote transdisciplinary collaboration would enhance the attractiveness and quality of the study programs in the short and long term.Not only transdisciplinary courses within NTNU, but also with local, national, international actors in and outside the art sector could be further explored to strengthen the attractiveness of the study programmes. Activities in this direction are explicitly desired by students (e.g., cooperations with museums, galleries, and alumni). These forms of collaboration within transdisciplinary courses would systematically improve the students' vocational training and enable graduates to successfully enter the various fields of work both in and outside the art sector, after completing their studies. Heterogeneity, diversity, and sustainabilityThe evaluation panel sees a great potential in the fact that students in the BBK and MFA are culturally diverse and pursue heterogeneous artistic practices. The exchange between students constitutes a complex learning environment, in which different perceptions, experiences and perspectives on the same topic come together and are negotiated, and new forms of collaboration and knowledge production are created. The confrontation with difference, other ways of seeing and acting thus enables students to sharpen their own artistic attitude and to advance their practice in a self-reflective and critical way. This heterogeneity and diversity is also reflected at the level of the teaching staff, who bring very different professional, media and cultural backgrounds with them.From the evaluation panel's point of view, this heterogeneous, diverse learning and teaching culture contributes significantly to the quality of the programmes, as it reflects the reality in contemporary art and in the (inter-)national art field. Thus, students are well prepared for their professional artistic careers and can acquire the necessary inter- and transcultural competences already during their studies. The heterogeneity and diversity in KiT's study programmes set an example of sustainable action, exchange, and knowledge production.In addition, the evaluation panel recommends that KiT further expand its heterogeneous and diverse teaching and learning culture by systematically advancing the internationalization of the study programs, e.g. through Erasmus and transnational collaborations. In this way, the structural anchoring of the sustainability perspective in study programs can be additionally strengthened. Artistic Research, entrepreneurship, and innovationKiT has the high potential of taking on a national and international leading role in Artistic Research. Insofar, the evaluation panel sees a great potential in the expansion of KiT’s current artistic research activities to (further) develop the quality of the BBK and MFA. This can be approached from the following three perspectives:Firstly, the evaluation panel recommends creating formats that enable and promote research-related discourse and exchange between lecturers and students of different disciplines (e.g., joint colloquia and research projects) at the NTNU. In this context, the questions of how Artistic Research and scientific approaches can profit from each other, complement each other, to produce innovative knowledge in line with the NTNU strategic goals could be pursued in a more targeted manner. A transfer of practical and theoretical knowledge can take place in both directions and one's own disciplinary research approaches can be specifically questioned and expanded. Secondly, the evaluation panel recommends that entrepreneurial topics and competences should be integrated into the study programs and into the teaching of artistic research perspectives (cf. action plan for the department from 2018). By learning to combine artistic and entrepreneurial competences, graduates are also enabled to open up fields of work outside the art sector, e.g. in civil society organizations, public administration or the private sector. They would be empowered to contribute in creative ways to the development of innovative solutions for different issues in these areas of work. In this way, graduates would be able to explore alternative career paths to commerce-based careers in Fine Arts.Thirdly, the panel sees the PhD-candidates at the department as a potential - both in terms of being involved in the teaching and being the link to the research activities at NTNU. This means that the knowledge transfer between research and teaching is guaranteed and can be further explored. Areas and SpaceA need for revision is underlined by the fact that KiT is faced with paying internal rent from 2025.In the learning environment section areas and spaces are discussed under the perspective of flexibility. The panel recommends that KiT develops a system for distributing space which allows to use the facilities in a more flexible way and for more collaborative learning. For example, project spaces and shared social spaces fall under the need for a total revision of the use of space in the department in alignment with goals for collaborative learning as opposed to one-to-one discourse. In parallel with developing a new space use strategy, KiT can engage with the question under which space conditions a more inclusive and welcoming culture in shared spaces could be introduced.

Seen over a five-year period since the last periodic evaluation, the MFA, together with the BBK bachelor&nbsp;programme, is developing towards a professionalized, quality-assured and documented education. Within the last year, for example, planning and coordinating activities on the program's main courses has been prioritized. This is expressed in a better implementation and use of digital tools – TimePlan, BlackBoard and Teams. Which documents and clarifies the teaching activities and makes the programme transparent to students.In the academic year 2022-23, the programme has been reasonably well staffed with teachers who have increasingly collaborated on teaching activities – an overarching objective for the programme in the last year. This year has also been marked by concrete collaborative initiatives in the individual courses between students and across the courses, and the teachers as a whole has managed in joint constellations to develop new teaching initiatives in the courses, such as collaboration in the artistic entrepreneurship course around the SAR conference where several teachers and phd’s were involved.The professional environment is generally in a very positive development when it comes to collaboration and common alignment. The programme also benefits from a strong administrative capacity that helps to create structure, planning and follow-up. For example, attendance and completion of the start of studies were planned and followed up as compulsory activities.Overall, the programme is in a positive development, where more structure and planning provide better opportunities for follow-up in the subjects and ensure throughput and quality development. But it is also clear from the recently finished periodic evaluation that the study plan can be revised with a view to realizing potentials and redefining the profile of the studyprogramme.&nbsp;However, one overarching factor have come to impact tremendously on the future of the programme: The political decision to implement tuition fees for students outside EU was carried with effect of the academic year 23-24 with critical impact on the intake of the current year – only 1 student is registered. This report covers the past academic year and previous years however it will only make sense if its conclusions is put in relation to this new challenge. It is vital for the survival of the programme to drastically improve recruitment from Scandinavia and Europe and re-brand towards students from these areas.&nbsp;The combination of the last two factors – students from the EU region and reprofiling towards artistic entrepreneurship – seem to be crucial.

Intake, throughput, progression and coherence:The MFA programme competes for applicants at the highest level against other, particularly European and Scandinavian art academies, and KiT trains MFA candidates at an international level. Seen over the last 6 years, the MFA program at the Academy of Fine Art in Trondheim, NTNU sees more applicants per. year. The STAR report for the program states that the number of applicants has increased from 77 in 2017 to 223 in 2023, however this number covers a large number of incomplete applications. Last year’s statistics is most likely representative: around 140 applicants, half of which are complete applications, 32 offers for study place and 23 registered students. A solid intake with a mix of students from primarily non-EU countries. A number which now suffer from the tuition fees implementation.&nbsp;The challenge is that general competition with similar programs in Scandinavia and Europe makes the European students difficult to reach. In addition, the international master suffers from network fluctuations - the program has difficulty in systematizing the spread and publicity of the program to the same extent as is possible, for example, on the BFA program where applicants can be recruited from preparatory art schools in Scandinavia. This year’s efforts must be seen together with the brand profile and spread of the programme – MFA is forced to rethink its average EU student.&nbsp;Until further development in the intake of the programme is mapped, the Head of studyprogram recommends to decrease the number of studyplaces to 14.&nbsp;On the positive side throughout in the programme is around 90% with very little drop-out and delays, and numbers in exchange students, both for program students and course students, have seen a strong increase making a real difference and impact in the environment.&nbsp;BBK and MFA admission process now shares an entry point KUNST when students choose studies. Although the application requirement text have been carefully revised over the past years we still struggle with some standard text in Søknadsweb that states that you can submit additional papers up to 14 days after deadline. Our text specifically explains that all materials must be submitted before 1st march. The consequence is that the administrative process of preparing the submitted material for evaluation is delayed with higher risk of mistakes as this part relies on manually checking lists for potential (within the acceptable limit) candidates. This part of the process is split between admission office, international office and KiT and the collaboration and co-understanding has undergone a positive development over the past year, but admission spring22 in MFA was influenced by a change of staff in International office, but the admission office and study admin at KiT are continuously working on developing the process to ensure a solid and more lean process.&nbsp;Which also marks an important administrative professionalization of the admission process helping the intake numbers. In the later years the focus on special needs accomodation have increased. We experience an increasing number of students who seek accomodation for kognitive challenges and learning difficulties. We experience that the expectations for accomodation does not always match what we can offer in the program as many of the key components of the education are based on collective participation and formative evaluation rather than summative test based education. As the framework of the education is still quite open this allow for some flexibility to accomodate for individual needs but it is clear that we need to take a critical view on the definitions and clarity on both program and course level and discuss what universal acces means in practice based art education. The programme's course portfolio has been continuously adapted since the major revision in 2017 and represents activities that are relevant to the scope of an international artistic practice. It is a combination of practice-developing and aesthetics-reflecting courses with dimensions of art theory and culture. The specific profilemakers are 1st year elective courses in artistic research and entrepreneurship. The majority of the courses support the current programme's overall learning outcome goals as either 15 credits of practice development courses (1 per semester) or 7.5 credits of courses focusing on the development of method, technique, theory and critical reflection. However, the present periodic evaluation points to the important potentials that the program should aim to fulfill. In particular, it is pointed out that teaching is established with collaboration across subjects and disciplines and partners both within and outside NTNU and particularly with regard to vocational training and relevance especially with regards to the specific profile of the department relating to artistic research and entrepreneurship. It is therefore proposed in the upcoming revision to change some of the offered 7.5 ECTS credits in this direction.&nbsp;·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;A focus on research and entrepreneurship in the studyplan·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Courses with internships on the basis of collaboration partners and institutions·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Courses that provides opportunities forstudents to be working on internal research projects·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Phasing out of an exhibition course whose content is covered in the main course&nbsp;&nbsp;Programme profile, uniqueness, relevance and internationalisation:&nbsp;&nbsp;The structure of the two-year programme is based on three semesters with distinct assignments and seminar modules, while the fourth semester is dedicated to final graduation presentations and the aim of thesis submission.&nbsp;Throughout the academic year, the students’ individual and or collective projects are part of a main master course, which offers a broad range of pedagogical formats including seminar modules, group critiques, workshops, student-led seminars and projects, guest lectures and exhibitions. During semester three and four, the MFA candidate completes a body of independent artwork known as the final thesis project. To accompany the artwork, the student is required to submit a thesis paper. This senior project culminates in a MFA thesis exhibition, a collectively produced show, displayed in a professional manner with a unified theme/concept produced as a result within the MFA programme and a requirement for the granting of an MFA Degree in Fine Art.&nbsp;In the academic year 22-23&nbsp;As of autumn 2018, supervision at the department has been reshaped with a new supervision structure, which involves all teaching faculty on the base of their contractual employment percentages to provide supervision to students across both study programmes. Every student at the department has two supervisors, one of which is also course coordinator and responsible for their examinations in main courses. In 2022/23, students were required to meet with the main supervisor three times during each semester and twice with the second supervisor. Only since autumn 2020 the division of student supervision among teachers is not only based on contractual percentages of teachers, but also considering their differing individual workloads at the department.&nbsp;&nbsp;More students are using KUNO network and Shared Campus.Shared Campus ensures that our students meet fellow students from outside EU. NON-EU students are included in the teaching in short courses every Autumn to get familiar with other schools and or make use of facilities that we do not have at KiT. This is an overall positive trend but as the students receive their ECTS points from us as the home institution it is important that the exchange stays are confirmed by the main course teachers. Study admin and academic staff will continue to work on a good model to ensure that this happens.&nbsp;&nbsp;Erasmus placements – two students from the graduating students 2022 was awarded funding for a one year work-placement in EU. With an increasing focus and skill in the administration we are now able to focus more on the opportunities within Erasmus, Nordplus and other funding opportunities. There is still much to learn in this regard and evaluation on procedure is necessary.&nbsp;Goal for 2023-24 is to renew exchange agreements and study admin continue to explore work placement opportunities as part of the programme and for recent graduates.&nbsp;The latest periodic evaluation points out that the programme has potential to develop and re-profile its uniqueness and relevance with a particular focus on artistic entrepreneurship. The prerequisite for this is the programme's and department's international, diverse and multicultural professional environment, strong grounding in artistic research, connection to NTNU's many disciplines and the opportunities this provides, as well as the sharp rise in teaching and research PhD students. The studyprogramme leader recommends that this be incorporated into the study plan revision 2023 with concrete proposals that respond to the action plan from the periodic evaluation:&nbsp;·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Placement course and placement agreements in main courses:New work-placement course·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Create more joint and group teaching in main subjects, group guidance and group critic rather than one-to-one teaching. In addition, we must have dedicated group learning activities and collective projects rather than individual projects:Writing group critiques, 3+2 and changing 1-to-1 guidance to common formats into main course in the revision.·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Promote exchange on courses in both programmes:Further promote routines and precision follow-up regarding exchange·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Prioritize and clarify PhD students' roles in teaching –Clarify and communicate<ul><li>Describe sustainability aspects on programme level – teaching and culture (spaces, materials, content):</li></ul>Describe sustainability in the programme description&nbsp;&nbsp;The programme's Learning Outcome Description is overall relevant and represents the programme's main aim: To develop an advanced artistic practice at the highest possible level. However, the Head of Department and head of studyprogramme request an update with the aim clearly highlighting the programme's intended profile and uniqueness. A clarification and clarification of LUB and learning forms that are based on:&nbsp;·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Coordinated collaborative teaching·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Combining the different dimensions of visual arts expertise into innovative integrated teaching formats and reflection of work-life relevance·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Entrepreneurship, interdisciplinarity and collaboration and the ambition to create new roles for visual artists in society and in relation to the challenges of our time.&nbsp;The learning environment and academic organisation:Students within the International MFA programme have a studio space and access to collaborative workspaces and workshops for wood, metal, plaster, printmaking, photo, video, sound, and computer-based work. Students carry out research independently and work on projects under close guidance of supervisors. Supervision lies at the core of art education - as a result supervision remain one key component in this field of study, and is the preferred learning activity of the student body. In the past year under the guidance of the head of studyprograme initiatives were taken to transform the traditional one to one teaching to pilot more collective formats of group critiques. These were hugely successful and will now be implemented as teaching activities in the studyprogrammes replacing to a large extent the one to one format.&nbsp;The learning environment has increasingly improved taking another turn in a collaborative direction over the course of the last year, with a positive effect on the social environment aspects. Studiebarometeret of the program was distinct negative on the bases of 6 respondents compared to the very good higher than the national average of the year before in 2021-22. The generation of students that submitted this assessment was and are by fellow students characterized as negatively prejudiced towards the institution. Never the less this result bear witness that there are challenges related to how the program communicates and is perceived by students. There seem to be different understandings of the focus and aim of the program, which is a matter of aligning the professional environment at large, and important for the upcoming revision to clearly state the purpose of the programme in the description.In the academic year 2022-23, emphasis has been placed on registering absences for students in various courses. This as part of a strengthening of the framework around the parts of the education that are based on collective learning and longitudinal evaluation. From the study administration side, the study programme has then been able to ensure better routines for timely follow-up of students.Academic and study administrative staff have better routines for follow-up and this improvement in role understanding results in fewer misunderstandings from the institution to the student.Fixed and frequent meetings in the education forum throughout the year under the leadership of the Head of Study Programme was an important measure to ensure quality in the implementation of courses. Establishing a general meeting rhythm at the department and teaching days for all courses has provided an overview and security for students and staff. Likewise, general collaborative formats in teaching and a marked improvement in collaboration between teachers were also implemented. An objective for the revision in 2023 is to integrate a better collaborative basis between lecturers on the courses.&nbsp;Timeplan is implemented in spring 22 for main courses to respond to the need for communicating course activities. The long term delivery of TP grunnlagsdata is a challenge for KiT and the learning process in long term planning will take some years. But the expectation of a schedule is there from the students side and it is becoming an increasingly valuable tool for responding to our increasing focus on attendance.&nbsp;&nbsp;&nbsp;This points to:&nbsp;·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Integrate a better collaborative basis between lecturers on the courses·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;implemented group crit &nbsp;in the studyprogrammes replacing the one to one format.·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Continuously renew and create exchange agreements and study admin continue to finetune exchange supervision·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Define work placement details and partnerships as part of the programme·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Further support the improved routines of attendance·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Clearly state the purpose and vision of the programme in the description&nbsp;&nbsp;

The size of the professional environment in relation to the number of students and the uniqueness of the study, as well as competence stability over timeThe departments size, measured in academic staff, together with the continous replacement of temporary staff, challenges the professional environment of the MFA program negatively. The head of department has temporarily undertaken teaching and study program management, and delegating tasks and taking measures is vulnerable and difficult.At the time of writing, the number of academic positions at the department is 4.1, which is at least 2 positions below the minimum to handle the teaching tasks of the two programmes, and to adequately respond to the research qualification criterias. This is critical. During the academic year 22-23, this number was 5, which is still below the 6 scientific positions that the two programs, BBK and MFA, together require. At the same time, it is recommended to offer permanent scientific positions in future calls to strengthen the long-term robustness of the professional environment and better utilize the department’s limited capacity.&nbsp;A composition of the professional environment that covers the subject's contentThe department's staffing plan takes into account a broad and up-to-date professional spectrum, but when it comes to the course portfolio, this should be updated in view of the recommendations from the evaluation and in view of the employees' skills and research areas.A positive consequence has been the departments priority to involve Ph.D. students (which, however, is also vulnerable if not closely regulated and monitored) as well as the involvement of professionally competent employees in technical and administrative positions. This strengthens and broaden the portfolio of competencies and connects closer the MFA students to the perspective of research.In the MFA program the main course coordinators have a global background and perspective and are in parallel conducting large external financed research projects. This influence positively the quality of the teaching involving students in to research activities, either in more intensive event based formats or more durational research.This points to:&nbsp;·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Revision of courses more related to research areas and research projects·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Describe the different ways in which MFA students can be involved in research projects·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Need for a professor position with competencies that represent the entrepreneurship perspective·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Need for an assistant professor due to teaching capacity&nbsp;

This section consists of two chapters:&nbsp;·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;An assessment of the tasks for the revision from 21-22·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Tasks for the studyplan revision 22-23 - Oppfølgingsplan&nbsp;&nbsp;&nbsp;Assesment of remaining tasks for the revision from 21-22:&nbsp;&nbsp;The program need an update: Focus on defining new and versatile roles for visual art and artists – Artistic Entrepeneurship. Societal and worklife relevance and sustainability as main focus areas.&nbsp;&nbsp;<ul><li>Will be the theme of the revision 23</li></ul>&nbsp;‘what can you become?’ The description on NTNU website on <a href="https://www.ntnu.edu/studies/mfa/job-prospects" rel="noopener noreferrer" target="_blank" style="color: rgb(5, 99, 193);">Job prospects - Master of Fine Art (MFA) - NTNU</a> is currently modest in its promisses. Creating a more open but specific profile could aim for a more broad set of examples of Alumni work that is not restricted to more traditional artworker. The success of a former art student is not only meassurable in grants and institutional purchases.&nbsp;&nbsp;<ul><li>Will be included in the revision 23</li></ul>&nbsp;Recruitment / competition on an international level is increasing – overbooking more students, lower quality, more effort coordinating and two years short to compensate&nbsp;It is often difficult to judge quality when students come from far reaching international communities with different educational systems. KiT looks for students with the possibility to flourish within the program, with the given resources; even if they come from a wide range of educational backgrounds&nbsp;<ul><li>Re-branding and re-profiling in the revision 23</li></ul>&nbsp;Technical media equipment needs to be updated to fulfil the demands of an art production, which is to a large extent technologically oriented. Excellent working conditions are the prerequisite to maintain an international reputation of the department as a site of pioneering research and to attract qualified applicants to the master study program - Better access to technical media and instruction needs to be investigated as part of KiT being embedded in a technical university.&nbsp;<ul><li>Unresolved – financing media equipment must be approached on department level</li></ul>&nbsp;&nbsp;Communication to the students about teaching is still characterized by some unclarity and we have not yet reached the goal of more streamlined and timely communication. In 2021-22, the study administration decided to use TimePlan. The need to be able to communicate presence to students is an important measure in strengthening expectations for students. This requires more detailed planning of teaching for a longer time in advance. Many ad hoc changes are made which are communicated by e-mail rather than as changes to the Timeplan or blackboard. Lack of integration of the Timeplan and Blackboard also makes it difficult to implement as the changes have to be made in several sessions.&nbsp;<ul><li>In process</li></ul>&nbsp;&nbsp;&nbsp;Assignments for the studyplan revision:&nbsp;&nbsp;Following tasks must be seen in relation to the critical parameter of tuition fees for students outside EU:&nbsp;·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Rebranding of MFA profile: Focus on Research Entrepreneurship, interdisciplinarity and collaboration - defining new and versatile roles for visual art and artists in the program description. Clearly state the purpose and vision of the programme in the description and LUB.&nbsp;·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Integration of potential voluntary studytrips in the studyplan according to rules and regulations	&nbsp;·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Make visible and clear research in teaching – update course descriptions.&nbsp;Revision of courses more related to research areas and research projects. Describe the different ways in which MFA students can be involved in research projects	&nbsp;·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Improve and develop the use of Timeplan&nbsp;- Further support the improved routines of attendance	&nbsp;·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;New work-placement course&nbsp;·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Define work placement details and partnerships as part of the programme&nbsp;·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Describe coordinated&nbsp;collaborative teaching formats - Writing in to the studyplan group critiques, 3+2 and changing 1-to-1 guidance to common formats into main course&nbsp;·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Further promote routines and precision follow-up regarding exchange - Continuously renew and create exchange agreements and study admin continue to finetune exchange supervision&nbsp;·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Prioritize and clarify PhD students' roles in teaching&nbsp;·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Change Job prospects section&nbsp;

Fine Art (Master's Programme) - MFA