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Since summer 2013, a slowly growing team of researchers in Zurich and Europe is steadily develoing the local and transversal framework of Immediations. In Zurich, concerns of immediation are focused on the term “Urban Fabric.” The attempt is to interlace expertise in textile and architecture, urban interaction design, and artistic research enabling us to outline, develop and concretize new practices of research and knowledge production through conceptual work aesthetic experiments. The preliminary goal is laying the ground for the second project phase The Anarchive which will primarily be staged in Europe.
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in review
ENG This exposition introduces an exploration of ceramic material from the perspective of an artist-researcher. The ceramic material is explored through aesthetics and making. In this exposition the material connection is understood as a broad term introducing the idea of different levels of involvement with the material. The material connections are reflected from two different perspectives, giving a more holistic idea of what influences the act of making and perception. In this exposition, I explore the material connections mainly from the subjective perspective of a ceramic practitioner and partly from the perspective of the viewers who have no prior experience of the processes of making. Together with the written content, I show different works e.g. videos and a sound file that reveal parts of the processes in ceramic practice. The video and sound works are discussed here as process aesthetics, exposing the experiences, that have aesthetic quality, in the context of making. Through these examples I discuss different levels of engagement with the material and its processes. The aim is to open the material connections in a different light describing the idea of diverse levels of engagement in the ceramic practice. SUO Tämä ekspositio esittelee eksploratiivisen tutkimuksen keramiikan materiaaleihin tutkija-taiteiljan näkökulmasta. Lähestyn keramiikkaa estetiikan ja tekemisen kautta. Tässä ekspositiossa yhteys materiaaliin on ymmärretty laajana käsitteenä, joka esittelee eri tapoja olla yhteydessä materiaaliin. Pohdin tekemiseen ja havainnointiin vaikuttavia tekijöitä kahdesta eri näkökulmasta. Tässä ekspositiossa tutkin materiaaliyhteyksiä pääosin omasta subjektiivisesta näkökulmasta keraamikkona ja osaksi ulkopuolisten katsojien näkökulmasta, joilla ei ole aiempaa kokemusta keramiikan tekemisestä. Yhdessä kirjoitetun sisällön kanssa esittelen erilaisia teoksia esim. videoita ja ääniteoksen, jotka tuovat esille osia prosessesta keramiikan tekemisestä. Videot ja ääniteos ovat osa prosessiestetiikkaa ja visualisoivat esteettisiä kokemuksia tekemisen kontekstista. Näiden esimerkkien kautta tuon esille eri tasoilla ilmenevää sitoutuneisuutta materiaaliin. Tarkoitus on avata materiaalin yhteyksiä eri valossa antaen ajatuksen siitä, mitkä ovat sitoutuneisuuden eri tasot keramiikan praktiikassa.
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in progress
On intimacy, (19/07/2014) by Eugene Kim
This research is documentation of an innermost listening to the resonance of one knowledge. It may illustrate some pursuit in answering a question like, "What is music?"; its conclusion would be something like, "It's sharing time with the Other." How do we share time together? What happens in that time? Where is that time and how is that place created, then bounded and possibly loved together?
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recent comments

Research: Talking in Circles: Interview, Conversation, Metalogue (2014) by Amber Yared et al.
Siobhan Murphy 09/06/2014 at 21:49

The exposition addresses intellectual questions in an artistic manner. It enacts content through form, and resists the reification of knowledge through insisting on multiple rather than singular meanings. The circularity of the title is enacted throughout the exposition and this rhythm is akin to artistic approaches that return to a subject time and again without exhausting it, gleaning more from each iteration.


The exposition’s exploration of form, and the explicitness with which it conducts that exploration, certainly has a lot to say to artistic researchers, albeit somewhat unexpectedly. The ways in which the authors approach the knowledge-making endeavour turn out to be not at all dissimilar to how knowledge arises in artistic research. The focus on dialogue as a site for learning is a useful provocation to thought for artistic researchers – as evidenced in some recent expositions in JAR, the tacit knowledge of art-making is often usefully uncovered through dialogue with another. In this context, I think it is timely to include an exposition that focuses explicitly on dialogue as form. This is of particular interest to artistic researchers in performance which is by nature collaborative and thus already a form of dialogue. The exposition provokes a re-consideration of the solitary reflection often undertaken by artistic researchers when they are engaged in writing.


The exposition does not seek to exhaustively answer or even pose questions. What it does is to evidence a history of curiosity on the part of the authors regarding the nature of dialogue and the relationship of dialogue to education. Rather than putting everything ‘on show’ in the exposition itself, the exposition serves as a window onto the authors’ broader practices. In this context practice does not mean artistic practice per se, but rather the authors’ ongoing practices of seeking to learn through talking to others and of seeking novel ways of communicating the singularity and inconclusiveness of that learning. The way in which the authors’ ideas are unearthed in dialogue with one another such that content is not touched on without formal experimentation – content is always enacted as form – takes the exposition into the realm of the performative. It thus enters provocatively into what might be called artistic research even though art-making is not the wellspring of the exposition.

Research: Talking in Circles: Interview, Conversation, Metalogue (2014) by Amber Yared et al.
Eva Maria Gauss 09/06/2014 at 21:48

To make it very short: The heart of this contribution is the epistemology of a method (interview) in qualitative social research and ethnology on the one hand and in community-based-art on the other.. And this makes it so important! It is exactly this method of qualitative research having had its discussion about the epistemic value in academia itself, was then taken up by art practices and can now rise this question in a new way from the experience in the artistic work- taking into acount that the use and demands of doing interviews in the arts are others, their „epistemic“ potentials, too. (?) It makes fun to see how this topic is played through a conversation (and what characterizes a conversation: how many other topic pop up along). It is interesting to get introduced to the concept of Metalogue by G. Bateson. Does it make fun to see, how Amber and Heather try to follow Beteson's concept and to produce a „Metalogue“? Well – I understand the fascination of „Metalogues“ and of course the circle is a harmonic figure. But isn't it simply the question of the epistemic in narratives?

Research: Movement Intervention within British Post-War Architecture (2014) by Jaimie Henthorn
Victoria Hunter 04/06/2014 at 13:30

This is a very interesting and engaging exposition of a site-based creative process. The artist's engagement with Husserl and Adorno's theories, in particular notions of intersubjectivity and 'pairing' help to articulate the creative approach and inform the reading of the performance work. The artist's knowledge of architectural practice is usefully employed to inform the development of the practice-based research that questions and interrogates body-architecture relationships and explores the emerging findings through movement and dance. The artist's reflection on the work is critically informed and some interesting insights are presented, the visual material and performance footage presented helps to create a clear picture of the work and situates the reader / viewer well within a particular performance / research 'world'. I enjoyed reviewing this work and welcome this type of discursive documentation as a valuable record of site-specific dance / movement practice that clearly explicates  a particular practice-based approach.

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