Research Catalogue

This exposition or archive is a work in progress, under construction, for gathering material of encounters with junipers.

Arts-based-philosophy is an emerging research concept at the cutting edge of the arts, philosophy and the Sciences in which cross-disciplinary research collectives align their research practices to finally stage their investigations in field-performances, shared with the public. Our research explores the significance of the HEART in artistic research and performance philosophy from a cross-cultural perspective, partially based on the concepts of the HEART in the works of two artist-philosophers, in which philosophy already became arts-based-philosophy: Nietzsche’s Thus Spoke Zarathustra and Aurobindo’s poetic opus magnum Savitri. We generally assume that the works of artist-philosophers are not only engaged in “creating concepts” (Deleuze), but their concepts are also meant to be staged artistically to let them bodily matter in fact. The role of the HEART in respect to this process of “bodily mattering” is the core objective under investigation: Firstly, because we hold that atmospheres trigger the HEART of a lived-body to taste the flavor of things it is environmentally engaged with basically in an aesthetic manner (Nietzsche). In this respect the analysis of the classical notion for the aesthete in Indian philosophy and aesthetics, sahṛdaya––which literally means, “somebody, with a HEART”––becomes crucial. Secondly, because the HEART is said to be not just reducible to one’s manifest Nature, but has access to one’s virtual Nature as well. The creation hymn in the oldest of all Vedas (Rgveda) for instance informs us that a HEART is capable of crossing being (sat) & non-being (asat), which makes it fluctuate among these two realms and even allows its aspirations to let virtual possibilities matter. Such concepts show striking similarities with contemporary concepts in philosophy-physics, e.g. the concepts of “virtual particles” and “quantum vacuum fluctuations” (Barad).

This page is under construction It contains material created for and in the context of the research project Gifts from the Sentient Forest at the University of Lapland. See https://www.sentientforestproject.com

Exploring how artistic experience can be influenced by mimetic recognition of human motion patterns in non-representative kinetic figures. This project investigates imbuing non-representational kinetic figures with human-like movement patterns and examines how these characteristics can modulate the expe rience of such figure(s). The investigation explores whether these motion patterns may facilitate mimetic recognition of human movement patterns and whether such recognition can intensify onlooker engagement with the figure(s) by eliciting affective and emotional responses. Of particular interest is evoking experiences of kinship and relation between humans and non-humans and proposing that the figures’ actions be experienced as an expression of intent on the part of the figures. These topics are approached as artistic motivation and guiding principles for artistic creation and experimentation.

This exposition explores the concept of speculative utopias within artistic research, offering glimpses into potential futures at the intersection of artistic imagination and futures thinking. Developed as textual concepts, these speculative utopias serve as vehicles for envisioning inclusive and sustainable futures, addressing complex socio-economic, cultural, and environmental challenges. The study employs a multidisciplinary approach by integrating aerial photography of Iceland’s landscapes with futures thinking methodologies and artistic research practices. These photographs function not merely as documentation but as speculative utopias that prompt critical reflection on climate adaptation, socio-political transformation, and public engagement. A unique aspect of the research is the use of artificial intelligence (ChatGPT), which supported iterative narrative development and reflexive inquiry. Through this exploration, the research offers alternative visions for resilient futures catalysing transformative dialogue and deepening reflection on the politics of the present while imagining possibilities for the world to come.

This article discusses four artworks that employ artificial intelligence (AI) as practice as research (PaR) by artist Garrett Lynch IRL. These are: I’m not Garrett Lynch IRL – DoppelGANger Portraits (2021), a series of Generative Adversarial Network (GAN) portraits; TheLastStraw (2021–23), a performative generative artwork for social media; Flag for States of Damage (2018), a performative mixed-reality artwork for the web and The Traveller (2024), a four-channel video installation with artefacts. The objective of the works is two-fold. Firstly, each artwork’s use of AI is distinct yet is intended to form part of a broad ongoing exploration of how networks can be transformative to art practice. The works maintain that AI is a form of network that enables emergence. Not the emergence of intelligence as defined in the field of AI, but instead in the context of art theory a manner in which artworks are expanded, extended or activated beyond their artist/author defined forms. AI as a network is therefore defined as both the generative adversarial network, the input, employed in the formation of the work and the resulting network of artist, artwork and audience that emerges when a work is expanded, extended or activated. Secondly, instrumental in facilitating AI as a network is the use of language as a combined form of encoding and performative utterance (Austin, 2018). Building on a fundamental basis of computing that all digital media is reducible to language, code, and numbers as well as a basis of communication theory that language is a social construct, the works explore language as both form of representation and communication between human and machine. Language enables a process of folding (O’Sullivan, 2005) or flipping (Sloan, 2012) of concepts, media and artefacts between ‘virtual’ and ‘real’ spaces, between digital and materialised forms.