environment embodiment - towards poetic narratives
(2024)
author(s): Fernanda Branco
published in: Research Catalogue
PhD Artistic Research project environment embodiment - towards poetic narratives (2020-2024) by Fernanda Branco at the Oslo National Academy of the Arts.
This artistic research explores experiential agency in encounters between body and environment. It draws from uncanny, embodied and poetic perspectives, unfolding as a constellation of sympoietic practices.
Webdesign by Ellen Palmeira
Illustrations by Aza
Customized Realities
(2024)
author(s): Sorin
published in: Royal Academy of Art, The Hague
Thesis / Research Document of the Royal Academy of Art, The Hague, 2023.
Bachelor Interactive Media Design
In this paper I aim to reveal the influence of echo chambers and the use of echo chambers as a potential tool used as a defense mechanism by the emergent artificial intelligence. We also look at the impact of such defense against our social construct and the availability of genuine human interaction in a world that is
mostly digitally connected then physically .
We investigate in this thesis some contemporary ideas
about our current situation and or potential solution to pop up the bubble of i-reality, a term I used to refer to when thinking about customized reality bubble surrounding every digitally active person.
My research journey starts with reminding us why we do
this research, what is the urgency, and then delving into historical facts and researching contemporary or historical views, analyzing the algorithmic world of social networking and the surprising results
of digital isolation in tiny echo-chambers.
Thus , my research led to several conclusions of how we
might be able to pop up the i-reality bubble and change the grim potential outcome of a world dominated by synthetic life to a world in which we human can cohabitate with a potential self aware synthetic
life .
I HAVE THE MOON: aesthetics of contemporary classical music from a composer-performer band retreat.
(2024)
author(s): Samuel Penderbayne
published in: Research Catalogue
The artistic research project I HAVE THE MOON was an experimental group activity or 'band retreat' for five composer-performers resulting in a public performance in the aDevantgarde Festival, 2019, in Munich. Research was conducted around a central research question stated verbally at the outset of the project: how can aesthetic innovations of contemporary classical music be made accessible to audiences without specialist education or background via communicative techniques of other music genres? After a substantial verbal discussion and sessions of musical jamming, each member created an artistic response to the research question, in the form of a composition or comprovisation, which the group then premiered in the aDevantgarde Festival. The results of the discussion, artistic works and final performance (by means of a video documentation) were then analysed by the project leader and presented in this article. The artistic research position is defined a priori through the research question, during the artistic process in the form of note-taking and multimedial documentation, and a posteriori through a (novel) 'Workflow-Tool-Application Analysis' (WTAA). Together, a method of 'lingocentric intellectual scaffolding' on the emobided knowledge inside the creative process is proposed. Insofar as this embodied knowledge can be seen as a 'field' to be researched, the methodology is built on collaborative autoethnography, 'auto-', since the project leader took part in the artistic process, guiding it from within.
Pleased to Meet you
(2024)
author(s): Steinunn Knúts Önnudóttir
published in: Research Catalogue
This exposition is a documentation and dissection of the work Pleased to Meet You, a performative encounter with the more-than-human. The work has been presented in two editions, at Lokal/RDF, Reykjavík, Iceland, November 2022, and at IAC, Malmö,Sweden, March 2023.
The exposition examines the relations specific elements of the work and connects it to the artistic PhD research "How Little is Enough?" Sustainable Methods of Performance for Transformative Encounters in Malmö Theatre Academy at Lund University.
Co-poiesis: redefining our relationship with the world through filmmaking
(2024)
author(s): Yasmin Henra van Dorp
published in: Stockholm University of the Arts (SKH)
The research question that motivates this study is: what insights can be drawn from collaborative filmmaking that can illuminate new pathways for interacting with the world around us?
Against the backdrop of contemporary societal and environmental divisions, this artistic research explores ways for redefining relationships, both human and nonhuman, through the lens of the philosophical framework of co-poiesis. Using a practice-led research methodology based on the collaborative process of the short documentary "The Spectacle" this study explores how collaborative practice and sensory engagement can serve as a reflective tool, illuminating our relational dynamics and perceptual interactions with each other and our environment.
ARTISTS AND MACHINE INTELLIGENCE
(2024)
author(s): Linda Janson, Mirko Lempert
published in: Stockholm University of the Arts (SKH)
In the dynamic interplay between art and technology, the integration of artificialintelligence (AI) has opened new frontiers of exploration and expression. Our researchproject, initiated in 2021, ventured into this evolving landscape with a mission to examinethe relationship between AI and contemporary artistic practices. Focusing primarily ontext and image synthesis using AI technologies, our project embarked on an in-depthexploration of the creative potentials and limitations of Large Language Models (LLM).This journey was far more than a technical exercise; it represented a deep dive into thefusion of creativity and technology, examine traditional workflows, especially related topre-production in filmmaking. The project revealed AI's capacity to both emulate andstimulate human creativity, offering insights into the capabilities and boundaries of LLM inartistic creation. These reflections are not just a recount of past achievements but a lensthrough which one can view the potential and future intersections of art and machineintelligence.Leading the research project are Linda Janson, a production designer with over 30 yearsof experience in the art departments of films, TV series, and commercials, currentlyserving as a senior lecturer in production design at Stockholm University of the Arts, andMirko Lempert, founder of the company Monocular. Monocular specializes in integratingAI with traditional 2D/3D techniques for practical applications in visual content creation.This project is driven by their collective goal to investigate the practical applications of AIin visual arts, combining Linda’s extensive industry experience and academic backgroundwith Mirko’s expertise in applying AI technologies. Their joint effort focuses on enhancingthe methodologies of visual arts and design education to align with the ongoingadvancements in digital technology.We would also like to recognize and express our gratitude to PhD candidate Marc Johnson, whose significant contributions were instrumental in initiating this researchendeavor and who has continuously supported the process with valuable advice andexpertise.Lastly, we wish to emphasize that Chat-GPT served as an editorial assistant in thecomposition of this report. This involvement was twofold: as an integral part of ourresearch methodology and as a proficient contributor, aiding in the summarization,formalization, and articulation of arguments to deepen the discourse on the topic ofArtificial Intelligence in the visual arts.
Feedback Saxophone: Expanding the Microphonic Process in Post-Digital Research-Creation
(2024)
author(s): Greg Bruce
published in: Research Catalogue
The microphonic process is the term I use to encapsulate how microphones, loudspeakers, and related media are used to support, extend, and innovate musical practice. In this research-creation thesis, I contextualize, document, and analyze my own application of the microphonic process – feedback saxophone. My feedback saxophone system combines the unique characteristics of the tenor saxophone with the idiosyncrasies of various microphones and loudspeakers to produce and manipulate acoustic feedback. While there are examples of similar systems, there is no standardization and little documentation exists outside of audio recordings. Furthermore, my work employs feedback in a systematized fashion that challenges its conventional, indeterminate use in performance and composition.
To support this research-creation, I discuss the history of the microphonic process, examine contemporary “microphonic” practices, and use these findings to describe and analyze my own works. For the history of the microphonic process, I discuss how microphone amplification changed popular vocal technique through the work of early-microphone singer Bing Crosby. I then discuss how microphonic instrumentaria were variously employed by avant-garde and popular artists using the examples of Mikrophonie I by Karlheinz Stockhausen, Hugh Davies’ feedback work Quintet, and the guitar-feedback practice of Jimi Hendrix.
Following this discussion of instrumentaria, I establish the contemporary context in which my research-creation occurs by examining two present-day microphonic saxophonists, Colin Stetson and John Butcher. I use their distinct electroacoustic practices as a springboard to explain recent musical-technological trends: from the accelerating consumption of digital media in the new paradigm of sound, to the reactionary concepts of post-digitalism and the minimally augmented instrument. Lastly, I describe the creation of three concert etudes for my post-digital, minimally augmented feedback saxophone system, and critically examine the new works’ processes of creation, musical materials, and aesthetics.
FACT stage one
(2024)
author(s): Jenny Sunesson
published in: Stockholm University of the Arts (SKH)
The research project FACT stage one aims to test the sonic capacity of fragmenturgy (developed by Sunesson 2014–19) as a method to unsettle polarised positions of areas and sites existing outside of the visual power structures and political strongholds.
The long-term purpose is to develop a Fragmenturgy ACtion Tool (FACT); a transitory toolbox for cultivating fragmenturgy methods and actions.
FACT stage one consists of a comprehensive case study carried out in collaboration with a group of students aged 18–23 based at Uppsala Community College in Sweden, which was explored as a site during 2021.
Image copyright: Christina Hillheim
IRTIKYTKETYISSÄ TILOISSA – poissaolevan kosketuksia katveessa
(2024)
author(s): Jaakko Ruuska
published in: University of the Arts Helsinki
Jaakko Ruuska:
IRTIKYTKETYISSÄ TILOISSA – POISSAOLEVAN KOSKETUKSIA KATVEESSA
Kuvataiteen tohtorin opinnäyte
Taideyliopiston Kuvataideakatemia, 2024
© Taideyliopisto ja kirjoittaja
ISBN 978-952-353-447-6
IRTIKYTKETYISSÄ TILOISSA – POISSAOLEVAN KOSKETUKSIA KATVEESSA muodostuu kolmesta taiteellisesta tutkimuksesta. Niissä tutkin kuljeskeluun perustuvien kokeellisten tutkimusmenetelmien avulla sitä, miten tilan kokemuksellisuuteen vaikuttaa sen taustalla olleen järjestyksen hajoaminen.
DISCONNECTED SPACE – CONTACTS WITH THE ABSENT IN THE BLIND SPOT is a doctoral thesis in Fine Arts, written in Finnish. The thesis is about the experiential phenomenon of space, which could be referred to as an off-connection in English. The thesis consists of three essays. The introduction in English is also included in the first page of the Thesis.
I FRIKOPPLADE RUM – DET FRÅNVARANDES BERÖRING I SKUGGAN Temat för det finskspråkiga lärdomsprov för doktorsexamen i bildkonst är en upplevelse av rumsliga fenomen, som på svenska kunde kallas frikoppling. Avhandlingen omfattar tre studier som observerar hur det det frånvarande och frånvaron ingår i en förnimbar upplevelse.Inledning på svenska finns också på uppsatsens första sida.
Designing Games as 'Hands on Research Tools' for Foro No.2 Nodos Activos: 2023
(2023)
author(s): Yamil Hasbun Chavarría, Pamela Jiménez Jiménez
published in: Research Catalogue
This exposition recounts the design process behind the creation of a series of games implemented in the second forum of the Active Nodes project (Foro No.2 Nodos Activos), and the experiences obtained during the days in which the the Nodos Team carried out the activities in which the current research activities where materialized as games throughout the various installations of the Artistic Research, Teaching and Extension Center (CIDEA) and its surroundings where the four schools of art and design of the University Nacional, Costa Rica (UNA) converge:
The School of Art and Visual Communication (EACV), Performing Arts (EAE), School of Dance and Music school.
Since the general theme of this Second Nodos Activos forum was ‘Artistic Research through Play’, the participatory research tools developed here actually took the form of a games. Games created to have fun, create expectations, create curiosity, create empathy and friendships and create new artistic constructions through innovative research hands-on processes.
Aside from the researchers in charge of the Nodos Activos project, the creative team in charge of the development, design and ‘put to practice’ work implicit in all these research tools/games included EACV students Karolay Mendoza Castrillo, Marian Casanova Guzmán, Iván Sibaja Segura, and Nicole Barboza Alvarez; and EAE student Adrian Campos Chaves.
The present exhibition recounts the process of game design, while a second exhibition present in this catalog (Titled FORO NO.2 NODOS ACTIVOS, 2023: Artistic Research Through Playing. https://www.researchcatalogue.net/view/2431060/243106) recounts the experience of the process of playing the game itself.
Projecting Form, Investigating Distance
(2023)
author(s): Agnese Cebere
published in: HUB - Journal of Research in Art, Design and Society
This exposition describes a process of investigating projection of form as a bridge between near and far, physical and virtual, anchored in the production of what I call “handheld devices” and a multimedia performance. It explores sympathetic dwelling in the crevices of the clay forms in relation to the smooth openness of the built environment of scientific and institutional space exemplified by the Phil and Penny Knight Campus for Accelerating Scientific Impact at the University of Oregon which graciously hosted me for a Center for Art Research Project Incubator residency and fellowship in 2023. In this text, I take up concepts of information and noise, distance and intimacy, affordances and the dynamics of action.
THE [ W A L L S ] WE CREATE : on distance in research practice
(2023)
author(s): Ewa Łączkowska
published in: Research Catalogue
An interactive, mixed-media artistic research process – using somatic experience, dance, listening, storytelling, and visual arts to ponder on the topic of distance in research practice.
The focal point of this research process has been the somatic feeling of distance and entanglement and exploring those through movement - captured on film, inspired by and enriched with music by Ólafur Arnalds.
The written story is a secondary translation of the research process, formed by the somatic exploration, movement experimentation, painting, and the process of film-making. I’ve used watercolors as an aid to help me translate and express the inquiry in the form of text.
Nodos Activos + Las Julias Experiment
(2023)
author(s): Yamil Hasbun Chavarría, Pamela Jiménez Jiménez
published in: Research Catalogue
On July the 4th 2023, the Nodos Activos Teams was invited to participate in an event named ‘Las Julias’ as organized by the School of Performative Arts (Escuela de Artes Escénicas) from the Universidad Nacional. An event that allows researchers from the aforementioned school to show the academic community of UNA their ongoing or concluded research experiences. Typically, participants are students and academics from the Performative Arts disciplines. However, Nodos Activos combines an interdisciplinary team of students and academics from Design, Visual Arts and Performative Arts, and its products reflect that heterogeneity.
Thus, the activity was planned as a means to allow Performative Arts students and academics to exit their comfort zones, and explore the research and creation methods, tools and concepts of the visual arts and design fields in a ‘hands on’ activity developed through an active concept of playfulness and abstract thinking-and-doing.
Stitching for Material Sensitivity: From Traditional to Activist Embroidery
(2023)
author(s): Fabiola Hernandez Cervantes, Maria Huhmarniemi
published in: RUUKKU - Studies in Artistic Research
Cochineal is an insect that has been used for textile dyeing since pre-Hispanic cultures in Mexico. This exposition discusses the use of the cochineal insect as a natural dye for wool and the bridge between ancient indigenous knowledge and contemporary artistic research. A transatlantic connection is created between the Mexican plateau and the Arctic region, merging traditional knowledge, contemporary art, crafting and conceptualisation through an artistic embroidery initiative involving researchers, craft artists and human rights activists living in the province of Lapland in Finland. Documentary photos of artistic practice and research diaries enhance discussion on sustainability, tradition, craftivism, decolonisation and indigenous knowledge. This exposition embraces collaborative craftivism through a group initiative called Embroidered Stances, discussions about material interconnectedness in a web-of-life conceptual structure that includes sheep wool, cactus, cochineal and ancestral knowledge. The endorsement of material sensitivity is narrated into embroideries by the first author Cervantes and discussed, acknowledging complexities within issues of cultural and ecological sustainability.
SCHRITTWEISE engl. Version
(2023)
author(s): Katja Münker, Andrea Keiz
published in: Research Catalogue
WALKING-CHOREOGRAPHY KIT
You will find a collection of experiments, questions to the research and reactions of participants.
Feel free to use it as a playground.
SCHRITTWEISE
(2023)
author(s): Katja Münker, Andrea Keiz
published in: Research Catalogue
GEH-CHOREOGRAFISCHER BAUKASTEN
Hier finden Sie eine Zusammenstellung von Experimenten, Fragen zur Forschung und Reaktionen der Teilnehmer.
Observations of: The Observation of Perception, considered through Drawing
(2023)
author(s): Mike Croft
published in: Research Catalogue
The exposition provides some indication of the content of an exhibition at Lugar do Desenho – Júlio Resende Foundation between 23 September and 28 October, 2023. Several artistic research projects have been explored by the author through drawing and writing between 2021 and 2023 while resident in Porto, Portugal. The projects have each been hosted by i2ADS (Institute of Art and Design Society) as part of a larger collaborative research project called 'The Observation of Perception', considered through Drawing. Two of the projects, or one project divided into two parts, are specifically a contribution to a genetic ancestry project – ‘Call for drawing – Genetics and Identity’ – hosted by i3S (Institute of Investigation and Innovation of Health), Porto University. The main formatting of all of the projects has been the Research Catalogue, in which the visual works that now comprise the exhibition have previously been placed in a multiple media context as artistic research.
Transformative Reflections
(2023)
author(s): nikolaj hess
published in: Rhythmic Music Conservatory Copenhagen
This project investigates how Transformative Reflections can be developed as a range of methods and processes and how it can be used to create music based on and inspired by paintings.
The project has worked with developing a method for translating from painting to composition and improvisation, and making inspiration from another artistic domain tangible. It also seeks to get closer to the artistic material and inspiration that to me seems to lie before the art expresses itself as a work, with an idea of what could be called a pre-art.
Methodologically the project explores through four different method categories and an artwork dialogue perspective, both how to get closer to the intrinsic material and values in the reflected work, and to how the extrinsic expressions might translate to meaningful artworks in another domain, in this case music.
Furthermore, it investigates the potential of new artistic hybrid art experiences based on the findings and examines the processes and considerations of these.
The artistic purpose is through transformative reflections of painting to new works in improvisational and compositional contemporary music (jazz), to create a multidimensional, multisensory art experience space, where the individual work can be experienced both independently and in close communication with a work from another artistic domain.
Shamisen som kompositorisk ankerpunkt
(2023)
author(s): Olav Hanem
published in: University of Agder, Faculty of Fine Arts
Denne oppgaven utgjør en del et mitt kunstneriske utviklingsarbeid og fokuseres mot min rolle som komponist, der mine egne originale verk er objektet for utforskning. Hovedformålet med oppgaven er å undersøke innvirkningen japansk tradisjonsmusikk kan ha på min signatur som komponist. For å avgrense oppgaven ytterligere er det japanske musikkinstrumentet shamisen i fokus.
How can elements of raga music influence a signature sound?
(2023)
author(s): Harsha Jerome Senaviratne
published in: University of Agder, Faculty of Fine Arts
This master's thesis is on incorporating elements of traditional music, specifically Raga Bhairav and Bhairavi, into contemporary music production. The thesis investigates how these elements can enhance the signature sound of modern compositions and impact the composer's artistic expression. The research questions explore the advantages and challenges of integrating traditional music elements into modern compositions and advocating cultural exchange and understanding. The thesis will use artistic development work, which combines artistic endeavors and scholarly research, as its method. The aim is to ensure the highest quality of artistic practice, meeting the same quality standards and academic achievements as other scientific activities. This study will provide insight into the potential impact of raga scales on modern compositions and contribute to the ongoing discourse on incorporating traditional music into contemporary music production.
The Ecology of Artistic Research
(2023)
author(s): Elizabeth Torres
published in: Research Catalogue
In the past decade, artistic research has emerged as a prominent means of generating new knowledge while addressing pressing issues such as sustainability and environmental concerns. However, due to its relative newness, the field lacks a clear mainstream understanding regarding its potential, meaning, structures, and limitations. The Ecology of Artistic Research is an interdisciplinary investigation that aims to explore the multifaceted dimensions of the field, with a particular focus on the significance of artistic research to researchers and practitioners themselves, and how they perceive, process, and embody knowledge through their practice. This project seeks to identify sustainable approaches to artistic research, demystify and clarify the language of artistic research for lay audiences, visualize the mechanisms of the field, and visibilize structures and networks that pay closer attention to the narratives of our world in transformation.
The investigation is conducted through a cycle of conversations and artistic responses, with a particular focus on the Nordic countries of Finland, Sweden, Norway, and Denmark. Through engaging contemporary artistic practitioners, academic institutions and researchers in conversations, the project seeks to gain insight into their work, concerns, and personal experiences. The output of this research takes various interdisciplinary forms, including audiovisual interviews, articles, and a multimedia exposition.
Tipping Points (Reflection Component)
(2023)
author(s): Tijs Ham
published in: Faculty of Fine Art, Music and Design, University of Bergen
The Ph.D. project in Artistic Research, Tipping Points, conducted by Tijs Ham ('81), is situated in the field of live electronics and focuses on the exploration of chaotic processes within instrument design, compositional strategies, and performance. The unpredictable nature of chaos impacts many aspects of musicking. Artistic works emerge from the interferences between processes that are set in motion. Instruments are influenced and in turn influence the performer in return. The reflections turn to the notion of wondering as the performer and audiences alike encounter unforeseen sonic behaviors that are strangely musical despite their volatile and fragile chaotic origins.
Editorial ART RESEARCH ENVELOPE #5
(2023)
author(s): Ruth Anderwald, Leonhard Grond, Alexander Damianisch
published in: University of Applied Arts Vienna
The publication Envelope offers insights into ongoing PhD projects by candidates in the PhD programme PhD in Art at the University of Applied Arts Vienna in an innovative format. The major thrust of “Envelope” presents content supplied by doctoral researchers based on their individual artistic research and provides insights into ongoing work processes. These visual and textual traces reveal the state of the Art within its ongoing research processes. This open format seeks to reflect on experiences through exchange, as well as document relevant developments in the field of art and research.
Participating projects:
Margit Busch: A garden for a fish (Supervisor: Virgil Widrich)
Andrew Champlin: Technique Concerns: Ballet Practice Against the Western Archive (Supervisors: Ruth Anderwald + Leonhard Grond)
George Demir: Ancestral Junctures: on the expansion of ancestral mythologies (Supervisor: Hans Schabus)
Cristiana de Marchi: Casting a shadow. On disappearance, emptiness and the haunting power of absence (Supervisor: Judith Eisler)
Jošt Franko: The Migrating Image (Supervisor: Gerhild Steinbuch)
Barbara Graf: Stitches and Sutures (Supervisor: Barbara Putz-Plecko)
Joseph Leung: Post-digital Angst – An Arts-Based Research on the Manifestations of Angst in the Digital Milieu (Supervisor: Gabriele Rothemann)
Conny Zenk: RAD Performance – Driving Voices of Resistance (Supervisor: Ruth Schnell)
Feel free to zoom in on each poster for ensured readability.
Journal for Artistic Research: Urgencies
(2023)
author(s): Journal for Artistic Research
published in: Research Catalogue
For the 14th SAR conference 2023 in Trondheim, a number of JAR editors prepared contributions and presentations discussing some of the current developments and urgencies that we have been facing. The contribution was live streamed. The following panel discussion can found at the end of the exposition.
Ten Years with the Journal for Artistic Research. Impact and Challenges
(2023)
author(s): Mariela Yeregui, Journal for Artistic Research
published in: Research Catalogue
For a presentation during the 13th SAR conference 2022 in Weimar various editors of JAR prepared statements and contributions to reflect on the first ten years of the journal and to introduce some of the current developments. The session was introduced by Henk Borgdorff.
This exposition was played during the presentation, which included live elements and discussions. Unfortunately, there is no recording of the session itself.
Contemporary Research
(2023)
author(s): Michael Schwab
published in: HUB - Journal of Research in Art, Design and Society
Artistic research is a comparatively recent development. Outside institutional definitions little work has been carried out to situate the phenomenon in a wider history of art as well as knowledge. This speculative article describes the present moment of artistic research as result of two developments: (1) a shift from notions of knowledge to notions of research, and (2), a shift from major to minor forms of making. At the same time, in line with understandings of contemporary art and as contemporary art, artistic research is not understood as historical project that unifies art and science; rather, artistic research is pitched as providing a transdisciplinary ground in which different disciplines and knowledges can enrich each other. On a historical scale, this development is seen as driven by the increased speed and complexity of our current world for which conventional knowledges offers only partial insights arriving often too late for decision-making. Building on Hans-Jörg Rheinberger’s concept of experimental systems and his notion of graphematic space, the paper suggests research to create sets of traces as proto-forms underdetermined in their aesthetic and epistemic status and, hence, beyond specific disciplinary contexts. Such space for research is understood as fundamentally artistic, also in opposition to notions of research as output-oriented types of investment. It is suggested that representation as epistemic form has been losing relevance, certainly for the arts and increasingly for the sciences. Artists are tasked to invent new, expositional forms of knowledge over and beyond representation to remain epistemically engaged in today’s fast and complex world.
Dancing Sympathy Beyond Human Failure: Artistic Research as Cosmopolitical Defuturing
(2023)
author(s): Peter Purg
published in: HUB - Journal of Research in Art, Design and Society
The article explores the concepts, tools and methods that may be taken on board by artistic researchers when venturing into uncertain futures. The approaching hay-day of Artistic Research calls for a repositioning of this academic and cultural avantgarde that is assuming real power and must thus take clear opposition against dominant politics and corporate capitalism keeping the human and non-human kinds in perpetual crisis. Next to Science and Technology, Art has finally reached a status of an equivalued cornerstone, and within this level playing field a new research-based approach is needed where power relationships, decision-making mechanisms, dominant narratives or prevalent aesthetics are boldly investigated and critically questioned, (re)instituting the importance of artistic disruption and establishing art-thinking as the key to not only question but also design pathways to meaningful change. Deeply intertwined research methodologies ranging from social to natural sciences, from humanities via (critically reflected) technologies to the (technologically emancipated) arts, should be left to safely mingle and mutually inspire. Rather than colonizing it with yet another false supremacy, we should be learning from the Global South, where collective dancing, storytelling or performing still presents a norm of how to generate new knowledge or reach consensus. Artistic Research can contribute to crafting better worlds even once AI entities get accepted as fellow researchers (if not dancers), their agency reflected in an attitude of radical sympathy (re)instituting care, justice and solidarity by ways of sound research activism.
Hennes naglar är Svens, alltid något
(2023)
author(s): Emilie Löfgren
published in: Stockholm University of the Arts (SKH)
En exposition med fyra videoverk i ETC Solpark, Katrineholm.
"Hennes naglar är Svens, alltid något."
"Drömmen"
"Mary var här"
"Tystnaden"
Embodying Recognition: Dance Improvisation for Scientists
(2023)
author(s): Susanne Martin
published in: Research Catalogue
In this exposition (text, videos, photos) I discuss a series of participatory lecture performances as one major outcome of my artistic research on dance improvisation in and for science and technology oriented higher education. These lecture performances aim to give different stakeholders in the science field an initial insight into dance improvisation and to facilitate discussion of its potential for the scientific learning, teaching and research culture. From the perspective of a dance artist and artistic researcher, I trace the details of how and why I created events for scientists to encounter dance improvisation through shared exploration and shared reflection. Interlacing descriptive and reflective writing, I unfold the argument that by engaging in improvisation as an embodied recognition practice, reflective processes can be set into motion, which critically question habituated forms of bodily, social and epistemological exclusions within academia. In other words, by conceptualising dance improvisation as recognition practice, I hope to shed light on its critical potential which exceeds questions of spontaneity and creativity.
What is the ART of ADHD Social Media Acting - and how is it artistically relevant for everyone to know?
(2023)
author(s): Alexander Lindman
published in: Stockholm University of the Arts (SKH)
I'm on the path to deneurotypicalize acting technique and understand what a social media actor might be and do and and if there is or should be a difference between a neurotypical and neurodiverse way of applying oneself and communicate with said audience on said platform(s)?
During my work I coined the term 'deneurotypicalize' and a definition of art as ART.
Welcome to my exposition: This part is more to be seen as an extended documentation over my 2 years and also as a compendium to my master thesis published on DIVA and my performance lecture 2nd of May at Stockholm University of the Arts. And/or a thing of its own.
Both the exposition-documentation and the master's thesis is also in this exposition.
Pause in Nature, then Carry on with Hope
(2023)
author(s): Vija Anna Moore
published in: Research Catalogue
In this project, I set out to investigate and increase my understanding of the ways in which art and music can be used to give us the strength to process difficult emotions arising from complex societal issues and injustices. In psychology, artistic processes can be seen as a way of bridging the external world with the artist's internal world, thereby creating individual logic and organised chaos. (Kogan, 2018; Stratou, 2014; Hagman, 2010). Creating art is a process of the artist processing the outer world within their inner world and channelling the combined emotions into a form of artistic expression, (Stratou, 2014; Kogan, 2018; Hagman, 2010) which, in my case, is music.
With my current work, the creation process itself takes place in the forest because to me, that is a space that balances the complex and at times overwhelming external world and my internal world. By going into the forest I become immersed in the natural external world, rather than composing conceptual ideas of music in a practice room, isolated from the multi-sensual external world. As a consequence, the natural environment of the forest provided rich inspiration for composing music, providing stability and calm between my inner world and current external complexities. Urban landscapes and nature provide a haven for people in urban environments, especially those living in apartments, such as myself (Tan, Liao, Hwang, & Chua, 2018).
Throughout the project I uncovered new reflections and discoveries about moral responsibility following my research question of: How can art and music enable us to process difficult societal issues, emotions and give us hope?
reposition #1 Editorial
(2023)
author(s): Alexander Damianisch, Barbara Putz-Plecko
published in: University of Applied Arts Vienna
Welcome Letter and Foreword by Barbara Putz Plecko, Vice-Rector for Research and Alexander Damianisch, Director of Center Research Focus
reposition offers researchers of all disciplines and departments at the Angewandte the opportunity to publish their work according to peer-review principles. Colleagues of any level and doctoral students in arts and sciences are invited to share their work.
This series showcases their diverse approaches to project-oriented research work and presents current insights, captivating research processes, and ongoing projects from a deeply personal perspective that courageously unearth the work-in-progress.
The idea of reposition is to emphasise dynamic approaches that demonstrate the courage to adopt alternative perspectives and a focus that lies always on a dialogue in-between.
A personal testimony of artistic research
(2023)
author(s): Ettore Cauvin
published in: Research Catalogue
"A personal testimony of artistic research"
Presented at RAPP Lab multiplier event: “Reflect & React. How Artistic Research Empowers Musicians and Performing Artists at Higher Education Institutions” in HfMT Köln (Cologne, DE) on Friday 12 May 2023.
Funded by AEC - Association des Conservatoires, Académies de Musique et Muzikhochschulen.
(NOT) ENTERING EVERY ROOM - Exploring autosociobiographies via liminal crossing points of social class and the emotion shame
(2023)
author(s): Barbara Wolfram, Christina Wintersteiger
published in: Research Catalogue
(Not) Entering Every Room, conducted 2020/21 at Film Academy Vienna/ mdw - University for Music and Performing Arts Vienna, set out to use the emotion shame as a focus to reveal and explore unconscious liminal crossing points in our biographies and perceptions of social class, building on our previous research on cinematic (auto)sociobiographies (2020).
We are shaped, guided and scarred by our socialization and the society surrounding us. Each individual history brings with it a different knowledge repertoire about what belonging or not-belonging, „normal“ or „abnormal“ means. Spoerhase (Politik der Form 2017) describes the exploration and disclosure of one’s own biography in relation to social context & class, to one’s body, time & place of birth as “auto-sociobiographical”. He refers to the literary works of Annie Ernaux or Didier Eribon where individual life stories evoke a collective memory of a certain time and place, revealing liminal experiences of social class. One emotion that was mentioned more often than any other in these literary works, was shame.
To explore our own histories of experiences and the attached knowledge repertoire, we used the methodology of collective (auto)sociobiographical exploration via a multi-layered artistic approach. Body work (Chechov, Shdanoff), writing improvisations and group explorations via zoom were used to probe the methodology of (auto)sociobiographical exploration in the light of shame and social class.
Research on cinematic (auto)sociobiographies is still very new. We aim at contributing a method of exploration to the field of cinematic form and content production informed by artistic research methods.
BLOD, BLOD(y), BLOD
(2023)
author(s): Kersti Grunditz Brennan, annika boholm
published in: Stockholm University of the Arts (SKH)
BLOD, BLOD(y), BLOD – an exposition of recurring processes, trails and building blocks of the film and research project BLOD through the lens of its methods.
The BLOD methods are articulated as a Manifesto, written to accommodate a multitude of contents, forms, and modes of collaboration, while demanding cross-disciplinarity, honesty and risk-taking. The methods are non-linear, looping, and embedded in the manifestations of the research: films, performances, presentations, etc.
The BLOD project aims to create multivocal cinematic experiences through embodied practices. The research explores relation-building through a feminist methodology of creating gaps and friction – between audience, story, time, matter, and co-creators. The project asks: how to tell multifaceted, non-exploitive stories of womb-related states of life and death, rarely depicted in cinema? And how to disturb film industry hierarchies through a collaborative practice that maintains individual artistic integrity and promotes collective authorship?
The BLOD research shares its outcomes via the mediums of its artistic practice: videos, texts, digital expositions. This exposition is designed to reflect the connections and interactions of the research's building blocks: ideas, places, materials, people, time, experiences, technologies.
To enjoy BLOD, BLOD(y), BLOD: move around it with your mouse, follow dotted paths out from the center towards texts, images, and videos. Hover over numbers and words in BOLD to reveal expanding texts. Linger on images and videos for captions, translations, and instructions for further interaction. Along the outer rim of the main page are spiral buttons to take you back to the center with a click. Subpages have links on the main page but are also listed in the Content index in the upper left menu.
The exposition is mainly in English. Videos in Swedish have English translation.
Beyond Cut and Join - Expanding the creative role of film editing
(2023)
author(s): Kersti Grunditz Brennan
published in: Stockholm University of the Arts (SKH)
The research project Beyond Cut and Join – Expanding the creative role of film editing comes out of two major observations over decades of professional film editing experience: that a lot of film editing’s potential is untapped in filmmaking, especially in relation to character creation; and that editors’ skills, influence and authorial participation often are misunderstood and undervalued. Through editing practice and writing, this research explores an expanded role of editing by asking: 1. what can editing do to create characters; 2. what is a useful and challenging creative research design for exploring editing; and 3. what expanded description of film editing can be articulated for these explorations. The project aims to share, refine, and add to editing vocabulary by articulating creative strategies for shaping characters. It further aims to challenge notions of authorship in cinema by developing collaborative structures and artistic methods that benefit creative processes in the edit room. By demonstrating how significant the handprint of one individual editor is, the project’s final aim is to highlight the extent to which editors’ personal experiences influence their choices in composition of material. Outcomes of this project are filmmaking methods that place editing and collaboration in the forefront when weaving dramaturgy, aesthetics, and content creation processes that shape film characters and cinematic stories.
The output of this research includes films, academic articles, personal essays, a video essay, and pedagogic applications. These outputs cumulatively demonstrate the artistry of the editor and the significance of editing.
Citizen Science - a new field for the arts?
(2023)
author(s): Pamela Marjan Bartar
published in: University of Applied Arts Vienna
Pamela Bartar’s (Center for Didactics of Art and Interdisciplinary Education) contribution "Citizen Science – a new field for the arts?" links Citizen Science with art-based research. Providing an overview of current approaches, Bartar illustrates how contemporary art can significantly contribute to the democratisation of science and the societal proximity of research, particularly focusing on socially engaged practices and collaborative knowledge production.
Await what the stars will bring or moulding the gap
(2023)
author(s): Verena Miedl-Faißt
published in: University of Applied Arts Vienna
Verena Miedl-Faißt (Center Research Focus, PhD candidate PhD in Art) invites us with "Await what the stars will bring" to walk through her artistic research trajectory. Her contribution poetically narrates on longings, and on beautiful and painful experiences in connection with her artistic practice and collaborative work with her nephew L. Based on Donna Haraway’s concept of kinship, Miedl-Faißt searches for possibilities of relating to each other and seeks ways to make inner processes accessible. The contribution provides insights into her work with children and colleagues and how she creates “materialized relations, co-creations objecting time, space, and loneliness.”
Stitches and Sutures. Textile Metaphors and Graphic Topologies as Methodological Artistic Tools
(2023)
author(s): Barbara Graf
published in: University of Applied Arts Vienna
Barbara Graf (Center Research Focus, PhD candidate PhD in Art) takes Jacques Lacan’s notions of the ‘upholstery button’ and the ‘suture’ as starting points to explore textile metaphors as methodological tools for her artistic practice, informed by her own bodily sensory experiences and experience of paresthesia as a person affected by MS. Graf’s contribution "Stitches and Sutures" searches for images of the invisible and explores how deeply subjective experiences can be made accessible and adequately expressed.
Exercises in Existential Eccentricity. Conceptualising autoimmunity as a variation of the conditio humana
(2023)
author(s): Barbara Macek
published in: University of Applied Arts Vienna
Barb Macek (PhD candidate and fellow (DOC) of the Austrian Academy of Sciences at the Institute of Fine Arts & Media Arts) takes as her starting point self-reflections and her own experiences with the autoimmune disease SLE. She approaches the phenomenon of autoimmunity in relation to fundamental human ambiguity, following the philosophical anthropology of Helmuth Plessner. Macek’s contribution, "Exercises in Existential Eccentricity", explores the bio-philosophical dimension of the disease rather than its bio-medical dimension, showing how autoimmunity raises existential-phenomenological questions regarding bodily ownership, the self, and the notion of the body as “one’s own”. From an assumed embodied diversity, she designs an artistic technique, EEE - Exercises in Existential Eccentricity, drawing on the technique of auto-interviewing, autoethnography and poetics to facilitate a dialogue between different inner voices.
Altodi Poltodi (This shore, That shore)
(2023)
author(s): Savyasachi Anju Prabir, Amrita Barua
published in: VIS - Nordic Journal for Artistic Research
Altodi Poltodi thinks through aspects of permeability and preservation, provoking an image of shadowy protector figures. How do they interact with a landscape, what could they want to protect and where do they mark their boundary lines? Drawing from the ancient stories of Rakhandars, mythic beings that guard or protect Goan villages, this collaborative process weaves personal stories with the land and history of Goa. Altodi Poltodi began as a conversation between two friends on a bridge over a river, in a state of suspension, connecting two shores – those of memory and the present.
Graduation Seminar (2021) Arts and Visual Communication
(2023)
author(s): Yamil Hasbun Chavarría, Pamela Jiménez Jiménez
published in: Research Catalogue
Graduation Seminar (2021) Arts and Visual Communication
This document constitutes the memory of the Graduation Seminar of the year 2021 of the School of Art and Visual Communication (EACV) of the National University (UNA), Costa Rica.
The theme endorsed by the Academic Unit for 2021 consists of the project directed by Dr. Phil. Yamil Hasbun Chavarría (EACV) and the M.A. Pamela Jiménez Jiménez (School of Performing Arts): Nodos Activos (Investigación + Practica artística (Spanish for Active nodes: Research + artistic practice).
The Seminar is materialized in 5 associated research projects focused on 5 different topics: Artistic research through dialogical and playful processes; Artistic research in the 4th Industrial revolution; The urge to allow research performed by students to be further and easier exposed; the experience interdisciplinary artistic research; and experiences of meta-artistic research.
Authors/students:
Mariana Cañas Lopez, Gloriana Cordero Rojas, Valeria Esquivel Jiménez, Wensi Fuentes Hernández, Andres garita Briseño, Susana Gonzales Gabrilova, María Gabriela Isturiz Rojas, Valeria Leiva Ruiz, Yendry Madrigal Mora, Mariela Martínez Alfaro, Gabriela Mora Araya, Maria Soledad Morales Brenes, Tifany Perla Brenes, Randy Rojas Diaz, Jose Solano Sanchez
Audio-Visual Podcast, Foro No.1
(2023)
author(s): Yamil Hasbun Chavarría, Pamela Jiménez Jiménez
published in: Research Catalogue
This three-part Audio-Visual Podcast (in Spanish) gathers a series of discussions between the leading researchers of the first intermittent forum (or Foro No.1) as a result of the various experiences gathered in that activity. Participants are Dr. Adriana Raggi and Lic. María Sánchez from UNAM (México); and Dr. Yamil Hasbun and M.A. Pamela Jimenez from UNA (Costa Rica) whom also lead the Nodos Activos project team.
The Audio-Visual Podcast is presented in three separate blocks, each one starting with a table of content summarizing what is being discussed in each segment.
Foro No.1 Nodos Activos (2022)
(2023)
author(s): Yamil Hasbun Chavarría, Pamela Jiménez Jiménez
published in: Research Catalogue
As the first intermittent forum (or Foro No.1) of the Nodos Activos project, 4 activities were carried out with the participation of Dr. Adriana Raggi, Lic. María Sánchez, and Mstr. Rubén Cerillo from UNAM, Mexico; and Dr. Alejandra Cano and Mag. Diego Romero from the National Pedagogical University of Colombia. Colleagues from Mexico physically visited Costa Rica for the activities, while the later Colombian academics did so digitally. In addition, the Foro No.1 counted with the participation of students, academics and graduates of the four different Centro de Investigación, Docencia y Extensión artística, CIDEA (Spanish for Research, Teaching and Artistic Extension Center). All activities took place on May 19, 20 and 23, 2022.
All participating academics in this forum belong to the Arts and Design Research Network (INV+ART+DIS) in which the Nodos Activos project team is an active member since 2021.
Think-Tank 0.0
(2023)
author(s): Yamil Hasbun Chavarría, Pamela Jiménez Jiménez
published in: Research Catalogue
Systematiation of the experiences lived in a space of reflection and dialog among teachers, researchers and students from various artistic and design fields. This particular activity, coined ‘think-tank 0.0’ is the culmination of three similar experiences in which the Nodos team explored how the concept of ‘Artistic Research’ takes shape in practice and as a complex system of intertwined concepts. Hence, the ‘think-tank’ experience initiates with a ‘hands on’ exercise in which participants construct a personal interpretation of a certain ‘phenomenon’ (i.e. Body, light, space and movement) by means of ordering images, drawings, objects, sounds, materials and bodies as symbolic representations of meaningful concepts. Followed these hands-on experiments, participants reflect on the methodological processes followed to construct their interpretations while exposing what sort of learnings, limitations and opportunities where identified. Finally, the various participants engage in a dialogue about their common findings, interests, and sensibilities, allowing them to identify potential theoretical, methodological, epistemological, and empathic partnerships for the future. At the same time, this space for interaction allowed participants to further experience the heterogeneity and similarity of CIDEA’s artistic research constellation and identity.
Spotting A Tree From A Pixel (With Remote Sensing Researchers)
(2022)
author(s): Sheung Yiu
published in: Journal for Artistic Research
This exposition contemplates the collaboration between me, a photographer, and remote sensing researchers from the Department of Geoinformatics at Aalto University, in an ongoing artistic research collaboration called Ground Truth. Ground Truth is a photography project about ‘seeing something when there’s nothing there’. Based in the research group’s initial intent to overcome the spatial resolution limits of satellite imagery, the project now investigates new imaging techniques such as computational photography and hyperspectral imaging of forests, while also referencing photography’s love affair with natural landscapes. Such a comparative approach to natural photography has allowed me to offer a vision that typically escapes human sight perception.
I open this auto-theoretical text with a personal experience, namely being on a field trip with remote sensing scientist Daniel Schraik. I use this moment to, among other things, articulate my thoughts on the construction of the ‘real’ in different disciplines. I then contemplate the body of interviews and field trips that became a two-year-long interdisciplinary dialogue, and also brought together two distinct ways of looking at the forest: one symbolized by the camera, another by the terrestrial laser scanner. Inspired by remote sensing concepts such as ground truth and the inverse problem, I have come to examine photography through a new analytical framework.
In everyday language, the term ‘ground truth’ refers, in part, to a first-hand experience. In our project, it makes sense, then, that Ground Truth connotes the documentary tradition and the act of witnessing. In the language of science, however, and specifically in remote sensing as a field, ground truth means something different. It refers to data collected on-site, which can then be used to calibrate, to build models, to predict, to interpret, and to decipher information from images; in this case, satellite images. Similarly, our interdisciplinary collaboration functions on another operational layer of photography beneath the immediately visible, one that illustrates an expanded notion of photography across contemporary discourse. Ground Truth interweaves archival imagery, documentary photography, experiment dataset, 3D digital art and conceptual photography. The constellation of employed elements contrasts the representational approaches of drawing and photography with the data-oriented and algorithmic approaches of computer-aided seeing. The two modes together allow for a parallel reading of the forest — one that contextualizes different epistemological regimes that allow for new configurations of the relationship between image and reality.
Cajón desastre: notas sobre una investigación artística desordenada
(2022)
author(s): Paola Villanueva
published in: Journal for Artistic Research
This text is a reflection on Cajón desastre, an exhibition that collected around fifty drawings made between 2011 and 2020. This text, together with the exhibition, assembles an artistic research unfolded in time and developed in three layers: the making of the drawings and conceptual openings; 2) the gathering and conceptualization of the drawings under the exhibition project; 3) the text development and consequent assembly of this artistic research. In this research I intend to question the linearity associated with a positivist way of understanding the idea of project and artistic research, and I aimed to make visible subjectivities, knowledge and artistic products in process that are affected by the flexible and discontinuous work of the third spirit of capitalism. To this end, I embody a methodological positioning crossed by the post-qualitative perspective of artistic research, through which to activate, qualify and dignify artistic research “in transition”. In this way, in this text I inquire into the functionality of disorder in investigations that, like Cajón desastre, happens in an interrupted and evolving way. By doing so, I reterritorialize paradigmatic structures about art, research and its processes, approaching the idea of fragmentation as a basis on which to articulate, defend and legitimize other ways of researching and learning from art. Influenced by the thought of Deleuze and Guattari, this text is organized in a series of notes in the middle of a selection of the images that made up the exhibition Cajón desastre. The text is not about the images themselves, but about how they were produced and from what notions of artistic research. Text and images work as an assemblage in process composed of open approaches and multiple outputs, through which I also intend to give value to the knowledge that is generated in movement and when you get lost. In this text, I make room for reflections that were absent in the exhibition experience and add new knowledge two years after the closing of the exhibition.
Structures for Freedom: In-performance communication in Traditional musicians in Scotland
(2022)
author(s): Lori Watson
published in: Journal for Artistic Research
This exposition articulates tacit knowledge in processes associated with contemporary Traditional music practice in Scotland. Using a case study experiment and a series of workshop performances recorded in 2008, I examine the processes, communication and performance strengths of four leading Traditional and cross-genre creative musicians. In particular, examples of in-performance communication and collaboration emerge.
The potential of multilingualism in dramatic works
(2022)
author(s): Vanja Hamidi Isacson
published in: Stockholm University of the Arts (SKH)
"The potential of multilingualism in dramatic works" is an artistic research project that aims to investigate, develop and deepen the practice of writing multilingual drama for an imagined audience in Sweden. Through placing significant focus on the playwright's practice, the goal is to contribute to the artistic development of dramatic writing in Sweden and in other Swedish-speaking contexts.
By using sociolinguistic theories and terms around multilingualism, both the artistic practice and the discourse surrounding it are developed and challenged. Through the application of an integrated ideology of multilingualism, language ideologies based on a monolingual norm are contradicted. In this way, the project makes room for silenced and marginalized voices and perspectives that rarely take or receive a place in Swedish performing arts contexts.
Considering language, and thus multilingualism, as social practice and action is the starting point for the research. This post-structuralist approach is in line with the theories of sociologist Pierre Bourdieu and language theorist Michael Bakhtin. In this research drama is considered as both practice and as action. Central concepts are linguistic repertoires, translingualism and speech acts.
Within the project, two dramatic works have been created, ASIA/ÄRENDE and UniZona & PolyZona. These constitute the artistic result of the research and can both be described as dialogical polyvocal plays. Common and central to both works is that multilingualism permeates them and constitutes their formal core. The multilingualism has consequences that affect the dramaturgical and musical structures.
The creation of the works has taken place in dialogue and collaboration with multilingual actors, directors and translators in Sweden and Finland. The form of the artistic work has been conversations, workshops and periods of writing, translation and design. Through these processes and works, the issues have been successively investigated. As tools for analysis, reflection and discussion, four categories have been created: dramaturgical, political, emotional and communicative potential. With the help of these, the concrete functions of multilingualism in both dramatic works are examined with the aim of making visible the potential of multilingualism in dramatic works.
The project demonstrates that multilingual dramatic writing requires different, less traditional approaches and in this way contributes to an expanded practice for the playwright. The methods used in the creation of the works have been collaborative, transcultural and dialogic, shifting between practices and acts of listening and composing.
"The potential of multilingualism in dramatic works" aims to show the enormous artistic, creative, political, emotional and communicative potential that multilingualism can bring to the dramatic work and, by extension, the performing arts.
Experiments in Aural Attention: Listening Away & Lingering Longer
(2022)
author(s): Rebecca Collins
published in: Journal for Artistic Research
This exposition puts forward ‘lingering longer’ and ‘listening away’ as potential means to remain with non-semantic possibilities, resisting the tendency to know immediately or to classify — to get lost, albeit momentarily in a more messy moment of being. At stake in this investigation is the recognition that our experience of the world, characterized through a depth of engagement, is not limited to how relations operate on the surface. The direction or orientation of our attention, the intensity with which it is applied, and how it weighs on and shapes our experience implies choice and agency.
Experiment I: Aural + Orientation = Aurientation emulates the experience of a fictional gallery-goer who encounters the sound installation, This is for You (Don’t Treat it like a Telephone) (2012). This piece was developed at the advanced centre for performance and scenography studies (a.pass) in Brussels and aims to consider how sound and the voice shape our orientation, when mediated through objects. Experiment in Aural Attention II: Vibrant Practice details the process undergone for creating Listening to Water (2013), a site-specific investigation into ancient well sites located in Powys and Ceredigion, two counties in Mid West Wales. The work, made in collaboration with Jane Lloyd-Francis and Naomi Heath, considers how a turn towards site, via a process of tuning in to the Welsh landscape, can bring attention to overlooked aspects of our environment.