Research Catalogue

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  N.N-Zwischenliegend - a progressive investigation into errors/eine fortlaufende Untersuchung zu Fehlern (last edited: 2020) author(s): Erika Matsunami This exposition is in progress.
  „N.N-Zwischenliegend“: Ich forsche zum Thema "Paradoxität" in einer Kunst (Praxis und Theorie) von einer Dokumentation (Realität) – Zeit, Raum und Körper. Eine künstlerische empirische Forschung. Diese Kunst-Forschung ist die Fortsetzung von der Kunst-Forschung „still/silent“ (This artistic research is the continuation of the artistic research "still/silent"). Erster Teil ist N.N-Zwischenliegend - a progressive investigation into errors/eine fortlaufende Untersuchung zu Fehlern (in der Bildwissenschaft und Ästhetik), diese Forschung geht es nicht um digitale photographische Technik, sondern um digitale photographische Technik und experimental Photography heute, und um (Neo-) Repräsentationstheorie (Multimodalität und experimental Dokumentation) : In part of my artistic research in the N.N-Zwischenliegend project – namely digital photography – I am investigating the potentiality of inspiring errors and imperfection, employing three research methods. First, according to the definition, “errors” in this artistic research are not intentional, but rather are created in the concept by chance due to natural phenomena in the digital camera. In the concept of experimental documentary photography of N.N-Zwischenliegend, I did not try to photograph things (Dinge) and objects (Gegenstände) only, but rather I tried to grasp temporal and spatial depth as well as the potentiality of the natural phenomenon. I have implemented this idea in an image with photographic techniques and double exposure, whereby these photographs were combined in the same documentary photo series. Second, I examine the photos for errors from the perspective of different disciplines such as photochemistry, physics, phenomenology, cognitive science, science of images, philosophy, and psychology to reflect whether there are flaws or gaps in the entire N.N-Zwischenliegend series. Third, in the N.N-Zwischenliegend project, I deal with the image as an error or gap with the philosophical reflection on the theme of “estrangement” in the photographic perspective as a narration. If the potential of the fault opened up to us, and if the error thus contributed to an “elasticity” of consciousness or the illusion of depth, I thus question the paradox of seeing in arts, which refers to the question: "Could the fault inspire us in this sense?". To answer this question, in this article I connect to the evolution of consciousness from the perspective of psychology and neuroscience. “The AST (Attention Scheme Theory) covers a lot of ground, from simple nervous systems to simulations of self and others. It provides a general framework for understanding consciousness, its many adaptive uses, and its gradual and continuing evolution.”1 At the same time, it deals with the question of experimental or digital photography today, its perfection and errors in both the world of artistic photography as well as digital culture. 1: Graziano, Michael, A New Theory Explains How Consciousness Evolved - A neuroscientist on how we came to be aware of ourselves, The Atlantic, June 2016.
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  Ixodos: Writing with the ball-point of the clitoris: Why infantophobia is essential to the system: Why mothers are especially dangerous (last edited: 2020) author(s): Chrystalleni Loizidou This exposition is in progress.
  We hereby begin to frame the internationally collaborative work of Ixodos to be reviewed, and propagated by the Research Catalogue and its affiliate institutions. Ixodos is an international platform for transversal-translocal art exchanges, facilitating and accompanying residencies, projects, exhibitions, the sharing of knowledge, and the building of our common soul and greater selves. These art exchanges are not just between artists and art institutions but also between social, political and ecological projects and movements around the world, starting from Cyprus and Brazil. Ixodos was ritually initiated In June-August 2018 by Carolina Cortes, Chrystalleni Loizidou, Evanthia Tselika, and Livia Moura in Greece and Cyprus, initially in connection with Hippocrates' Garden in the island of Cos, It generated its second residency programme at A Casa Lar, Rio de Janeiro, in June-August 2019. ​ Ixodos é uma plataforma de intercâmbios, trocas, facilitando e acompanhando residencias, projetos, exposições, o compartilhamento de conhecimento, e a construção e expansão de uma alma comum e de nossas existências. Esta troca artística não é apenas entre artistas e instituições artísticas, mas também de projetos e movimentos sociais, políticos e ecológicos (ambientais) no mundo, começando com Chipre e Brasil.
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  The Microtonal Piano (last edited: 2020) author(s): Sanae Yoshida This exposition is in progress.
  The Microtonal Piano - and the tuned-in interpreter
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• Research Speed Dating (2020) author(s): Pauliina Laukkanen published in: Research Catalogue
  An account of a Research Speed Dating session in the Nordic Summer University's (Dis)Symposium Pleasure and Playfulness in Times of Crisis Helsinki gathering, on 26th July 2020 on Harakka Island.
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  Home page JSS (2020) author(s): Journal of Sonic Studies published in: Journal of Sonic Studies
  Home page of the Journal of Sonic Studies
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  ***CLICK FOR MORE INFORMATION*** reading as performance / reading as composition (2020) author(s): Paul Norman published in: Journal for Artistic Research
  At the end of ‘Sentences on Conceptual Art’ (1969), Sol LeWitt states: “these sentences comment on art but are not art.” In the same work he also remarks, “If words are used and they proceed from ideas about art, then they are art and not literature, numbers are not mathematics,” thus creating a paradigm. Is writing or talking about artistic ideas art or not? … Let’s say for now that it could be. John Cage famously defined music as the “organisation of sound” perhaps though, reflecting on the origin of the word composition as coming from the Latin componere meaning to “put together”, the ‘organisation of things’, may be a more suitable definition. Not only sound, but all elements of a performance could or perhaps should be organised, put together or composed. Consider the situation where your (yes, you the readers) organisational decisions matter. Maybe it’s as simple as ‘do I read the text or look at the given example first?’ These decisions matter, they effect what is communicated and when, what knowledge or assumptions are carried and for how long. These decisions are thus meaningful and potentially compositional in nature, establishing a new question. Is all reading compositional?… …Let’s say for now that it could be.
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Øyvind Brandtsegg
Norway (residence)

Casper Schipper
Netherlands

Dora Isleifsdottir
Iceland, Norway (residence), Iceland (citizenship)

Niels Lyhne Løkkegaard
Denmark

katta pålsson
Sweden

Josh Spear

Katharina / K.H. Hauke

Nicolau Centola
Brazil (residence), Brazil, Italy (citizenship)

Sanna Colling
Sweden