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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A/R/Tography in Theory (2024) Guro Kristin Gjøsdal
Guro Kristin Gjøsdal, A/R/Tography in Theory and Practice in Higher Education (Stockholms konstnärliga högskola, Sweden, autumn 2023). The exposition ripples around an interview with Christine Yanco Helland (OsloMet), which is exploring and articulating how she carry out her entangled practice as artist/researcher/teacher. The presentation uses relevant literature to think with. Christine Yangco Helland is an educated drama teacher, director, and dramaturg, with a master’s degree in fine arts with specialisation in theatre from the University of Agder, Norway. Helland has a burning commitment to diversity and inclusion. In addition to working with professional productions, Helland is motivated by involving children and young people, non-professional, and marginalised groups. The exhibition and the interview uses rhizomatic thinking. And so does my own work and production within the methodology and thematics. The work is in progress and will be completed in spring 2024.
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The Aesthetics of Photographic Production (2024) Andrea Jaeger
I am a photographic artist, and my research focuses on exploring the multi-sensorial and immaterial aspects of photographic practice through a practice-based approach. With this research project, I am contributing to an understanding of photographic practice that attends to aural and tactile senses as well as more-than-human agency in the making of practices to expand the discourse on photographic practice beyond traditional approaches that primarily focus on the reading of photographs. Supported by an AHRC-funded PhD grant, I studied the making of practices in various photographic production sites, including laboratories such as Bayeux London, and manufacturing plants like FujiFilm, Polaroid, and Hahnemühle. The fieldwork identified three specific photographic practices—tensioning, fogging, and tearing photosensitive paper— which were explored through artistic research methodologies. By combining fieldwork and artistic research in a bricolage approach, the study demonstrates how these practices make aesthetic sense beyond the photograph as centre. The research outcomes, including a written thesis, artworks, and artifacts presented on the 'Research Catalogue' platform, highlight the role of non-visual senses and non-human agency in the making of photographic practices. In this research, I challenge the commonly held belief that understanding what photography is, is synonymous with understanding what a photograph is (Squiers, 2014). This prevailing notion assumes that the photograph is always already produced and readily available for theoretical discussions focused on reading their meaning rather than attending to their making (Wells, 2015, p. 29). This research shifts attention to processes of making in real-world-settings of the photographic production sites, aiming to contribute to a broader understanding of photographic practice beyond the traditional confines of the photograph and the photographer as reference points. Instead of solely relying on individual approaches and the analysis of photographic works, this study shows the importance of aesthetic otherness, such as the sounds of tearing, which arise once the focus extends beyond the photograph. By activating aural and tactile senses and attending to the agency of the non-human, this research unveils the significance of more-than-visual senses and more-than-human agency in the making of photographic practice. The impact this research makes on the photographic discourse is to demonstrate how more-than-visual senses and more-than-human agency matter in the making of practices. It argues that to understand photography, one must engage with aesthetic otherness made in photographic practices, transcending the photograph as the central element.
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Expositionality in Action (2024) Michael Schwab
Although it is virtually impossible to formalize what ‘best practice’ on the Research Catalogue might be, it harbours by now numerous examples of expositions that ‘work.’ In this session, I want to introduce a small set of diverse expositions from JAR as a way to highlight successful choices people have taken. With a short explanation of expositionality and virtual witnessing, I aim to support an understanding of the effect that those examples have as a way of describing how media-rich articulations can productively engage with both academic and artistic expectations.
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Att uttala det kroppsliga – på spaning att överbrygga skådespelarens arbete med kroppen som instrument, rörelsegestaltning och dramatisk text (2024) Olof Halldin, Aleksandra Czarnecki Plaude
Teater Västernorrlands Dödsdansen utgår från en ny bearbetning. I Aleksandra Czarnecki Plaudes regi är kroppen, rörelsen och musiken tre starka medspelare till August Strindbergs klassiska verk. I rollerna ser vi Teater Västernorrlands skådespelare Gisela Nilsson, Åke Arvidsson och Kaj Ahlgren. August Strindbergs klassiska verk från år 1900 utspelar sig i en tid av förberedelse inför en karantän. De äkta makarna artillerikaptenen Edgar och den före detta skådespelerskan Alice är isolerade på en skärgårdsö. Inför sin silverbröllopsdag får de ett oväntat besök av nära vännen Kurt och ett osande triangeldrama tar sin början. Projektet avser dels fånga och kommunicera mina arbetsmetoder, dels generera ny kunskap i frågan om skådespelarens fördjupade gestaltningsarbete av dramatisk text med och via kroppen som instrument och rörelsegestaltning. Syftet är att genom praktiskt arbete och i samarbete med professionella skådespelare samla, artikulera och kommunicera det specifika i övergången mellan kropp- och textarbete, tvärs genom hela processen, det vill säga från förberedelsefas via repetition till publikmöte. Dödsdansen är resultatet av själva metoden?
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Touching Excess: Haptic Sound from the Multispecies Delta (2024) Sandro Simon
Mollusc gleaning in the Sine-Saloum Delta, Senegal, hinges on the situated navigation of a deltaic world in flux. It unfolds both above and below water as well as in the mud and is crucially guided by haptic engagement, which in turn generates sound. Audio/visual inquiry into gleaning explores the sensuality of this haptic engagement and its more-than-human dimensions. Haptic sound, as this article traces, has thereby been key. Indexing to touch and how it creates contact with the self and with the other, haptic sound affords proximity. At the same time, it points beyond the all-knowing and all-sensing self by probing intensities and making us aware of resistance and impenetrability. As such, haptic sound evolves at a limit and harbors excess. In the recordings from the delta, haptic sound is also conveyed by the “indeterminate” and the ways tones and sounds mix and interchange and are difficult to localize and categorize; by the “disproportionate” and the ways the sound of touch is amplified and appears as “too loud”; or by the “imperfect” and the ways sound is grainy, overdriven, distorted, dull, piercing, full of static hiss or windy, and so forth. Thereby, the materiality of recording devices and the constructiveness of mediation with all its affordances and limitations become palpable as well. Haptic sound, this article concludes, is thus touching and, in this touching, evokes both more-than-human sensitivity and alterity. In mobilizing both experience and reflection, it ruptures anthropocentrism and ultimately opens up pathways to reconsider both anthropology and cinema as well as audio/visual practice in general with an ear to an embodied multispecies conviviality.
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Home page JSS (2024) Journal of Sonic Studies
Home page of the Journal of Sonic Studies
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