Issue 31 of the Journal for Artistic Research is now Online

JAR is open-access, free to read, and to contribute.

JAR accepte les propositions en espagnol, portugais, français, allemand et anglais.
JAR aceita submissões em Espanhol, Português, Francês, Alemão e Inglês.
JAR akzeptiert Einreichungen auf Spanisch, Portugiesisch, Französisch, Deutsch und Englisch.
JAR acepta envíos en español, portugués, francés, alemán e inglés.
JAR accepts submissions in Spanish, Portuguese, French, German and English.

The Journal for Artistic Research (JAR) is an international, online, open-access and peer-reviewed journal that disseminates artistic research from all disciplines. JAR invites the ever-increasing number of artistic researchers to develop what, for the sciences and humanities, are standard academic publication procedures. It serves as a meeting point of diverse practices and methodologies in a field that has become a worldwide movement with many local activities.

Issue 31 contains 5 peer-reviewed contributions:

Gaute Barlindhaug’s ‘Performing with Sonic Tools. An approach to designing and analysing new instruments’ revisits the dance performance Sound of Silence, and the creation of a device called the Looping Camera. The exposition explores the use of devices resembling non-musical media technology in musical performances, raising questions about audience comprehension in relation to these. The author calls on previous experience using sensor technology and theorises about the listener/viewer position, describing how the performance led to the development of an analytical concept, that of ‘sonic tools.’ [https://doi.org/10.22501/jar.1282234]

In ‘Running Freight on the River. A Clean Cargo Prefiguration’ Tim Boykett and Tina Auer, examine their Danube Clean Cargo project, a pilot scheme for transporting fruit and vegetables in a small craft on the Danube River. The exposition adopts both descriptive and reflective modes, tracing experiential modalities in order to explore scenarios of possible futures. Along the route it opens up questions around heterotopic instantiations, queered economics and the everyday, to be pondered as artistic research. [https://doi.org/10.22501/jar.1294895]

In their exposition ‘TroublingGAN: generated visual ambiguity as a speculative alternative to photojournalism’ Lenka Hamosova and Pavol Rusnák present an experiment with a customised StyleGAN model. Their research engages with generative neural networks and artificial intelligence-driven visual synthesis, aiming to challenge the limits of the research, question the value of the generated visual outcomes and contrast these with the utilisation of GAN by computer scientists. Led by the critical thoughts of The Nooscope Manifested (Pasquinelli and Joler 2020), this experiment questions what kind of knowledge generative neural networks produce, whether they could change one’s perspective on studied objects (a dataset) and whether they could function as a viable tool for artistic research. [https://doi.org/10.22501/jar.1486468]

Sara Pinheiro’s ‘The Making of ‘Commotion’’ introduces her fixed media multichannel composition, ‘Commotion.’ The work revolved around the principles of minimalist music and the exposition addresses and questions these principles, while it tries to place the process of composing the piece within the common premises of artistic research. Due to the nature of its context, this approach includes also theories of reception - mostly by exploring themes such as intentionality, interpretation and representation.
[https://doi.org/10.22501/jar.723227]

In ‘[text]uring: writing through fashion for a new literacies dissertation,’ Rachel Kaminski Sanders, reflects on the process of writing her dissertation in the language of dress, arguing for fashion to be understood as a form of writing. Her account looks at how ‘new literacies studies’ has expanded literacy from print to encompass all forms of meaning-making, while observing the problematic otherness of disciplines such as fashion within this frame. The exposition asks how adopting Barone & Eisner’s (2012) concept of arts-based research might broaden the range of accepted scholarly compositions in higher education, exploring nonverbal communication in scholarly work. [https://doi.org/10.22501/jar.696721]

Keywords include:

Atemporality, Cargo, Experience, Fashion, GANs, Heterotopia, Minimalism, Musical Instruments, Neural Networks, New Literacies, Relativism, Speculative Practice and Texture

Take a look at JAR31 and read the editorial by Michael Schwab here.

The Network is a non-peer-reviewed space on the JAR website for discussion, reviews and opinion pieces relevant to artistic research and JAR’s community. It features reflections and book reviews.

For issue 31 the growing collection of contributions is joined by one new review and one reflection:

Rethinking Artistic Research: A Review of Michael Schwab’s ‘Contemporary Research’
By Paulo de Assis
[https://doi.org/10.22501/jarnet.0066]

Investigación artística: entre dinámicas materiales y cognitivas transformadoras (Spanish and English language versions available)
by Felipe Cortés Salinas
[https://doi.org/10.22501/jarnet.0065]

JAR provides a digital platform where multiple methods, media and articulations can function together to generate insights into artistic research endeavours. In its peer-reviewed section, it seeks to promote ‘expositions,’ which aim to engage practice and demonstrate research. JAR views artistic research as an evolving field where research and art are positioned as mutually influential. If you are considering submitting something to the journal, be sure to look at our guidelines. The next deadline for JAR 34 (last issue of 2024) is the 31st of January 2024.

JAR works with an international editorial board and a large panel of peer-reviewers.

Editor in Chief: Michael Schwab
Managing Editor: Barnaby Drabble
Peer Review Editor: Julian Klein
Editorial Board: Annette Arlander, Carolina Benavente, Danny Butt, Yara Guasque, Siham Issami, Paul Landon, Barbara Lüneburg, Manuel Ángel Macía, Gabriel Menotti, Helly Minarti, Lauren O’Neal, Mareli Stolp, Reiko Yamada and Mariela Yeregui.

Interns: Veronica Laminarca, Joaquín Macedo, Clare Murray, Molly Pardoe and Costanza Tagliaferri.
Associate Editors: Elisa Noronha

Spanish Panel: Mariela Yeregui, Manuel Ángel Macía, Carolina Benavente and Yara Guasque
Portuguese Panel: Yara Guasque, Manuel Ángel Macía, Mariela Yeregui, Carolina Benavente and Gabriel Menotti
German Panel: Michael Schwab, Barbara Lüneburg, Barnaby Drabble and Julian Klein
French Panel: Carolina Benavente, Siham Issami and Paul Landon

JAR is published by the Society for Artistic Research (SAR), an independent, non-profit association. You can support JAR by becoming an individual or institutional member of SAR. For updates on our activities, join our mailing list.