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.

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Pondering with Pines - Miettii Mäntyjen Kanssa - Funderar med Furor (2022) Annette Arlander
This exposition documents my explorations of pondering with pine trees. Tämä ekspositio dokumentoi yritykseni miettiä mäntyjen kanssa. Den här ekspositionen dokumenterar mina försök att fundera med furor.
open exposition
Towards a Response-able Com-position Practice: Entangling with Humans, More-than-humans and Materials (2022) Fulya Uçanok
This exposition is an accompaniment to an artistic research process tied to my dissertation, titled "Towards a Response-able Com-position Practice: Entangling with Humans, More-than-humans & Materials". The exposition provides a condensed and compact format of information allowing the viewer/listener to trace the process, mainly led by graphics, sound files, along with short informational and contextual texts. My research is based on a model that springs from a relational, sympoietic, socio-musical imagination for composition. The research sprang from my interest and desire to attend otherness, for cultivating generative and creative practices through collaborative socio-sonic engagements, first and foremost interested in the interface of connection and co-creation. In the composition model, relationality focuses on perspectives of response-ability in the act of com-posing with human, material and more-than-human agents. I call this model Response-able Com-position (RC), as the aim of the practice is to generate and cultivate various abilities to respond, and trace these responses within the act of com-position. Instead of placing the performer/composer's agency at the center of the composition process, the model widens and shifts the center to other humans, non-humans and materials, where they are not the object of study but the generators of knowledge itself. By privileging such position, the whole proposal revolves around resonances and potentialities consist of listening-within entangled relations. Listening as performative auralities entail, listening through aural analysis, embodied forms of listening (performance) and listening-back to the process and re-evaluating. The study proposed by the model is interested in working through differences in a relational way, enacting a series of collaboratory events through differentiating and entangling agents and selves, within a multivalent plane. Working from within a paradoxical situation, it deals with processes of disruption that leads into new ways of thinking, feeling and acting.
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Teleportation and Transformation: approaching the 'impossible' through storytelling and technology (2022) Eirini Sourgiadaki
Throughout human history as we know it, there is a range of stories in the arts and the humanities that meet in variations, which shows an old widespread human desire: a wish for as much life as possible, for being immortal or for getting the ability to be everything and to be everywhere- This wish is opposed to the finite nature of the human existence and the knowing about this fact. It has been and can be approached by forms and tools of narration that engage imagination. For the investigation of the ways such practices signify an embodied experience in daily culture, I am approaching the use of language and especially metaphor and its application in therapeutic tools and trauma treatment methods. For this I am exploiting elements from the fields of hypnosis, meditation, neuroscience and lingusitics, along with storytelling patterns in mythology, religion, fairy tales and science fiction, My focus is not on language alone, but on possible combinations with the potentialities of artistic devices. Both, teleportation and transformation can be understood as a three-step processes compiled by: State 1 (before), the in-between moment (the shift) and State 2 (after). Although State 1 and State 2 (before and after teleportation/ transformation) will be respectively studied, a special focus will be given to the middle part of the process, the in-between moment, including time, space, the (technological) device as well as cultural aspects and possibilities. The in-between moment as a moment of trespassing is a point that not much focus has been given in artistic research till now, unlike State 1 and State 2; what exactly happens after Gregor Samsa sleeps as human and before he wakes up as an insect, or what happens right after Alice steps into the mirror and right before she enters Wonderland, what happens while Clark Kent is inside the phone booth (in Greek “thalamus”) are all invisible. The Greek word for the booth is “thalamus”, the same word used for that part of the brain where all senses end up, the relay station for sensory experiences. How to deal with the presence/absence of the body in terms of time and space during the in-between moment and how to stimulate imagination, memory and engage the senses towards the “impossible” using the means that consist a teleportation/transformation device? The aim of my fundamental research-oriented or knowledge-open (erkenntnisoffenen) PhD project is, to proceed without pre-defining the format of the outcome, but letting it evolve through and within the study, investigation and experimentation instead, working on the following groups of objectives and research questions: i. approaching the ‘impossible’, ii. devices, iii. language storytelling) & other media, iv. possible combinations / experiments. Methods used are: reading connected to the main terms, practicing hypnosis, meditation and relevant practices that use language and engage the body, public presentation(s) and interviews with three groups of peers. As peers I consider persons who experience alternative mind sets, indicatively children, people in love and people with schizophrenia. From the very beginning and to this point, the methodology and the format evolve along with the artistic research.
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Research and Critical Edition of Capriccio Diabolico by Mario Castelnuovo-Tedesco (2022) Eva Calvo López
In short, the proposed work consists in a critical edition of Castelnuovo-Tedesco's Capricho diabolico, backed up by previous research in which I compare the manuscript and Andrés Segovia's interpretative edition. As a result of the significant differences between the two, I propose a version that is faithful to the original work, but without overlooking the collaboration between the two musicians.
open exposition
A Quest for Musical Clarity: Grounding Compositional Practices in Gestalt and Perception Theories (2022) Charles Baumstark
What are the main theories on sound and musical perception? Is there a possibility for the composer to understand those ideas and use them as the basis for the organization of his craft? Would those be enough to create the musical ‘clarity’ I am looking for? Finally, can I find a way to formalize any of those theories in my composition practice? As a starting point for this investigation, part one establishes the philosophical ground for this investigation about clarity, particularly stressing the difference between intention and object, between form and structure, and their complementary nature and interaction with each other, before drawing a first idea on musical perception through the lens of Gestalt theory. Parts two and three detail the different elements that come into play while applying those ideas into my composition practice. I introduce a list of the parameters that will play a prominent role in the elaboration of the representation of the mathematical formulations seen in part four by developing further my understanding of the theories elaborated by Leonard B. Meyer around the idea of ‘expectation’ in his book Emotion and Meaning in Music, and articulating them from a practical point of view. The fourth and final part of this investigation exposes a mathematical representation of my thinking on those ideas in order to conceive and use them in my composition practice. This ‘model’, based on an understanding of what will be referred to as ‘motion’, is the ground for the elaboration of the musical shapes in my pieces.
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SYNSMASKINEN (2022) Frans Jacobi
SYNSMASKINEN: an inquiry into contemporary political crises SYNSMASKINEN is a new artist-group and an inquiry into contemporary political crises. The project will consist of art projects, each exploring a certain aspect or manifestation of contemporary crisis. Together these visions are attempts to unfold a contemporary cosmology; a new political horizon. SYNSMASKINEN is an artist-group in the sense that each production is made in collaboration between a small group of participants. Each art project will be made by new groups of artists and thinkers. In this sense SYNSMASKINEN will probe the concept of the research-group: What kind of insights does artistic thinking provide? How can collectivity address the political issues of topics in a critical manner? The name, SYNSMASKINEN is taken from the Danish and Norwegian translations of Paul Virilio’s seminal book on the techniques of perception, La Machine De Vision. The name SYNSMASKINEN contains the methodological program: SYN=vision / MASKIN=machine SYNSMASKINEN is the third large-scale research-project at Bergen Academy of Art & Design. Following Re-Place and Topographies of the Obsolete the project offers a continuation of and an addition to the new tradition of kunstnerisk utvikling/artistic research at the core the Department of Art. SYNSMASKINEN is organised by professor Frans Jacobi, artistic-research leader Åse Løvgren and research assistant Benedicte Clementsen.
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