The Research Catalogue (RC) is a non-commercial, collaboration and publishing platform for artistic research provided by the
Society for Artistic Research. The RC is free to use for artists and
researchers. It
serves also as a backbone for teaching purposes, student assessment, peer review workflows and research funding administration. It strives to be
an open space for experimentation and exchange.
recent activities
Many ways of mirroring
(2025)
Paoli
A journey between art object and performance where the mirror of water reflects us in various different ways to give us access to different facets of our self. Looking at oneself immersed in the space of nature, fragmenting one's anthropised ego into a multitude of cyborg possibilities, fluidifies the petrified conception of the Narcissus who only looks at himself, making him in fact a healed Narcissus, a plant that blossoms and grows instead of perishing.
Untitled (What's the last word You never heard?)
(2025)
Gianluca Di Francesco, FRANCO RIPA DI MEANA, MengYao Zhu, Xueying Wang, Mauro Palatucci, Maria Cristina Reggio, Alessia Tessitore, Elena Giulia Rossi, Claudia Digrandi, Veronica Di Geronimo, Teodora Ricci, Eleonora Scarponi, Gauri Abbattista, Ahzi Gaytan Monzani, Xaioxi Wang, Andrea Guidi, Livia Viola, Ming Lu, Valentina Saggio, Francesca Paganelli, Devrim Kadirbeyoglu, Veronica Lilli, Giulia Tucciarelli, Caiyi Li, XiaoQi Wei, ZeHao Li, Jiayi Guo
A silence lingers where words once stood, a fragile pause between what was said and what remains forever untold.
I’m gonna build the cemetery of echoes, words suspended in time, each gaze a question, each absence a weight.
Fragments of lives held in stillness, unfinished moments longing for release. Across the space, words rise like shadows.
Memory dances with loss, the tangible and the fleeting entwined. It is not closure we seek, but the tender acknowledgment of incompleteness.
recent publications
Touching, Not Mastering. Materiality and Hapticity in Sound Art and Experimental Film
(2025)
Gabriele Jutz
The artistic works discussed in this article – two audio pieces and three experimental films – showcase a tangible connection with the tools, machines, and processes used in their making. The sonic works include Mes bronches by Henri Chopin and “Opus Putesco” by Jacob Kirkegaard. The films feature Noisy Licking, Dribbling & Spitting by Vicky Smith, Transit(ive) by Sarah Bliss, and a Darkness Swallowed by Betzy Bromberg, including a soundtrack by Pam Aronoff. The five case studies depict the technologically mediated human body as the source and basis of sound.
This article aims to examine the complex relationship between materiality and hapticity. The theoretical approach will explore how performativity is embedded in the production of embodied sounds (and images) and why a dynamic view of materiality is essential. It will then discuss haptic vision and haptic listening, shifting the focus to the act of reception. As I will argue, engaging with the material through embodied forms of art production and reception has significant ethical and political implications.
Sound as Material in Semra Ertan (Cana Bilir-Meier 2013): A Methods Discussion
(2025)
Kristina Pia Hofer
Reworking the archival estate of the Turkish-born poet Semra Ertan, who has lived in West Germany as a so-called “guest laborer” from 1971 until her death by self-immolation in 1982, Cana Bilir-Meier’s film Semra Ertan (2013) pursues representational concerns via material means: in particular, via the materialities of sound cuts and tape hiss. This article brings Bilir-Meier’s sound work in dialogue with Tina M. Campt’s “listening to images” (2017) and Salomé Voegelin’s “sonic methodologies of sound” (2021) in order to develop a sonic method that accounts for the situatedness of historically and socially differently positioned listening subjects.
Powered by Affect: Affective Territories and Sound Materiality
(2025)
Ana Ramos
This article discusses sonic materiality through Alfred North Whitehead’s organicist materialism. The sonic materiality that is here outlined is not related to sound vibration. Materiality should here be understood in the sense of actuality and concreteness. Anything that produces an effect bears a qualitative difference. The actualization of qualitative difference is concreteness. It is in this sense that sonic materiality is developed in parallel with spatiality. The liveliness of this space emergence is that of affect; its concreteness is that of affect. It is based on Affect theory that we may understand its experience as an immersion in a concrete but abstract qualitative difference, an abstract materiality. Thus, the sonic materiality departs from a conventional conception of objects to foster a sonic object that constitutes itself through relationality and extensive connections. The empirical concept of affective territory speculatively attempts to grasp the spreading out of affect expressiveness through these connections to track its effects in experience.