Research Catalogue

Conceived and co-organised by Emma Cocker, Alexander Damianisch, Cordula Daus and Lena Séraphin, this Society of Artistic Research Special Interest Group (SAR SIG) provides contexts for coming together via the exchange of language-based research. The intent is to support developments in the field of expanded language-based practices by inviting attention, time and space for enabling understanding of/and via these practices anew.

50 A3 drawings black and coloured markers, including: 3 A3 collages on paper with newspaper cutouts and printed photos. 12 A4 drawings on paper with coloured markers, glued on A3 paper + 1 A3 with black ballpoint pen and markers, glued on A3 paper. 13 A3 drawings on paper with black marker, and red, pale blue, gold, pink and orange markers +1 A3 two-sided. 17 A3 drawings on paper with coloured markers. 1 drawing on sketchbook cover with red nail polish. 1 text drawing on sketchbook cover inside. 1 drawing on sketchbook cover back inside with black, orange and gold markers. 22 A4 drawings with ballpoint pen. Some of the above is preparatory work for 4 large prints and 13 paintings. The 12 A4 glued on A3 are preparatory work for a collage on panel. I made the art between 2023-2024, from the perspective of the observer. Most of the research material came out of crime and fraud reports. I started writing the blog afterwards, since the summer of 2024. I adopted the visual vocabulary of the graphic novel, which I partly studied and read a lot about, looking at different graphic artists' work, when I was attending classes at the University of Malmo, Sweden, in 2012, to familiarise myself with elements of game design. Much of this work is, amongst other, about children. I wanted to emphasise that, by intentionally applying stylistic elements from children's drawings, in a naive and loose architectural composition, using heavily the black marker and stick figures. Adopting this visual approach, I also wanted to evoke a comically sharp twist, as satirical comment, in the British tradition of political satire, to the otherwise dark subject matter. Finally, the artistic style refers to the populist character of actors, mainly far right of the XRW, but also others. The text is written like a trip-hop song. I use heavily popular culture signifiers, names of fictional characters from film, television, music and painting, as reference to actual individuals. Parts of the analysis is inspired by Saul Kripke's interpretation of Wittgenstein's example of mathematical calculation. I used plenty of popular and less popular literary and philosophical references, for the visual art and in the writing. Saul Aaron Kripke was the inventor of the possible worlds philosophical hypothesis, which was seminal for philosophers working in the area of contemporary analytic metaphysics, including the theory of counterparts and the theory of names. He died in 2022. Lauren Berlant was a cultural theorist and gender studies scholar. She died in 2021. In the style of art, I was inspired by Jean-Michel Basquiat's drawings and paintings, which are laden with input from popular media sources, like jazz music and television, recorded in an automatic and naive drawing manner, turned into abstracted paintings. For Nikos ('Rama', 'Mr X'), Filip ('Philip'), and Brandon - August, September, and October 2024. For "Daddy G" and 'Eric' ("Her Man") - December 2024, January 2025. Who are not politicians, but are doing something political, so they must take care. See also exposition "The Loot", under 'Art and Activism Exposed as Research Blog'.

This project is practice-based research that investigates a practice model for sympoietic musicking in the field of contemporary free improvisation and comprovisation. It is driven by my interest in socio-musical sound engagements, particularly the relational connections between humans and instruments (physical material objects and electroacoustics). I explore this relationality with sound-energy-movement continuums with tools based on embodied, and movement-based practices for listening, interpreting and responding.

Whereas the sonic experimentations at the dawn of the October Revolution have been extensively documented, little research has been conducted on practices at the intersection of sound and art during the USSR dissolution. This article explores the political significance of sonic practices –alongside their cultural, artistic, and sensory dimensions– in late Soviet Russia's unofficial art scene, examining the case study of the New Artists group in Leningrad and their shift from mocking avant-garde legacies to a more organically interdisciplinary approach, presumably initiating rave culture in the region. This shift, along with the re-appropriation of cosmism, is framed as a sonic fiction made of music, dance, art, queer inclusivity that aimed at transcending the Iron Curtain and extending conceptually to the Universe. In particular, the paper aims to highlight the decisive influence, often overshadowed by the figure of Novikov, of musicians Valeriy Alakhov and Igor’ Verichev (New Composers) in such evolution by informing the group's poetic strategies and compositions in accordance with their sonic thinking and imagery. The understanding of “togetherness” as constitutive element of late Soviet underground culture and of the hypernormalized official ideology’s de-territorialization (Yurchak 2006) also demonstrates, through J.-L. Nancy’s theory of communal bodies, the role of participatory and corporeal sonic experiences in creating sonic fictions from “interplanetary sounds” able to penetrate socio-cultural dynamics. The artists’ “ubiquitous” (vsyochestvo) principle of absolute synthesis of the arts is thus extended to the realm of sonic materiality, multisensoriality and sonic agency, articulating afresh its appellation of “new avantgarde” of the empire’s dissolution. This article delves into the New Artists' initial evolution before their transition into the more reactionary "New Academy" formation, as some artistic strategies, successfully subversive under Gorbachev, faltered in the post-Soviet landscape and strengthened reactionary forces now intertwined with the ruling power. A forthcoming publication in the Journal of Sonic Studies (Dalla Bontà: 2024) will delve into this subsequent phase during the 1990s, offering insights into the intricate dynamics driving this seemingly contradictory development in the group and in certain figures in the Russian underground scene.

L’idée du passage par les étapes de foi-incrédulité est que la croyance en Dieu est une culture de doute athée.

“Vulgarization” initially appears as a word of interest in the 19th century. There arises a new adoption mode of holy books, literature and comprehension of vulgarity at this point: an unfinished project even for the philosopher or the scientist who has to coexist partially with fellow humans in the “world”, the vulgus. It is the scientist’s reduction of scientific findings and calculations to address public conscience, which does not necessarily intend to “enlighten societies”.