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
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.
For their inaugural exhibition as a collective, LIMB will explore [hydro]ecology as a form of writing beyond words and writing beyond meaning. Thinking through wet ecologies as sensitive surfaces, as inscribing agencies and as archives, they look towards nonhuman expansions of the very idea of inscription itself.
They will show work spanning moving images, artificial intelligence, photography, printmaking and living installation, and a public programme of workshops and events will be spaced throughout the exhibition period. A collaborative textile piece charting LIMB’s research will cover the Dorset Place gallery window and visitors will be encouraged to contribute to a growing archive of images and objects which feed into new ways of forming more-than-human communication and kinship.
Silence surrounds us, silence around us - X
This artistic research "Silence surrounds us, silence around us" was started in 2020 after the corona pandemic. "X" is a new beginning of artistic research in the research series "Silence surrounds us, silence around us". I continuously explore the research method of "work in progress" in artistic research from the perspective of biology. (For a new geometry and a new topology in the arts, in the 21st century)
Transdisciplinary artistic research in the visual arts with architecture and music, with regard to transversal aesthetics.
Keyword "Ageing" in this artistic research is philosophical consideration. For instance, "capital" in Marx's theory, "immateriality" and "materiality" in capitalism, how is "Ageing" viewed?
What gaps between cultural mentality and social condition?
What role can art play in answering these questions?
Therefore, my attempt in artistic research is through string theory as well as Einstein's special relativity theory in the 21st century, to explore the new value (as well as, quantum) of ageing towards capitalism of all democratic social systems and their ideologies for something new.
//Unheard_Landscapes - listening | resonating | inhabiting 10th FKL/ENP/AAU_CRESSON International Symposium on Soundscape BLOIS | October 27 -30 | 2021
STEFANO ZORZANELLO, francesco michi, Daniele Pozzi
Unheard landscapes: this metaphor leaves space to imagination, to the un-thought, to the un-known, to past and future, as well as unexplored sound scenarios. It also reaches the field of auditory perception, the acoustic domain. Sound, through auditive qualities, acoustic phenomena, design practices, artistic creations, and listening experiences, offers an inspiring transversal entry onto landscapes and ambiances. Beyond the discussions on “soundscape”, approaching ordinary environments through sounds increases the awareness of our own capacities to feel, while we inhabit and move across different worlds. From an ecological perspective, resonance appears a key word, too. It puts sound and space together. It implies the idea of a plurality of bodies, things and living beings vibrating all together, sharing common contexts of time and space.
The act of listening bypasses the passive meaning it usually receives. It contains in itself a completely unexpressed potential, connoted with «project», «pro-action» and «active decision» by individuals. What will be the sounds of the future and the soundscapes in which we will live, or would like to? How can listening practices evolve, how will we listen or how differently could we listen to the world around us, tomorrow?
Inhabiting the world brings to us questions about how we want to manage our being in it. How do we want to inhabit the world sonically? How sound and listening do actually affect our way to inhabit it? Have we lost some of our abilities to resonate with the world? What remains to be heard? Where could the practices of listening and attuning take us to?
Investigating the impact of Electroacoustic Music in Greek Culture, through a portfolio of Electroacoustic Music works which explore religious and mythological aspects of Greece.
EPAMEINONDAS P. FASIANOS
My research investigated the viability of various electroacoustic music compositional approaches, which were used in a series of works that explored specific relationships between real-world and abstracted sound materials, through the strategic use of pitched, melodic, and non-pitched materials (as well as specific characteristics and behaviours of those materials) as integral elements in the composition. All of the compositions were linked to Greece in various ways, either directly or symbolically. My primary goal was to present transformed aspects of Greece while exploring all of these different levels musically through electroacoustic music. Furthermore, I attempted to explore new electroacoustic music territories by embarking on a journey from real-world instrumental and concrete soundworlds based on aspects of Greek culture (religion, mythology) to abstract soundworlds. Real-world soundworlds are made up of sounds, spaces, and places that have the potential to communicate human experiences such as familiar impressions, aural images, and evocations for the listener. Abstract soundworlds that emerge from real-world ones via various transformation processes include specific sounds, spaces, and places that can be notably different from those that emerge from real-world soundworlds. My main overall goal was to develop innovative techniques and processes that explore the intersections, contrasts, connections, and discourse between the two.
Open Form. An Expanded Performer´s Role.
Else Olsen Storesund
Open form is a designation on a type of composition that is in some degree open. It is also a term in relation to understanding a genre. This means that I do not include for example Bach´s Die Kunst der Fuge (circa 1740), but Stockhausen´s Aus den sieben Tagen (1968) could be included. This project, however, is centered around the composers from The New York Scool, and composers related to The New York School: Christian Wolff, Pauline Oliveros, John Cage, Earle Brown, Morton Feldman and Cornelius Cardew.
An Open form composition is graphic, text- or number-based. It may also be a combination of these three notational techniques and/or in combination with conventional staff line-notation.
Raising the Voice: Sculptural and Spoken Narratives from the Flat Sheet
This exposition explores ideas of narrative and storytelling through sculptures and texts raised from a flat sheet, a kind of visual and spoken poetry which is both particular and multiple.
In this paper, the key area of investigation will be the relationship between sculptural and spoken narratives in my practice. This is engaged with in four main areas:
• The flat sheet and the fold as sites for storytelling
• Multiplicities inherent to storytelling
• Architecturality and the space between bodies and buildings
• Words, text and the voice, and their relationship to sculpture
I explore the role of the architectural in the space between sculptural and spoken narratives, both of which are forms that begin with a flat sheet. The research also looks at how one might write about art in order to expand understanding but not reduce it to one meaning, writing around or through objects so as to leave gaps for the imagination and other narratives. The importance of the voice in the telling of these narratives is investigated, as well as the relationship between bodies and buildings.