Research Catalogue

A worklog exemplifying my practice of making situated interventions through narrative storyworlds and animated worldbuilding. My art often brings some conditions attached that aim at transforming the mindset and routines of the environments I enter, as a way to ”world” them. Constructing alternative inner story worlds has always been the basic mode for me to perceive the world, process the world, and to find ways to act in the world. worldbuilding as an artform also serves my interest in systems and “the whole”. an interest that brings about the desire for sustainability, for things to be fair, balanced, for “the whole” to sustain and thrive. My artworks often materialize as a response to something in my environment, a response that carefully takes form within the fictive storyworld. Examples of responses are a proposal to update the permanent exhibition on mining at Tekniska Museet, staging a shutdown of the university or introducing climate budgeting into film courses. This method of careful responses aligns with the concept of “worlding”, a term from material feminist thought about making “cuts” in the world, enacting interventions that produce the world I inhabit. “Worlding” is acknowledging the relations, how I am entangled in the world, while acting. Being embedded in a “storyworld” gives me the critical distance that enables me to respond more creatively, ”as if” things could be a whole lot different. Due to my interests in the full range of things, from material to structural to epistemological and ontological, I prefer to make interactions on all levels simultaneously in order to trace their effects, how they are connected, how they interact and affect one another. In order to reach initiated understanding into all parts of “the wholes” *I often engage in transdiciplinary collaborations with researchers from many different disciplines.

Growing Likeness, a study in biological authored portraiture and bioart experiment in the aesthetics and value of bio-facial construction, challenging the sustainability of growing human-like structures in a deep-rooted vision. A mapping of intelligence systems disguised as human, this research strikes a visual analogy to the science and the system matrix of crop roots. The aesthetics and symbolic resemblance to the human head is a creative and philosophical query, provoking the viewer to challenge their perception, if in fact any, likeness to human identity. How is the biological intervention of the plant seedlings aiding the construct and metaphorical meaning of being human? Simple experiments with seeds, are in fact, a means to expand knowledge of leading science and technology research whilst communicating this knowledge through art. https://www.ecu.edu.au/schools/arts-and-humanities/ecu-galleries/past-exhibitions/related-content/exhibitions/2024/growing-likeness

In our exploration of the spatiality of language and, specifically, the activation of the site where writing "makes" rather than takes place, we propose a multilayered experience of the book as an object, as well as a geometrical, topological, and especially performative space, which we understand as an "ecology of the book". Extending this practice beyond the book's margins, yet simultaneously embedding it within the material and technical affordances of the book’s medial articulations, we evoke a "new" ecology—one unfolding alongside the interaction-landscape and its actual and invented inhabitants, as well as the techniques of its production. Texts, drawings, figures, figurations, methods, and both human and non-human authors weave together the heterogeneous texture of the book’s "new" ecology. In our monographs, "Fauna. Language Arts and the New Order of Imaginary Animals" (2018), "Flora. Language Arts in the Age of Information" (2020), and "Fiction Fiction. Language Arts and the Practice of Spatial Storytelling" (2023, De Gruyter/Edition Angewandte), we explore and map the territory of language arts. This approach manifests, on the one hand, through the transgression of traditional scientific methodologies and a shift in models—from thinking-of-the-other toward thinking-with-the-other, and on the other hand, through the agency of our eponymous characters, Fauna and Flora, who not only title our books but also act as conceptual operators—figures that navigate, perform, and activate the very spaces our texts explore. Applying Michel Serres' methodology of thinking by inventing personae, these characters move within and percolate through the margins of text (written, figural) and space (concrete, fictional), reconfiguring the notion of authorship and placing literary texts and digital drawings within the frame(less) collective of more-than-human and more-than-organic actants.

"Grain: Mediator Between East and West" is an image-led, cross-temporal exploration of bread wheat as both a commodity and a metaphor. Drawing on its historical and practical ubiquity as a staple grain in agrarian (Eastern) Europe, wheat emerges as the focal medium through which cultural and geopolitical narratives are revealed. What narratives does bread wheat carry, and what is entangled within localised perspectives? To what extent does the cultural history of grain intersect with modern grain infrastructures, whereby wheat transforms from an elemental medium into a mediator between East and West? Through thinking with and about grain, this work interrogates the gaps, overlaps and resonances between East and West, the post-war Soviet 1940s and the present day, repositioning wheat as a cultural mediator. This Master's project was conducted within the European Media Studies program at the University of Potsdam and University of Applied Sciences Potsdam, August 2025.

The dramaturgy of Conversation aims to tackle different approaches, analyses, and practices of conversations. Several forms of conversations and various related knowledges are questioned from different positions and perspectives. The data studied come from personal, external, or created (for and within the project) archives. In this project, researcher Ingrid Cogne analyses, develops or transforms, re-articulates and re-structures the ways in which one creates, inhabits, and facilitates conversations. The central question of The dramaturgy of Conversation as a methodology is HOW: How can the context, structure, location, and duration of existing or created situations of conversation support the (re-)articulation of the persons involved? How can one use or work with conversations? How can one read, inhabit, and embody the parameters of a conversation? How can one facilitate a conversation? How does a situation itself facilitate the meeting with knowledge? How can one create a situation of conversation that will be the facilitator itself? The dramaturgy of Conversation proposes situations, settings, and protocols of conversations that involve, combine, or isolate various languages (spoken, bodily, and written), “in-between” and relational knowledge, and dialogical methods and processes as well as formats of communication. The dramaturgy of Conversation is a methodology that focuses on “how” practical knowledge can be read, unfolded, and circulated within the “doing”. It is a research project that facilitates the access to the unknown and the inarticulable – navigating between quantity and quality, fiction and reality, material and immaterial, visible and invisible. This research is aproached by the author as the context wherein a self-reflective process can be (re-)articulated and CO- and reciprocal activations of hardly articulable knowledges can be performed. With this re/search, Cogne insists on the need of “conversation” to be practiced and considered as knowledge. Duration: 15.1.2019 – 14.1.2025 Project leader: Ingrid Cogne (IKW) Funded by: FWF - Austrian Science Fund | Elise-Richter PEEK (V709) Institution: IKW, Academy of Fine Arts Vienna, Austria

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