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 >

Dorsal Practices (2024) Emma Cocker, Katrina Brown
Dorsal Practices is a collaboration between choreographer Katrina Brown and writer-artist Emma Cocker, for exploring the notion of dorsality in relation to how we as moving bodies orient to self, others, world. How does the cultivation of a back-oriented awareness and attitude shape and inform our experience of being-in-the-world? A dorsal orientation foregrounds an active letting go, releasing, even de-privileging, of predominant social habits of uprightness and frontality — the head-oriented, sight-oriented, forward-facing, future-leaning tendencies of a culture intent on grasping a sense of the world through naming and control. Rather than a mode of withdrawal, of turning one’s back, how might a back-leaning orientation support a more open and receptive ethics of relation? How are experiences of listening, voicing, thinking, shaped differently through this tilt of awareness and attention towards the back?
open exposition
Morten Qvenild – The HyPer(sonal) Piano Project (2024) Morten Qvenild
Towards a (per)sonal topography of grand piano and electronics How can I develop a grand piano with live electronics through iterated development loops in the cognitive technological environment of instrument, music, performance and my poetics? The instrument I am developing, a grand piano with electronic augmentations, is adapted to cater my poetics. This adaptation of the instrument will change the way I compose. The change of composition will change the music. The change of music will change my performances. The change in performative needs will change the instrument, because it needs to do different things. This change in the instrument will show me other poetics and change my ideas. The change of ideas demands another music and another instrument, because the instrument should cater to my poetics. And so it goes… These are the development loops I am talking about. I have made an augmented grand piano using various music technologies. I call the instrument the HyPer(sonal) Piano, a name derived from the suspected interagency between the extended instrument (HyPer), the personal (my poetics) and the sonal result (music and sound). I use old analogue guitar pedals and my own computer programming side by side, processing the original piano sound. I also take out control signals from the piano keys to drive different sound processes. The sound output of the instrument is deciding colors, patterns and density on a 1x3 meter LED light carpet attached to the grand piano. I sing, yet the sound of my voice is heavily processed, a processing decided by what I am playing on the keys. All sound sources and control signal sources are interconnected, allowing for complex and sometimes incomprehensible situations in the instrument´s mechanisms. Credits: First supervisor: Henrik Hellstenius Second Supervisors: Øyvind Brandtsegg and Eivind Buene Cover photo by Jørn Stenersen, www.anamorphiclofi.com All other photo, audio and video recording/editing by Morten Qvenild, unless stated.
open exposition
Wat kan de kunstenaar betekenen voor de sociale cohesie in de wijk? (2024) Anke Zijlstra
Een artistiek onderzoek naar contact, verbinding en gemeenschappelijke grond.
open exposition

recent publications >

CARCEREIRA II (2024) Ivan Santos Ferreira, Ana Beatriz Pinheiro Oliveira, Matilde Marques Moutinho da Costa Vinagre, Fabbio Augusto Savioli da Silva, Inês Juliana Silva Moura, Oceane Lourenco Ribeiro
"(...) a cidade (...) consiste somente de um lado de fora e de um avesso, como uma folha de papel, com uma figura aqui e outra ali, que não podem se separar nem se encarar", um lugar onde as partes, os contrastes e o movimento participam numa dança infindável. E é a busca pela compreensão da linha ténue entre o sim e o não, o claro e o escuro, o tudo e o nada, que dá nome ao nosso trabalho, Oppositions. “(…) the city (…) consists only of an outside and a reverse, like a sheet of paper, with a figure here and there, which cannot be separated nor face each other.”, a place where the parts, contrasts and movement participate in an endless dance. And it is the search for understanding the fine line between yes and no, light and dark, everything and nothing, that gives name to our work, Oppositions.
open exposition
Home page JSS (2024) Journal of Sonic Studies
Home page of the Journal of Sonic Studies
open exposition
JSS TOCs (2024) Journal of Sonic Studies
Table of contents JSS issues
open exposition

sar announcements >

Subscribe to SARA