Research Catalogue

The SIG Facilitating took shape at the 2023 SAR Conference in Trondheim, after observing over an extended time how frequently artists, artistic researchers and even policy makers refer to facilitation when describing interactions with audiences, communities and research partners. Finding ways to examine such facilitating processes is crucial to the work under way. We know that facilitating practices exist widely in interactive and community based art, and in theater and the performing arts, for example using games, props and improvisation. There are intersections with pedagogy and professional facilitation and coaching, with at least the latter understood as prizing outcomes over processes. The SIG Facilitating asks: What does it mean to facilitate as part of artistic research? Why is this focus emerging now? How are we drawing on a greater web? Organized by Marija Griniuk, Postdoctoral researcher at Vilnius Academy of Arts, and director at Sami Center for Contemporary Art in Norway; Janne-Camilla Lyster, Associate Professor, Oslo National Academy of the Arts; and Adelheid Mers, Professor, School of the Art Institute of Chicago (coordinator). Contact: sigfacilitating@gmail.com

From the intersection between Sign Language and dance, choreographer Laisvie Ochoa, is exploring the feeling of loss. In a duet with Dennis Massar, and using material developed with Anneloes van Schuppen, the work presents a visual expression of movent that seeks to honor what her mother left her.

This research is an advanced research of Metamorphosis - Ethics and Aesthetics are One - from a Neuroscientific Perspective in 2024. I explore post feminist theory from a new perspective in the 21st century. Thereby I deal with spatiality between virtual reality and physical space theoretically and practically. Wittgenstein's "Ethics and Aesthetics are one" is the starting point of this research. "In the Notebooks, Wittgenstein states that 'the world and life are one', so perhaps the following can be said. Just as the aesthetic object is the single thing seen as if it were a whole world, so the ethical object, or life, is the multiplicity of the world seen as a single object". (Diané Collinson, The British Journal of Aesthetics, Volume 25, Issue 3, SUMMER 1985, pages 266-272) Art transcends boundaries of race, nationality and gender. It is a creative act of unifying in the context of humanity, from the subject to the various topics, by asking questions. This point is the lack of "reality" (dealing with reality) from a sociological perspective. But it is impossible to define humanity and reality based on sociological statistics alone–is my perspective of Wittgenstein's "Ethics and Aesthetics are one". Thereby, I examine 'world and life' from the 21st century perspective.

Thesis of the Royal Academy of Art, The Hague, 2023. BA Photography. The research paper Echoes of a Journey Through Eco is a record of several-yet-one-and-the-same journey(s). I departed guided by the two questions: What can I learn from the forest? How can I learn from the forest? The first part of the journey I started as a humble, aimless observer in Haagse Bos, where I would sit and let my surroundings dictate what I would write. The symbolic, yet totally non-existent line between culture and nature became subject of my research. I did not even know the history of the forest, or anything about trees from a more universally agreed upon perspective (science). I had to alter my approach to the research. Slowly the humble observer discovered a part of him inquisitively searching for questions and answers. I was approaching the field of ecology. Some months into my journey I carved the fateful words “bark bark” in the bark of a tree. I questioned myself as an artist making a mark on nature. I started writing a text to underpin a few things I think an artist should think about when their practice takes place in and with nature involved. Some very critical, almost cynical part of me took stead of the humble observer. It seems I needed to vent some things. The final paper holds fragments from all parts of the journey, from the humble observer to the cynical critic. As a journey it has barely begun, and as a text it is full of superficial reflections, very subjective opinions, and shortcomings. But, as the seed this text sprung from was planted only 6 months ago, it should be expected that it is still only a sapling about yay tall (20-30cm were I a Scots pine). If there is one thing I learned from trees, it’s patience.

Home page of the Journal of Sonic Studies

This is an invitation to generate your own article about playfulness and its power to reconceive failure in artistic research, through a simple game of chance and knowledge. This text contextualises the game within the experiences of the authors, researchers at Orpheus Instituut, who have been engaged in creating explorative spaces for new types of collaboration, using the principles of playfulness. Through a combination of artistic and theoretical work and practical experience with iterative case studies in which game mechanics are tested, refined, and tested again, the authors are engaged in a process of discovery within a “magic circle”. Open-ended experimentation and collaboration are central areas of focus. Failure is re-conceived as a learning process and its catastrophic effects are integrated into the make-believe space of the game, while the insights and experiences drawn from these failures are retained once we step out of the magic circle.