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 >

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
Collecting Meaningful Material (2021) Wietske Maartje Willemijn Flederus
Process of collecting through liveness, performance, participation
open exposition
ARC_view (2021) Ilya Ziblat Shay
Welcome to ARC_view, an online documentation project of the ARC (art_research_convergence) sessions. ARC is the platform of Leiden University Academy of Creative and Performing Arts and the University of the Arts The Hague for the active communication of artistic research. This exposition seeks not only to document the ARC sessions, but to create a virtual extension of the themes and content: lectures, book presentations, performances, and the different discourses developed by the participants of the events. The blog is gradually updated after each ARC session. You can also learn about future events (read forthcoming session's abstracts).
open exposition

recent publications >

Home page JSS (2021) Journal of Sonic Studies
Home page of the Journal of Sonic Studies
open exposition
Crisis Collective - main exposition (2021) Deniz Peters, Anne-Helen Mydland, Jonas Howden Sjøvaag
Lost Conference 2020... ...Relic Site 2021
The Crisis Collective! 11th SAR International Conference on Artistic Research, Bergen 2020 was set to become a milestone effort and presentation of artistic research on the current societal challenges. In a twist of fate, it had to be cancelled due to the pandemic. Cancellation is an anti-event: it creates absence.
This exposition is published in the state it was presented at the SAR conference Care Dare Share, in 2021. A revised edition, that will be updated every 6 months, will be available on the RC platform.
open exposition
Jazz in Worship and Worship in Jazz (2021) Uwe Steinmetz
Jazz in Worship and Worship in Jazz The musical language of Liturgical, Sacred, and Spiritual Jazz in a postsecular Age. Abstract The aim of this dissertation is to identify musical elements that contribute to the generation of religious meaning in jazz performance and to explore how religious experience can inspire jazz composition. In this study, the history of jazz, specifically tailored to the aspects of my inquiry is imbricated with relevant theories and musical interventions from my own artistic practice in composition and performance. In addition to artistic research through my own practice as a performer and composer, the transdisciplinary fields of musicology, music theory, neurology, history of religion, and theology provides further critical tiles in the knowledge-mosaic constructed by this study. Using my own artistic practice as my primary research method, my thesis investigates distinct intrinsic and extra-musical elements that help to create a typology of religiously inspired jazz, grounded in historical reference works. Twenty-five of my own compositions following this typology are submitted with this thesis and are analyzed in the three main chapters. The final chapter (Imagine) summarizes conclusions of the main chapters and includes a brief evaluation of the research process. Conclusions from the thesis include (i) defining six distinct ways of expressing religious belief in jazz, (ii) demonstrating that the extrinsic meaning of religiously inspired jazz changes when placed within a liturgical dramaturgy, and (iii) generating new postsecular perspectives on jazz. Another concrete result of this thesis involves revisiting George Russell´s Lydian Chromatic Concept as a basis for my own compositions. The practice-based adaption and exploration of Russell´s theory opens new ways of understanding how his musical philosophy builds a bridge between Western classical sacred music and jazz. Finally, this thesis also raises new areas for further research such as microtonal and twelve-tone tonality in jazz, temporal concepts in jazz composition and improvisation, and the embodiment of Christian faith through music as an extension of the institutional church in society. Keywords: jazz and religion, jazz liturgies, George Russell, Spiritual Jazz, Sacred Jazz, Liturgical Jazz, postsecularity in the arts, twelve-tone tonality in jazz
open exposition

sar announcements >

Subscribe to SARA