Research Catalogue

Esta web es producto digital del proyecto Narración gráfica, laboratorio de objetos, cartografía digital y mediaciones en experiencias con comunidades de artistas migrantes, registrado con Cód. 10160180521 proyecto institucionalizado sin financiamiento del Centro de Investigaciones y Desarrollo Científico - CIDC de la Universidad Distrital Francisco José de Caldas. Hace parte del proceso metodológico de desarrollo de la tesis doctoral Narración Gráfica de Experiencias: Intercambios en Imágenes de migración. Con la realización del proyecto, se busca incentivar el uso de la narración gráfica como proceso horizontal que permite relatar y revisar la importancia que tienen las prácticas artísticas de las comunidades en la construcción de tejido social. La propuesta de mediación artística se visibiliza como una estrategia colaborativa que permite el diálogo y el intercambio. El trabajo se inscribe y contribuye a las apuestas del Grupo de investigación para la creación artística y de la Línea de investigación en: Estudios críticos de las corporeidades, las sensibilidades y las performatividades. Adscritos al doctorado en estudios artísticos de la Universidad Distrital Francisco José de Caldas.

Arts-based-philosophy is an emerging research concept at the cutting edge of the arts, philosophy and the Sciences in which cross-disciplinary research collectives align their research practices to finally stage their investigations in field-performances, shared with the public. Our research explores the significance of the HEART in artistic research and performance philosophy from a cross-cultural perspective, partially based on the concepts of the HEART in the works of two artist-philosophers, in which philosophy already became arts-based-philosophy: Nietzsche’s Thus Spoke Zarathustra and Aurobindo’s poetic opus magnum Savitri. We generally assume that the works of artist-philosophers are not only engaged in “creating concepts” (Deleuze), but their concepts are also meant to be staged artistically to let them bodily matter in fact. The role of the HEART in respect to this process of “bodily mattering” is the core objective under investigation: Firstly, because we hold that atmospheres trigger the HEART of a lived-body to taste the flavor of things it is environmentally engaged with basically in an aesthetic manner (Nietzsche). In this respect the analysis of the classical notion for the aesthete in Indian philosophy and aesthetics, sahṛdaya––which literally means, “somebody, with a HEART”––becomes crucial. Secondly, because the HEART is said to be not just reducible to one’s manifest Nature, but has access to one’s virtual Nature as well. The creation hymn in the oldest of all Vedas (Rgveda) for instance informs us that a HEART is capable of crossing being (sat) & non-being (asat), which makes it fluctuate among these two realms and even allows its aspirations to let virtual possibilities matter. Such concepts show striking similarities with contemporary concepts in philosophy-physics, e.g. the concepts of “virtual particles” and “quantum vacuum fluctuations” (Barad).

'Diffracting the Copenhagen Interpretation: Toward non-local collaborative art practices' investigates the resonances of concepts from quantum theory in the realm of transdisciplinary practice-based artistic research. Throughout a series of protocols using diffractive methodologies, we intend to translate and embody concepts such as spacetime, entanglement, non-locality, uncertainty, indeterminacy, and superpositionality, and embed them as tools for our artistic practices. These concepts were chosen for their singularity in physics, but also for the ways in which they confront ontoepistemic pillars of ‘Modernity’, such as sequentiality, determinacy and separability. The research is carried out by a transdisciplinary non-local core ensemble formed by Søren Kjærgaard, Amilcar Packer, and Carla Zaccagnini. The cities we inhabit – Copenhagen, Sao Paulo and Malmö – have been our laboratories. Departing from tools and methods learned from each-other's disciplines, we have been creating scores that guide our simultaneous actions while walking on the street –interacting with public spaces and their characteristics– or while lying asleep –in the most private of spheres. On the one hand, in a practice we call ‘non-local walking’, scores conduct our collective experiencing of our cities, involving a diffractive methodology of reading and listening, and the entangled collecting of objects, words and other affections found in the urban terrain. On the other hand, the ‘entangling dream practice’ experiment is an attempt without aiming at success of meeting each other in our dreams. Both investigations are conceived as boundary-crossing transdisciplinary methodologies through which we create a relational, critical consciousness and sensing that stimulates unexpected outcomes, embracing failure. These scored performances have resulted in cartographies, drawings, moving sculptures, audio works and writings. Across these various materializations, unexpected connections, constellations, and coincidences e/merge, unveiling yet unheard polyphonies that give resonance to the urban and mental spaces, as potentized terrains awaiting (re)circuitry, and, as fields of forces that await to be (re)experienced.

The Opener - sharing the performer’s process was a one-year artistic research pilot project (March 2024 - March 2025) funded by strategic funds at the Faculty of Fine Arts, Music and Design, University of Bergen. It was part of the Grieg Academy Research Group for Performance and Interpretation (GAFFI) together with external members from The Academy of Performing Arts in Bratislava. The project consisted of 8 sub-projects and educational activities, involving different instruments: piano solo, violin, duos with voice and piano, clarinet, accordion and guitar. The term opener can in this project proposal symbolize a three-fold meaning connected to the music performance field. This project seeks to - see the performer as an opener of musical meaning in a performance (interpretation of musical intentions in scores and improvisation) - challenge ourselves as performers as openers that share his/her artistic work (getting insight into the creative process and methods) - finding openers as tools to reveal and show the creative process of performers (ways of showing the artistic process)

"Rotting Sounds – Embracing the temporal deterioration of digital audio" (https://doi.org/10.55776/AR445) was a multi-year research project that dealt with various aspects pertaining to the deterioration of digital audio. Grill, Schilling and Bovermann understand this decay and the resulting products as a new and welcome aesthetic. This occupation with decay ultimately led to all residual materials being collected during the research period: From yogurt cups and spray cans to hard disks, USB sticks, cables, and clothing. This heap of waste was finally shredded and transformed into paper. Formally and in terms of content, the book explores decay and dissolution, thereby challenging the traditional aesthetic of collecting and preserving. The quantity of paper produced also determined the edition size, which is only 20 copies. Each copy bears the traces of its origin by embedding the cycle of transformation in its fibers. Parallel to the physical book edition, a digitally eroding open access version is available for download via this Research Catalogue exposition. The text by Thomas Grill refers to some of the key points of the Rotting Sounds research project and celebrates the open-ended nature of the experimental research.

“Ocultismo Desapropriado”, é um ensaio que dá continuidade na investigação no ambto do doutorado em Artes Plásticas na Universidade do Porto. O presente ensaio volta seu interesse sobre os fenômenos perceptivos que decorrem desde a ação realizada com a obra "Congá Fora do Tempo, relacionando a experiência do fruidor presente nas duas obras. As instalações atraem o espectador para participar da obra e interagir com ela através da ação. Ambas as obras se relacionam ou são inspiradas em algum ritual de matriz religiosa, mas não repetem ou imitam esses rituais, tão pouco tendem à simulação dos mesmos. São ações de arte com o intuito de provocar o toque em seu íntimo através da brincadeira de fazer pedidos e desejos. Esta publicação compartilha das mesmas referências bibliográficas do ensaio "Congá Fora do Tempo". ---------------------------------------------------------------------- ‘Disappropriated Occultism’ is an essay that continues the research carried out as part of the Doctorate in Fine Arts at the University of Porto. This essay focuses on the perceptual phenomena resulting from the action carried out with the work 'Congá Fora do Tempo', relating the experience of the viewer present in both works. The installations invite the viewer to participate and interact with the work through action. Both works relate to or are inspired by a religious ritual, but they don't repeat or imitate these rituals, nor do they tend to simulate them. They are artistic actions intended to provoke an intimate touch through the play of making requests and wishes. This publication shares the same bibliographical references as the essay ‘Congá Out of Time’.