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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thinking aesthetic thinking through aesthetic research practices (2022) Emma Cocker, Alex Arteaga, Sabine Zahn, Nicole Wendel
THINKING AESTHETIC THINKING THROUGH AESTHETIC RESEARCH PRACTICES focuses on ways in which aesthetic research practices realize a specific form of thinking: aesthetic thinking. The aim of this project is to explore the following working hypotheses through aesthetic research practices as a foundation for different forms of reflection and dialogue between philosophical aesthetics and aesthetic research. - Firstly, aesthetic research practices systematize forms of preeminently sensorimotor and emotional action, which are neither target-oriented nor will-based. - Secondly, aesthetic action enables and intensifies immediate and unmediated interactions between researchers and the inquired issues, co-constituting a field of nonhierarchical, shared agencies. - Thirdly, aesthetic interaction conditions the ongoing processes of sense-making between researchers and the inquired issues with the agency of destabilizing the habitualized forms and meanings with which these issues appear. - Fourthly, on this basis, aesthetic thinking allows for disclosing new intelligibilities for the researched issues, that is, it enables the potentialities of radically new understandings to arise. Since 2019, we — four artistic researchers: Alex Arteaga, Emma Cocker, Nicole Wendel and Sabine Zahn — have been working together intensively within a series of exploratory sessions or even ‘laboratories’, inquiring through specific aesthetic practices the concept, performance and conditions of and for aesthetic thinking. This exposition presents a set of aesthetic research practices, a series of "Ecologies in Action' (a set of interconnected aesthetic research practices in relation) and research artefacts generated through this research project.
open exposition
LANGUAGE-BASED ARTISTIC RESEARCH (SPECIAL INTEREST GROUP) (2022) Emma Cocker, Alexander Damianisch, Lena Séraphin, Cordula Daus
Conceived and co-organised by Emma Cocker, Alexander Damianisch, Cordula Daus and Lena Séraphin, this Society of Artistic Research Special Interest Group (SAR SIG) provides contexts for coming together via the exchange of language-based research. The intent is to support developments in the field of expanded language-based practices by inviting attention, time and space for enabling understanding of/and via these practices anew.
open exposition
The Italic I (collaboration with Clare Thornton) (2022) Emma Cocker
'Exposition' in progress. The Italic I is an artistic research collaboration between writer-artist Emma Cocker and interdisciplinary artist Clare Thornton that explores the different states of potential activated by purposefully surrendering to the event of a repeated fall. Rather than an accidental occurrence encountered by chance, within our artistic investigation falling is apprehended consciously as a training exercise for mind and muscle, tested out in physical, cognitive, and even linguistic terms. Within The Italic I the act of falling is slowed and extended through the use of both lens and language, as a means for attending to its discrete phases or scenes. Within The Italic I, the live performance of falling is not shared with an audience: this enquiry explores specificity of experience communicable in the mediation of performance through its documents, both photographic and textual. Rather than view these technologies as somehow deficient or limiting— as incapable of reflecting the experiential, ephemeral nature of the live event — The Italic I reflects on the document itself as an ephemeral artwork, always evolving, always in transition. Less as an indexical record of ‘being there’, the performance document is approached as a malleable material that can be dislocated from its originary historical context, to be brought into new configurations through repeated staging and re-staging. The exposition presents a series of configurations and iterations of the documents generated through The Italic I within which we have explored three interwoven questions: How to present the experiential nature of falling as a force rather than simply representing its form? How to develop a mode of linguistic expression — an alternative poetic textual document — that embodies rather than describes the live experience that it seeks to articulate? What alternative modalities of performance and performativity — what emergent temporalities and subjectivities — arise through the restaging or reactivation of different performance documents? By reflecting on the evolution and performativity of the various ‘documents’ generated within The Italic I, our intent is to explore what is at stake at the threshold where live and lens meet, in the interval between live performance and lens-based mediation, between event and document.
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recent publications >

Solastalgia - Layers of caring (2022) Karin Emilia Hellqvist
Solastalgia - Layers of caring is an autoethnographic account of how two artist’s concern for the Arctic ice catalyze new layers of caring. Composer Carola Bauckholt and myself, violinist Karin Hellqvist, together set out to address our eco-anxiety, solastalgia, by developing responsibility, artistic care and fascination for the sounds of the arctic ice. Along the way, new ways of caring emerge between us and toward the artwork. This exposition offers a glimpse into our collaborative journey of creating the violin, electronics and video work Solastalgia, during a collaborative workshop in Berlin. And as a theoretical framework, Alan Taylor’s typography of working relationships gives us insight in our practice and relationship.
open exposition
Responsibility towards the Void (2022) Mike Croft
The question of responsibility is explored through drawing, specifically relating to a so-termed void space that ranges over a builder's yard and its immediate environment. The research is formatted as dated journal entries to show its chronological development, with the proviso that later stages may eclipse earlier stages, depending on their relevance. This looping, as it were, mimics the fact that the void space is best defined by the occasional circling of swifts, an observation that becomes a metaphor for how to try to articulate the space pictorially. Responsibility is referenced through theories of each of Levinas, Lacan and Foucault in relation to the Other, the latter of which is taken as the theoretical equivalent of void, but no less concerning responsibility. The author has drawn the site in such terms as locate the void in both the space that the site defines and a gap in the drawing process. This artistic effort is analogous demonstration of responsibility to that which is suggested by the theory. Responsibility is considered from the perspective of the personal and individual, automatically present in artistic commitment, in this case finding some explanation in theoretical thinking of the abstract notion of Other. The formatting of the process of attending to this theme and motif as research leads to a situation where drawing, as such, is but the predominantly visual tool alongside art writing, academic research, and graphic layout that provides live links to video clips and two explanatory texts.
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Gestures and Inscriptions in Ceramics and Sound: A combined STS, Queer Marxist and Artistic Research approach to the study of Reproductive Politics (2022) Rebecca Close
This exposition brings together Artistic Research, Science and Technology Studies and Queer Marxism to examine the gestural nature of reproductive politics. It argues for an expansive understanding of the gesture that extends well beyond the domain of the embodied gesture to include different registers and materialities of cultural and scientific inscription. Broadly, I explore reproductive politics not only as a question of reproductive health –of access and choice– but as the daily negotiation of the body’s value and legibility across communication, labour and political fields. By questioning -through artistic action- the inevitability of the economic and social conditions that devalue or invisibilise reproductive work, this article also elaborates on the gestural nature of artistic research as counter-institutional practice.
open exposition

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