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 >

RADICAL SOFTNESS (2024) RAD 24 CURATOR
The exposition explores radical softness as the step-stone for our artistic practices and work produced. The program took place where the forest meets the sea in the Northern Stockholm Archipelago, Sweden.
open exposition
MORAR AS FONTAINHAS (2024) Paoli
a video that explores new possibilities of inhabiting public space. The experience of living in a camper van, making oneself and the streets one's home and observing public space through the window of a van.
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Swedish Research Council (2024) Swedish Research Council
Swedish Research Council portal landing page, showing the yearbooks and researchers connected to the RC (work in progress).
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recent publications >

Listening to / in Public Space (2024) Justin Bennett
As an artist working often with audio walks I often have the nagging thought: does using headphones to present sound in public space immerse the listener in a bubble, separating them from their surroundings? This research looks at the form of the audio walk and the possibilities of using binaural recording, narrative devices and locative media to prioritise engagement with the environment. In addition it documents the re-activation of an older work of mine in a app using geo-location and it collects documentation of a number of walk-pieces including scripts, audio files, maps and other background information. Lectorate Music, Education and Society, Koninklijk Conservatorium, Den Haag. 2023-24
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Att uttala det kroppsliga – på spaning att överbrygga skådespelarens arbete med kroppen som instrument, rörelsegestaltning och dramatisk text (2024) Olof Halldin, Aleksandra Czarnecki Plaude
Teater Västernorrlands Dödsdansen utgår från en ny bearbetning. I Aleksandra Czarnecki Plaudes regi är kroppen, rörelsen och musiken tre starka medspelare till August Strindbergs klassiska verk. I rollerna ser vi Teater Västernorrlands skådespelare Gisela Nilsson, Åke Arvidsson och Kaj Ahlgren. August Strindbergs klassiska verk från år 1900 utspelar sig i en tid av förberedelse inför en karantän. De äkta makarna artillerikaptenen Edgar och den före detta skådespelerskan Alice är isolerade på en skärgårdsö. Inför sin silverbröllopsdag får de ett oväntat besök av nära vännen Kurt och ett osande triangeldrama tar sin början. Projektet avser dels fånga och kommunicera mina arbetsmetoder, dels generera ny kunskap i frågan om skådespelarens fördjupade gestaltningsarbete av dramatisk text med och via kroppen som instrument och rörelsegestaltning. Syftet är att genom praktiskt arbete och i samarbete med professionella skådespelare samla, artikulera och kommunicera det specifika i övergången mellan kropp- och textarbete, tvärs genom hela processen, det vill säga från förberedelsefas via repetition till publikmöte. Dödsdansen är resultatet av själva metoden?
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Touching Excess: Haptic Sound from the Multispecies Delta (2024) Sandro Simon
Mollusc gleaning in the Sine-Saloum Delta, Senegal, hinges on the situated navigation of a deltaic world in flux. It unfolds both above and below water as well as in the mud and is crucially guided by haptic engagement, which in turn generates sound. Audio/visual inquiry into gleaning explores the sensuality of this haptic engagement and its more-than-human dimensions. Haptic sound, as this article traces, has thereby been key. Indexing to touch and how it creates contact with the self and with the other, haptic sound affords proximity. At the same time, it points beyond the all-knowing and all-sensing self by probing intensities and making us aware of resistance and impenetrability. As such, haptic sound evolves at a limit and harbors excess. In the recordings from the delta, haptic sound is also conveyed by the “indeterminate” and the ways tones and sounds mix and interchange and are difficult to localize and categorize; by the “disproportionate” and the ways the sound of touch is amplified and appears as “too loud”; or by the “imperfect” and the ways sound is grainy, overdriven, distorted, dull, piercing, full of static hiss or windy, and so forth. Thereby, the materiality of recording devices and the constructiveness of mediation with all its affordances and limitations become palpable as well. Haptic sound, this article concludes, is thus touching and, in this touching, evokes both more-than-human sensitivity and alterity. In mobilizing both experience and reflection, it ruptures anthropocentrism and ultimately opens up pathways to reconsider both anthropology and cinema as well as audio/visual practice in general with an ear to an embodied multispecies conviviality.
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