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.

recent activities >

Variation II (2021) Erika Matsunami
- Post-contemporary art for the Joint Artistic Research: Performance in the site-specific and spatial installation (in the real space), that will consist of the conjunction between gaps of the different artistic fields, mediums, and techniques, and their materiality and dynamics. - The artistic approach of the Joint Artistic Research through the Intersubjective connections in different artistic fields and their gaps: Social relationship and as well as economy and social system immediate within the digital society after the corona pandemic, that suggests exploring the transformations, which are new imaginaries, and which aims in the Joint Artistic Research towards the underpinning of contemporary social space. - Problem of the cross-disciplinary artistic research: A problem in a collective artistic research is contextualism and relativism in different artistic disciplines, that might be impossible to explore a new artistic dynamic technically. Another problem is functionalism, especially which refers to multiple realizability in a cross-disciplinary artistic research collectivity. - Solution of the cross-disciplinary artistic problems: For example, in a collaboration with a composer and conductor Valerio Sannicandro in which research subjects of decentralization, and sonic and visual space(s). The gaps between visual arts and music (composition): What are the specific creativity in each artistic field and the individual artistic characters? How can we work dynamically? Therefore, we need to explore the new artistic method for the conjunction from the wide perspectives in each artistic field, that is the aim of the Joint Artistic Research "Variation II". In the case of Karlheinz Stockhausen, he explored "Lautsprecher Musik", it was a starting point of musical automatization, however, it was a new music method of monophonic and polyphonic, heterophonic texture and homophonic texture, and so on for a multi-layered sonic space and time in a concert space, was neither music nor symphonic orchestra. It was rather something new sound and sonic texture as a new music composition in post-war. In the real space (environment), we can de- and reconstruct and transform "spatialization" into the multi-layered phonic texture as the musical and sonic expressions very simply. On the topic of spontaneous, there are many possibilities and opportunities for combining diverse artistic layers and actions, such as by humans (performers or participatory way of randomness or interactive way) and/or by nature. Thereby the communication means very widely. ...
open exposition
Silence surrounds us, silence around us (2021) Erika Matsunami
Post-contemporary artistic research: I back to the Method of Roland Barthes in cognitive linguistics, and semiotics. Artistic methods are in literature, drawing, photography, Video, Sound, and Performance together with diverse materials, as well as in an object, objects and spatial installation within the representational theories, which will be transformed into another artistic medium(s). The sources are magazines (virtual and paper), as well as my environment in the real space of everyday life (reflection of living space, and also global communication, its changing of thinking in time and space) Do you have silence surrounds you? This question applies to an autonomic environment, which is not automation space(s) in the centralization system.
open exposition
Meetings with Remarkable and Unremarkable Trees (2021) Annette Arlander
This exposition serves as an archive for the project "Meetings with Remarkable and Unremarkable Trees", where Annette Arlander spends time with specific trees and poses for camera together with them. The exposition is under construction
open exposition

recent publications <>

At Home in Montreal’s Quartier des Spectacles Festival Neighborhood (2021) Edda Bild, Daniel Steele, and Catherine Guastavino
Urban festivals have traditionally been considered incompatible with residential areas because of their contrasting sonic characters, where the sounds of festivals are treated as a nuisance for residents. However, the neighborhood dedicated to housing festivals in downtown Montreal is also the home of diverse groups of residents and workers. Based on a diary and interview study with residents of the Quartier des spectacles festival neighborhood, and building upon research on touristification, festivals as third places, and soundscape, we explored what it meant to be at home in a festival neighborhood, focusing on the sonic experiences of locals. Findings provided a more nuanced portrayal of everyday life in a dense, lively urban environment transformed through touristification. Residents do not consider the sounds of festivals as a primary source of annoyance; on the contrary, these sounds inspire them to engage with their neighborhood, suggesting a more porous living experience between indoor and outdoor spaces. Drawing on the characterization of other imagined residents by our participants, we conclude by introducing the idea of soundscape personas as a practical method in participatory decision-making for the future of the neighborhood.
open exposition
Absurd Sounds (2021) Yann Coppier
Absurd (derived from surdus, or deaf, in Latin): that which cannot be heard or is contradictory to reason. This artistic research project questions the ways we work with sound, using a methodology derived from the absurd as a tool for innovation. The scientific roots of sound as a physical phenomenon are rarely disputed, whether by sound artists, sound designers, sound technicians, or even composers. Yet this trust in the knowledge built by acousticians, so complex and yet so simple as it mostly limits the characteristics of sound to amplitude, pitch, timbre, and envelope, might lead to an incapacity to look any other way. Have we missed, as artists, the opportunity to question the underlying axioms beneath the science of sound? This research uses a method based on the rejection — or, better, a questioning — of established rules and ideas (e.g., ‘what if silence were a building tool with which we carved music and sounds into blocks of noise?’), followed by a series of logical developments until some new technique, idea, or even form of art emerges. Such a method somehow adopts the principles behind conspiracy theories and applies them to art: absurd premises followed by logical developments. The present exposition develops a set of three case studies built between 2017 and 2020, each one answering its own absurd question: the harvesting of rare sounds made by worms (what if silence were louder than noise?); an experiment carried out on humans, by loudspeakers sitting as members of the audience (what if there were no ‘sweet spot’?); and an attempt to blur the lines between the real and the virtual, while developing new ways to document sound art (what if there were no (virtual) reality?). Cover photo for the exposition 'Absurd Sounds' by Anders Sune Berg, 2017.
open exposition
Registers of Disinhibition: Transferred Autonomy and Generative Systems in Artistic Research (2021) Matthias M Sildnik S
This exposition is a presentation of an artistic method that incorporates generative technologies in artistic intervention. The autonomy of the generative system is analysed not as an isolated capability of a technical object but as a specific configuration between the autonomous operations of the system’s creator, the system itself, and the individuals related to the system. The notion of transferred autonomy is proposed to emphasise this interrelated nature of an entity’s autonomy. In this way, a generative system is positioned in a broader socio-economic and cultural context. To make this interpretation productive in relation to artistic practice, interventionist tactics need to be reconsidered as well. The presented method uses an opinion poll format. The opinion poll is interpreted as a basis for collective individuation enabled by generative processes. The conventional opinion poll format is deformed and reconstructed according to an assemblage of enunciation, enunciative recursion, disinhibition, and individuation. Rather than being a scientific, generalising and analytic method, it becomes an artistic generative, interventionist medium. Two related projects are presented: ‘Happy Space’ (2016) and ‘Midscape’ (2018). Each describes the specific way in which generative art techniques are adopted and developed. The former presents a case study based on a survey of working and living conditions, hybridising an opinion poll with a procedural genesis of three-dimensional environments. The latter explores the levels on which generative technologies can facilitate the dynamics of structures conceived in the previous project. These dynamics are encapsulated in installation elements, opening a dialogue between physical and social dimensions.
open exposition

sar announcements >

Subscribe to SARA