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.
"No Self Can Tell"
Elisabeth Laasonen Belgrano, Mark Douglas Edmund Price
The research explores 'ornamenting' as a transferable method in inter-disciplinary studies, inter-faith dialogues and artistic/therapeutic practices. Adapting techniques of Renaissance musicology, the processes we have developed de-create and re-create vital connections. It is a communica-tions strategy for times of crisis. Starting with simple sonic relations we extend the method far be-yond its traditional musical setting. The practice utilises 'Nothingness' as a component of creativity, providing a novel response to figurations of nothingness as mere negation. Preliminary results sug-gest its potential as a counter force to nihilism and social dislocation.
The work divides into four areas. 1. Primary research on relationships between sound, meaning, and the sense(s) of self, exploring how sense is made of Otherness via processes akin to musical praxis: consonance, dissonance, 'pure voice' and ornamentation. 2. To apply this new perspective to a range of exile experiences – mourning, social disconnection, ex-communication and aggres-sive 'Othering'. 3. To investigate the cancelling of normal time-conditions in crisis situations such as trauma, dementia, and mystical experience, relating non-linear temporality to creative practice and healing. 4. To widely disseminate our results and methods as contributions to the methodology of artistic research via journal articles, live workshops and performances, and a book of original, praxical, testable, and teach-able interventions.
Voices in Nature: A Sensory Experience of the Hatertse and Overasseltse vennen
Maarten Hendrik Jan Bekhuis
As part of the Visual Ethnography master’s at Leiden University, this interactive website invites you to join my interlocutors and me to walk, hear and see with us the Hatertse and Overasseltse fens (near Nijmegen). After four months of fieldwork – I conducted semi-structured interviews, recorded collaborative footage and performed sensory walks – I studied human-nature relationships of educated individuals with extensive knowledge of this area. In presenting the various experiences, I analysed four workable concepts (wind, noise, crowdedness, and pathways) that shape the immersive perception of visitors. This interactive website and creative methodologies used provided me as a visual anthropologist with possibilities to research human-nature encounters within the epoch characterised as the Anthropocene. So, walk with us and experience this extraordinary environment!
Co-authoring the Future: Stories from the Road
Framed by the metaphor of a road trip, this exposition explores the use of participatory performance in building cultural discourse about decision-making during the climate crisis. Using Rancière’s concept of the emancipated spectator, common human experiences such as childhood development of subjectivity (acquired through Lacan’s mirror phase and symbolic order) and image schemas (as discussed in Mark Turner’s The Literary Mind) are explored as possible strategies for co-authoring an artistic landscape alongside spectators. An audio narration accompanies the written work, attempting to explore these theories in the form of a correspondence between the author and her elusive self-awareness. Each track reflects on these individual-but-common experiences as a method for creation. The author concludes that a co-authored artistic landscape may only be accessible to participants who are enticed to set aside limiting social norms in order to explore it, and this is the challenge of the artist.
The singing Performer: Who am I on stage when not singing?
Julia Pallanch, Heloisa Amaral
Approaching Kunstlieder with the background as a jazz interpreter, has challenged me to find, not only, my interpretation of the lieder/songs but to also find my interpretation of my role(s) as the singer on stage between classical music and jazz scenes. Through performing music, the chosen body of work, we are not only repeating and interpreting the music but repeating and interpreting ways of performing it. This research focuses on the role(s) of the singer on stage and the moments between the songs; the open space between one piece of music and another that offers the possibility to communicate and connect with the audience. What happens in these moments? What stories do we tell and how do we tell them? What do I communicate with, through, in - and outside of the lied, the song, the piece of music. What do I perform in the open space between between the songs - my self(s)?