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.
reposition Journal of reflective Positions in Art and Research
reposition Editorial Team
reposition Journal of reflective Positions in Art & Research - a publication of the Center Research Focus, University of Applied Arts Vienna
Initiated by Alexander Damianisch, director of Center Research Focus, reposition brings together the wide variety of research at the University of Applied Arts Vienna, and reflects on an ongoing culture of editorial structures for research in Arts and Sciences.
reposition collects positions from ongoing processes. It offers researchers of all disciplines and departments at the University of Applied Arts Vienna the opportunity to publish their work according to peer-review principles. Colleagues of any level and doctoral students in arts and sciences are invited to share their work. This series showcases their diverse approaches to project-oriented research work and presents current insights, captivating research processes, and ongoing projects from a deeply personal perspective that courageously unearth the work-in-progress.
Soundscape Project TUB
Ilias Mavromatis (Ili Os), Jonas Henning, Mariana Carvalho, Daniel Dilger
The Soundscape TUB is a self organized “Projektwerkstatt” that explores the concepts of acoustic ecology, the relationship between people and their environment mediated by sound. With students from different faculties of TUB, UdK and other universities, the project stands in the intersection of science, arts and humanities, dealing with topics such as social ecology, technology, data collection, group dynamics and creative practice. Soundscape TUB works with the potential of sound and listening as a socio-political tool and science communication.
RAD 24 CURATOR
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.
A Love Letter to Ironing: Learning and Unlearning
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.
Reconfiguring the Landscape at IRCAM
Reconfiguring the Landscape at IRCAM was the third physical meeting of the three Reconfiguring the Landscape composers Natasha Barrett, Nadine Schütz and Andrew Knight-Hill. The group met at IRCAM in Paris from November 18 to 28 to embark on an intensive period of industrial site audio investigation, workshops, artistic creation, public panel discussions and listening sessions. The work period and public exhibitions were supported by and carried out in collaboration with IRCAM.
Reconfiguring the Landscape in Greenwich
In 2022, the SOUND/IMAGE Research Group at the University of Greenwich hosted one of the Reconfiguring the Landscape international workshops. Unlike previous workshops, we decided to split the work over two periods. The first period was from the 17th to the 24th of July, and the second was from the 25th to the 27th of October. During the first period, members of the artistic team were joined by members of the SOUND/IMAGE Research Group to investigate several historic sites in Greenwich. In the second period, the artistic team performed an outdoor concert in Greenwich Market. The work was carried out in collaboration with researchers Brona Martin, Emma Margetson, and Angela McArthur.