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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Self-ish Portraits (2024) Andrew Bracey
My position is that knowledge about an artist and their work can be uncovered through close looking at their work and that some of this knowledge can be held and transferred tacitly to viewers (that are also artists). This knowledge can be articulated through practice, in this case in the making and subsequent close looking and reflection of the Selfish Portrait paintings. Because the knowledge is tacit, as opposed to propositional, the knowledge may be sensed, felt or difficult to articulate in words. Practice is the most appropriate vehicle to test whether this knowledge can shift from what Alexis Shotwell’s has articulated as ‘nonpropositional knowledge’ to ‘potentially propositional knowledge’. In Selfish Portraits I search for self-portraits by a range of dead artists in terms of geography, gender, race, ‘status’, time of working, style, etc. This necessitates (re)searching beyond my current knowledge base using gallery visits, internet searches and books. The selected self portrait(s) are subjected to a period of ‘looking attentively’ in order to visual interrelate and learn about the painting, and by extension the artist. The main focus is allowing the self portraits to ‘talk to me’ following the theoretical stance of the ‘active’ painting or picture, that knowledge is held in the painting itself and cannot always be found in (written) documentation.
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The exposition explores radical softness as the step-stone for our artistic practices and work produced. The program took place where the forest meets the sea in the Northern Stockholm Archipelago, Sweden.
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Artistic Portfolio (2024) Jordan Sand
Digital overview of artistic works by musician Jordan Sand
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The Art of Design: Seeing The Bigger Picture (2024) Kathryn Jane Moore
Using words and images referencing nature and culture, this research investigates the process and impact of creating spatial visions for ‘seeing the bigger picture’ in order to inform the transformation of regions. The researcher’s work explores radical mapping as an analytical and artistic tool, which has led to the development of a sequence of case-studies, exhibitions, richly illustrated presentations, publications, new policies, mentoring, student collaboration and an infrastructure of stakeholder engagement. Across this powerful and varied range of outcomes the research has situated a new cohesive and integrated landscape-led approach which transforms the physical materiality, ideas, memories and visions of the future in order to shape the experience we have of place as the social, physical and cultural context of our lives. This research crosses professional and disciplinary boundaries using artistic, landscape and geographical expertise to re-evaluate the assumptions underlying practice-based research inquiry and the relationship between landscape and philosophy. It represents a significant shifting of methodology, away from the dominant scientific/social science paradigm, towards an approach that is deliberately more ambiguous and interpretative. The methods require an understanding of perception as intelligence and define landscape as the relationship a community has with its territory. The research thus seeks to address whether ideas can transform a region, and if so, how? The research has led to an extraordinary number of high-profile outcomes spanning academic and public arenas. This includes peer reviewed papers, numerous exhibitions and developmental publications. In addition, it has informed the policy and ‘landscape-architecture’ thinking used by HS2 in the development of its pioneering West Midlands National Park, which underpins the West Midlands Combined Authority’s current sustainability agenda; directed long-term socioeconomic and environmental regeneration in the Black Country; and informed a UNESCO International declaration. Details of the research and publications are in the Research Catalogue exposition.
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Sound Scraps and Resources of Ethnographic Writing (2024) Julie Métais
Ethnographic work generally involves making sound recordings (recorded interviews, field recordings, or archival documents), whether or not the research includes a sonic dimension. But the sonic corpus of ethnographical research does not stop there; it also includes recorded "notepads," recordings related to daily life, telephone messages, etc. A large part of these sound data is discarded at the time of analysis and writing. What if it were otherwise? Relying on my research on cultural expressions of political conflicts in Oaxaca (Mexico), I propose a reflective approach to an initially discarded corpus of sounds, in order to reevaluate my listening and recording position as an anthropologist.
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A Love Letter to Ironing: Learning and Unlearning (2024) Tricia Crivellaro, Lynne Heller
What does ironing have in common with learning to build a digital world? This exposition explores the nature of learning and unlearning through the juxtaposition of skills, specifically ironing, a competency acquired for the most part through unconscious absorption, versus creating in a digital medium where our learning was much more self-conscious. In learning to build and program in Unreal Engine (UE5), a game engine capable of enabling a virtual reality (VR) experience, we learned, once again, what it means to learn. The exposition is written as a lyric essay to encompass both the prosaic and poetic ways that we engaged with a project titled, Craft and the Digital Turn. By using VR as a means of data visualization we sought to bring our craft backgrounds together with future trends in digitalization and communication. Through personal narratives and histories, melded with theory and analysis we hope to record a process that was deeply engaging and extremely challenging for us as practitioners.
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