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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Teleportation and Transformation: approaching the 'impossible' through storytelling and technology (2022) Eirini Sourgiadaki
Throughout human history as we know it, there is a range of stories in the arts and the humanities that meet in variations, which shows an old widespread human desire: a wish for as much life as possible, for being immortal or for getting the ability to be everything and to be everywhere- This wish is opposed to the finite nature of the human existence and the knowing about this fact. It has been and can be approached by forms and tools of narration that engage imagination. For the investigation of the ways such practices signify an embodied experience in daily culture, I am approaching the use of language and especially metaphor and its application in therapeutic tools and trauma treatment methods. For this I am exploiting elements from the fields of hypnosis, meditation, neuroscience and lingusitics, along with storytelling patterns in mythology, religion, fairy tales and science fiction, My focus is not on language alone, but on possible combinations with the potentialities of artistic devices. Both, teleportation and transformation can be understood as a three-step processes compiled by: State 1 (before), the in-between moment (the shift) and State 2 (after). Although State 1 and State 2 (before and after teleportation/ transformation) will be respectively studied, a special focus will be given to the middle part of the process, the in-between moment, including time, space, the (technological) device as well as cultural aspects and possibilities. The in-between moment as a moment of trespassing is a point that not much focus has been given in artistic research till now, unlike State 1 and State 2; what exactly happens after Gregor Samsa sleeps as human and before he wakes up as an insect, or what happens right after Alice steps into the mirror and right before she enters Wonderland, what happens while Clark Kent is inside the phone booth (in Greek “thalamus”) are all invisible. The Greek word for the booth is “thalamus”, the same word used for that part of the brain where all senses end up, the relay station for sensory experiences. How to deal with the presence/absence of the body in terms of time and space during the in-between moment and how to stimulate imagination, memory and engage the senses towards the “impossible” using the means that consist a teleportation/transformation device? The aim of my fundamental research-oriented or knowledge-open (erkenntnisoffenen) PhD project is, to proceed without pre-defining the format of the outcome, but letting it evolve through and within the study, investigation and experimentation instead, working on the following groups of objectives and research questions: i. approaching the ‘impossible’, ii. devices, iii. language storytelling) & other media, iv. possible combinations / experiments. Methods used are: reading connected to the main terms, practicing hypnosis, meditation and relevant practices that use language and engage the body, public presentation(s) and interviews with three groups of peers. As peers I consider persons who experience alternative mind sets, indicatively children, people in love and people with schizophrenia. From the very beginning and to this point, the methodology and the format evolve along with the artistic research.
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Zö Kramers 1978-1983 (2022) Olof Halldin
Zö Kramers var en orkester i en blandning av punk, reggae, ska, marschmusik, blues, pop, rock men inte jazz. Medverkande i olika roller: Calle Ottestam / bas, sång, text, musik Per Sommarström / gitarr, sång, text, musik Martin Fälthammar / trummor, text Olof Halldin gitarr, klaviatur, musik, röst, slagverk, mixning Mikael Södersten / klaviatur, sång, text, musik dessutom Peter Söderblom / synt Persa Jacobson / text Katte Salomon / sång Joakim Pirinen har tecknat och skrivit texter För individuella insatser - klicka på "Vilka Vem När Var Hur Vad". Historik: Zö Kramers originalsättning var Calle Ottestam, Per Sommarström, Olle Halldin, Martin Fälthammar och till en början Peter Söderblom. Tillkom efter ca ett år gjorde Mikael Södersten. Först på trummor var Jolly Bod men ersattes snart av Martin. På inspelningarna från 1983 sjöng dessutom Katte Salomon. Musik och text skrevs av bandmedlemmarna men texter skrevs även av Joakim Pirinen och Persa Jacobson. Bandets första namn var "Arne & his anabola steroider". Namnet "Zö Kramers" kommer från Kramer-Pollnows hyperkinetiska syndrom - (danssjuka) ett psykotiskt tillstånd kännetecknande för bandets dansinspirerande stil. Mellan 1978-1983 skrevs ett fyrtiotal låtar. Ett tjugotal konserter hölls mestadels på Lidingö. Bandets största "hit" var Tyska marionetter. Liveinspelningar finns sedan begynnelsen och ca 25 konserter genomfördes men mer studiomässiga mixningar gjorde i fyra omgångar där den första gjordes 1979. Inspelning gjordes med en fyrkanalig TEAC rullbandspelare samt TEAC mixerbord. Ljudförbättringar gjordes 2002 samtidigt som digitalisering samt 2020 inför lanseringen av denna webbsida.
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Research Catalogue by Open Keywords (2022) Casper Schipper
This is an exposition generated from the keywords used in public expositions in RC.
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Research and Critical Edition of Capriccio Diabolico by Mario Castelnuovo-Tedesco (2022) Eva Calvo López
In short, the proposed work consists in a critical edition of Castelnuovo-Tedesco's Capricho diabolico, backed up by previous research in which I compare the manuscript and Andrés Segovia's interpretative edition. As a result of the significant differences between the two, I propose a version that is faithful to the original work, but without overlooking the collaboration between the two musicians.
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A Quest for Musical Clarity: Grounding Compositional Practices in Gestalt and Perception Theories (2022) Charles Baumstark
What are the main theories on sound and musical perception? Is there a possibility for the composer to understand those ideas and use them as the basis for the organization of his craft? Would those be enough to create the musical ‘clarity’ I am looking for? Finally, can I find a way to formalize any of those theories in my composition practice? As a starting point for this investigation, part one establishes the philosophical ground for this investigation about clarity, particularly stressing the difference between intention and object, between form and structure, and their complementary nature and interaction with each other, before drawing a first idea on musical perception through the lens of Gestalt theory. Parts two and three detail the different elements that come into play while applying those ideas into my composition practice. I introduce a list of the parameters that will play a prominent role in the elaboration of the representation of the mathematical formulations seen in part four by developing further my understanding of the theories elaborated by Leonard B. Meyer around the idea of ‘expectation’ in his book Emotion and Meaning in Music, and articulating them from a practical point of view. The fourth and final part of this investigation exposes a mathematical representation of my thinking on those ideas in order to conceive and use them in my composition practice. This ‘model’, based on an understanding of what will be referred to as ‘motion’, is the ground for the elaboration of the musical shapes in my pieces.
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SYNSMASKINEN (2022) Frans Jacobi
SYNSMASKINEN: an inquiry into contemporary political crises SYNSMASKINEN is a new artist-group and an inquiry into contemporary political crises. The project will consist of art projects, each exploring a certain aspect or manifestation of contemporary crisis. Together these visions are attempts to unfold a contemporary cosmology; a new political horizon. SYNSMASKINEN is an artist-group in the sense that each production is made in collaboration between a small group of participants. Each art project will be made by new groups of artists and thinkers. In this sense SYNSMASKINEN will probe the concept of the research-group: What kind of insights does artistic thinking provide? How can collectivity address the political issues of topics in a critical manner? The name, SYNSMASKINEN is taken from the Danish and Norwegian translations of Paul Virilio’s seminal book on the techniques of perception, La Machine De Vision. The name SYNSMASKINEN contains the methodological program: SYN=vision / MASKIN=machine SYNSMASKINEN is the third large-scale research-project at Bergen Academy of Art & Design. Following Re-Place and Topographies of the Obsolete the project offers a continuation of and an addition to the new tradition of kunstnerisk utvikling/artistic research at the core the Department of Art. SYNSMASKINEN is organised by professor Frans Jacobi, artistic-research leader Åse Løvgren and research assistant Benedicte Clementsen. www.synsmaskinen.net
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