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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N.N-Zwischenliegend - a progressive investigation into errors/eine fortlaufende Untersuchung zu Fehlern (2021) Erika Matsunami
„N.N-Zwischenliegend“: Ich forsche zum Thema "Paradoxität" in einer Kunst (Praxis und Theorie) von einer Dokumentation (Realität) – Zeit, Raum und Körper. Eine künstlerische empirische Forschung. Diese Kunst-Forschung ist die Fortsetzung von der Kunst-Forschung „still/silent“ (This artistic research is the continuation of the artistic research "still/silent"). Erster Teil ist N.N-Zwischenliegend - a progressive investigation into errors/eine fortlaufende Untersuchung zu Fehlern (in der Bildwissenschaft und Ästhetik), diese Forschung geht es nicht um digitale photographische Technik, sondern um digitale photographische Technik und experimental Photography heute, und um (Neo-) Repräsentationstheorie (Multimodalität und experimental Dokumentation) : In the part of my artistic research in the N.N-Zwischenliegend project – namely digital photography – I am investigating the potentiality of inspiring errors and imperfection, employing three research methods. First, according to the definition, “errors” in this artistic research are not intentional, but rather are created in the concept by chance due to natural phenomena in the digital camera. In the concept of experimental documentary photography of N.N-Zwischenliegend, I did not try to photograph things (Dinge) and objects (Gegenstände) only, but rather I tried to grasp temporal and spatial depth as well as the potentiality of the natural phenomenon. I have implemented this idea in an image with photographic techniques and double exposure, whereby these photographs were combined in the same documentary photo series. Second, I examine the photos for errors from the perspective of different disciplines such as photochemistry, physics, phenomenology, cognitive science, science of images, philosophy, and psychology to reflect whether there are flaws or gaps in the entire N.N-Zwischenliegend series. Third, in the N.N-Zwischenliegend project, I deal with the image as an error or gap with the philosophical reflection on the theme of “estrangement” in the photographic perspective as a narration. If the potential of the fault opened up to us, and if the error thus contributed to an “elasticity” of consciousness or the illusion of depth, I thus question the paradox of seeing in arts, which refers to the question: "Could the fault inspire us in this sense?". To answer this question, in this article I connect to the evolution of consciousness from the perspective of psychology and neuroscience. “The AST (Attention Scheme Theory) covers a lot of ground, from simple nervous systems to simulations of self and others. It provides a general framework for understanding consciousness, its many adaptive uses, and its gradual and continuing evolution.”1 At the same time, it deals with the question of experimental or digital photography today, its perfection and errors in both the world of artistic photography as well as digital culture. 1: Graziano, Michael, A New Theory Explains How Consciousness Evolved - A neuroscientist on how we came to be aware of ourselves, The Atlantic, June 2016.
open exposition
How to Do Things with Performance? Miten tehdä asioita esityksellä? (2021) Annette Arlander, Tero Nauha, Hanna Järvinen, Pilvi Porkola
This is the website and the open archive of the four-year research project HOW TO DO THINGS WITH PERFORMANCE? funded by the Finnish Academy. Nämä ovat nelivuotisen Suomen Akatemian rahoittaman tutkimushankkeen MITEN TEHDÄ ASIOITA ESITYKSELLÄ? verkkosivut ja avoin arkisto.
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recent publications >

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.
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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
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Accessibility of Music Production Software for the Visually Impaired: A study of developing an eyes-free audio application for a surface haptic interface (2021) Jakub Pesek
In the past three decades, the process of music-making moved away from operating analogue devices to using the software running inside of computers. While these advancements provide significant advantages, visually impaired people cannot fully benefit from this progress because some of the software tools are not accessible to them. The aim of this thesis is to explore the accessibility of music production tools for the visually impaired and propose an accessible eyes-free audio equalizer application controlled by a surface haptics interface. To determine the level of accessibility of music production software, this thesis reviews industry practices and research concerning assistive technology in music production by analysing the most popular digital audio workstations' accessibility features. Further, online interviews with visually impaired music producers are conducted to find out about the way they work and their experience with using the software. Finally, an equalizer with a visual display of the EQ curve for a surface haptic interface is designed and developed to explore a new human-computer interaction method that makes it possible to operate audio plugins eyes-free. Due to haptics feedback, the user can control the application in a non-visual way. To validate the application design and potential for improving the accessibility of music production tools, two tests with participants are conducted. The results show that it is possible to control audio equalizer only with haptic feedback. However, more development is needed to improve the user workflow.
open exposition

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