Research Catalogue

Post-contemporary artistic research: I back to the Method of Roland Barthes in cognitive linguistics, and semiotics. Artistic methods are in literature, drawing, photography, Video, Sound, and Performance together with diverse materials, as well as in an object, objects and spatial installation within the representational theories, which will be transformed into another artistic medium(s). The sources are magazines (virtual and paper), as well as my environment in the real space of everyday life (reflection of living space, and also global communication, its changing of thinking in time and space) Do you have silence surrounds you? This question applies to an autonomic environment, which is not automation space(s) in the centralization system. Silence" in the project/artistic research, that is a state of standstill of body in the environment that refers to air. / "Stille" in diesem Projekt/Kunst-Forschung, das ist ein Zustand des Stillstands vom Körper in der Umgebung, der sich auf Luft bezieht.

This site will support the working group's online workshops, in June and July 2021. The new Performance Studies international (PSi) working group Performance & Pedagogy (P&P) offers a forum for sharpening questions and workshopping models that arise from the PSi membership. P&P opens conversations spanning embodied being, doing and knowing across multiple dimensions of pedagogy, such as learning, teaching, and institutional contexts of delivery. Our goal is to discover and expand on urgent topics in dialogue with PSi membership across positionalities. This working group can serve as one support system through which to assess existing and imagine new topologies of P&P practices and methods.

- Post-contemporary art for the Joint Artistic Research: Performance in the site-specific and spatial installation (in the real space), that will consist of the conjunction between gaps of the different artistic fields, mediums, and techniques, and their materiality and dynamics. - The artistic approach of the Joint Artistic Research through the Intersubjective connections in different artistic fields and their gaps: Social relationship and as well as economy and social system immediate within the digital society after the corona pandemic, that suggests exploring the transformations, which are new imaginaries, and which aims in the Joint Artistic Research towards the underpinning of contemporary social space. - Problem of the cross-disciplinary artistic research: A problem in a collective artistic research is contextualism and relativism in different artistic disciplines, that might be impossible to explore a new artistic dynamic technically. Another problem is functionalism, especially which refers to multiple realizability in a cross-disciplinary artistic research collectivity. - Solution of the cross-disciplinary artistic problems: For example, in a collaboration with a composer and conductor Valerio Sannicandro in which research subjects of decentralization, and sonic and visual space(s). The gaps between visual arts and music (composition): What are the specific creativity in each artistic field and the individual artistic characters? How can we work dynamically? Therefore, we need to explore the new artistic method for the conjunction from the wide perspectives in each artistic field, that is the aim of the Joint Artistic Research "Variation II". In the case of Karlheinz Stockhausen, he explored "Lautsprecher Musik", it was a starting point of musical automatization, however, it was a new music method of monophonic and polyphonic, heterophonic texture and homophonic texture, and so on for a multi-layered sonic space and time in a concert space, was neither music nor symphonic orchestra. It was rather something new sound and sonic texture as a new music composition in post-war. In the real space (environment), we can de- and reconstruct and transform "spatialization" into the multi-layered phonic texture as the musical and sonic expressions very simply. On the topic of spontaneous, there are many possibilities and opportunities for combining diverse artistic layers and actions, such as by humans (performers or participatory way of randomness or interactive way) and/or by nature. Thereby the communication means very widely. Subsequently, Variation III will be explored. ...

A three-minute video, including title and credits, concerns a second re-working, in effect layer three, of a drawing that references incidental observation of the inside of a glass jar and additional materiality, such as an action camera worn in front of the eyes and how the jar is attached to the drawing’s surface to enable the process’s video recording. The audio concerns the counting of seconds while drawing and the prolonged intonation of the word RAUM, German for space. Each of these vocal elements directs and impacts on the drawing procedures, the latter of which are implemented with pencils designed for marking on non-porous surfaces such as plastic and glass, and erasure of such pencils on laminated white cardboard. The video fades in and out of the drawing at each of its three stages, two of which were from times prior to making the video, the last of the stages of which was up to the time of beginning the video. The video is also interspersed with scrolling typed indication of the various correspondences between the counting of time and phrases of spoken monologue, the latter of which has been divided into two audio layers through having been recorded onto both the camera’s microphone and an external voice recorder. At 1: 47mins of the video the content fades to a muted simple scroll-through animation of the completed drawing of the previous video content played back a number of times, which had been responded to through the layering of the drawing the same number of times across nine pieces of handmade paper, 51 x 36cm, in plastic-based pencils and acrylic paint. The video encapsulates the above-mentioned individual facets as a single entity that provides some comment on the diverse nature of time in the context of its experience in and as drawing. Keywords: drawing; time; monologue; language; intonation

This exposition explores the question of creative justice in creative processes and pedagogy. Through an evolving conversation on a chat app, a mentor shares her creative process of a painting that she is emerging with her students at the Masters level. And interwoven through these, they evolve a pedagogy of artistic research, decolonization, reflective inquiry into self, aesthetic encounters with their own cultures, Indian aesthetics and philosophies, meandering and pondering together. The exposition is constructed in four parts. Part 1:Utopia and the politics of creative justice. Part 2: The Conversations through chats. Part 3 - Student responses and reflections. Part 4: Part 4: Teaching as philosophy of a way of being. The mentor journeys through over twenty five years of her practice, inviting her students to participate, question, reflect and ponder with her, offering a creative pedagogy for artistic research that is also bound in the politics of creative justice.

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