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.
P E R I C A R D I U M
Sara Key, Max Landergård, Susana Santa-Marta
A COLLAB work about the current position of mankind where we are at in the NOW - a comment on that and an exploration of the automatization and the relationship between the human essence and the artificial.
Skin is the membrane that divides inside from outside, what is important and not, what is alive and not. Skin represents the human and at the same time the contrahent to the artificial.
We live in a time where everyone is trying to tell us which world will be the best for us to live in. We want you to tell you.
"Plant Wide Web" Immersions and performative experiences, a path towards a way of being with the world of plants.
Ponce de León Marisa
This exposition contains the audiovisual results obtained during my doctorate studies at the University of Aveiro, Portugal. Beginning with some Devices I used and continuing with material from an article published in 2022. Then, some of what I call “immersions”, which where situations that influenced my connection with plants and six “performative experiences”, resulting from a quest to interpret, in a performance ritual, the subjective impressions I experienced during the process of performance creation regarding my relationship with plants.
As these results were mostly documented through video, audio and photographs, I decided to use this platform as a medium to share these moments that were central to this artistic research.
Performing/Transforming Practices - LCA perspectives on filmproduction within in the context of performative artistic research
A collaboration between Anna Björklund, associate professor/docent, Dept. of Sustainable Development, Environmental Science and Engineering (SEED), KTH and Lina Persson, Researcher, Department of film and media, Stockholm Uniarts.
We aim to monitor and evaluate the life cycle climate impact of practices in film and media, in research and education at Stockholm Uniarts on two levels, on an individual researcher’s level and on an organisational level with student’s teams.
As a first step, we will monitor and evaluate the impact of these artistic processes and as a second step we will develop new tools and documents that can support students in shifting their productions towards films with smaller climate footprint. The tools will enable the students to carry out performative productions, using their creativity to stay within set sustainability limitations, finding new ways to make films and to let, the story, the experience, of that process accompany them in the coming productions.
The joint conclusions of the collaboration will be interwoven with Persson’s research project Climate-Just Worldings where the performativity of fictional story-worlds and how they can interact with an organization’s reality is explored.
become part of the climate-just narrative developed within Persson’s project. We also aim to develop an app tool to make the documentation process more intuitive. The documentation of this process will also be continuously available to the public online.
Sonic Placemaking: (Re)Creating Place as a Comprehensive Compositional Practice
This paper is focused on the development of a large-scale personal compositional practice centered around the concept of placemaking. Its content is focused on the relationship between data analysis, data sonification, and musical structure in the development of art which engages in a practice which I refer to as ‘sonic placemaking.’ In the end, this research intends to put this artistic practice in a space to interrogate the relationship between art and social change, both on small and large scales. The different sections of the paper will provide context and support for my practice's conceptual and philosophical background, drawing on related theoretical writings in geography, sociology, fine art, and composition while guiding the reader through my process in executing these concepts through works of multimedia art and acoustic composition — and, at the same time, actively questioning the ability of this process to influence social change and worldmaking.
PRESENCE as an actor
During my master in Performing Arts at Stockholm University of the Arts, I have been looking into finding a greater presence, in a text based theatre rehearsal and workshop context. I have tried to look at things how they appear in front of me. A dilemma is, that when I afterwards try and look at presence, it has already gone. Therefore, I used different tasks/exercises, that can be recreated in order to try and catch presence again.
When exploring presence in a rehearsal and workshop context, I found a few clues how to find/create presence and doing tasks in order to find/create a greater presence. In this exposition you can find some of these clues. They are all entangled with each other so one will not work without the other so please see them all as a whole. This exposition is a tangible ans embodied complement to my master essay.
Documentation for the MA Project Navigating Noise at The Department of Performing Arts at Stockholms Konstnärliga Högskola.
This project explored how different art practices from different fields cross-pollinate in the process of making interdisciplinary art. I want to trace how the process of exploration and thinking in different mediums create a dynamic interchange of ideas that leads to the development of new ways of relating to practices.
I used different approaches and techniques, from somatic practices to experimenting with digital tools, to understand how different practices interact with and inform each other. The process becomes an intricate system of similarities and feedback loops, where one can reflect and interpret in many different mediums.