Issue 36 of the Journal for Artistic Research is now Online

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

JAR acepta envíos en español, portugués, francés, alemán e inglés.
JAR akzeptiert Einreichungen auf Spanisch, Portugiesisch, Französisch, Deutsch und Englisch.
JAR accepte les propositions en espagnol, portugais, français, allemand et anglais.
JAR aceita submissões em Espanhol, Português, Francês, Alemão e Inglês. 
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 36 contains 6 peer-reviewed contributions:

In her exposition, XR Music Performance: a Phygital Piano Duet in the Metaverse, Giusy Caruso focuses on her experience during the creation and performance of a ‘phygital’ piano work, entitled Metaphase. The author describes the process of constructing the work, in which she plays a piano in duet with her avatar, by exploiting motion-capture, virtual and augmented reality technologies. Her research considers how contemporary researchers, performers, composers and artists can extend their traditional practices and creations, and overcome the boundaries of real stages, by exploring virtual stages and extended reality (XR). In the process she reflects on the potential of placing music performance on hybrid stages, to create immersive and intriguing experiences. [en] [https://doi.org/10.22501/jar.2521851]

Sara Gómez’s exposition, El trabajo especulativo en la investigación artística - cuaderno de notas, takes the form of a series of enquiries emerging from entries in a notebook, that together interrogate the nature of artistic research. In it she proposes ‘speculation’ as the procedure that gives unity to heterogeneous elements, different disciplinary origins and diverse epistemological approaches. Through dance and choreographic exercises, the exposition defines an aesthetic speculation, one that considers the act of creation as part of the thinking process - a proposal about love and, specifically, eros, understood as a disposition towards what we want to investigate. It unites the poietic (creative-imaginative) and gnoseological dimensions in research in the arts. [es] [https://doi.org/10.22501/jar.3820122]

Bjarni Gunnarsson’s Selective Retention: Interfacing the Past through Queries and Graphs reflects on composing through software systems while focusing on reinterpreting musical materials through computational methods. The exposition examines two projects that utilise software tools as temporal portals, merging algorithms with composition to create new musical contexts. It highlights the evolving relationship between these tools and their source materials, emphasising an iterative approach to adaptation. The research also explores the emergent nature of creative intention and the importance of addressing local details in sound and coded data. Within the exposition, software applications are exposed, the ideas behind them are discussed, and examples of music composed with them are presented. [en] [https://doi.org/10.22501/jar.2938321]

In Becoming a Goddess in a Music Video Trilogy: Applying Intersectional Feminism in a Transnational Folk Singing Collaboration in Finland and Bulgaria, Emmi Kujanpää presents her collaborations with female folk singers in Finland and Bulgaria between 2018 to 2022. The artistic material of the exposition consists of a music video trilogy (2019, 2020 and 2022) based on song compositions and arrangements, from the solo album Nani (2020). In addition to these, there are interviews with six Bulgarian folk singers. Bringing together artistic and ethnographic research processes, the author applies a feminist intersectional pedagogical approach, focusing particularly on the power relations and the question of female agency in the arts and wider society. [en] [https://doi.org/10.22501/jar.2038366]

In the exposition, ‘Strumming Bit Strings: Exploring Digital Instrumentality and Liveness in Electroacoustic Music through the Transformation of Guitar Sounds, Michael Lukaszuk explores how different technologically mediated presentations of guitar sounds work as materials to form an acousmatic electroacoustic composition. By juxtaposing processed guitar recordings with computer-generated realizations of guitar sounds, this work considers how composition can engage with changing interpretations of instrumentality and liveness arising from new music technologies. The featured piece, “Obsession”, is used to discuss changing approaches to dealing with the abstraction of source material, hybridization, and algorithmic procedures as aspects of acousmatic music. [en] [https://doi.org/10.22501/jar.2833578]

Sergej Tchirkov’s ‘I am Fine, but I am Trembling explores the concept of non-hierarchical collaboration in score-based music and offers a new perspective on the score and the instrument as distinct agents within the creative process. This case study, based on the author’s co-creative collaboration with composer Francisco Corthey, reflects on how his relationship with the instrument – and other experiential factors – shaped the development of the composition, raised ethical questions, and contributed to the production of musical meaning in the work. Several of these reflections are gathered in the ‘Shared Space’ model – an ongoing artistic experiment that explores inclusive, responsive practices within concert settings. [en] [https://doi.org/10.22501/jar.1886373]

All expositions in this issue can also be viewed in an accessible version. Go to https://jar-online.net/en/issues/36 or switch between versions from within each exposition.

Keywords include:  

acousmatic music, algorithmic composition, Bulgarian folk singing, co-creation, dance, eros, fragility, intersectional feminism, musicking, speculation, transnationalism and VR technologies.

Take a look at JAR36 and read the editorial by Michael Schwab here: https://jar-online.net/en/issues/36 [en/pt/es/it/fr]

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 36 the growing collection of contributions is joined by a reflection:

4 PREGUNTAS: “La investigación artística abre el pensamiento hacia una pluralidad de mundos y modos de conocimiento” Reflection by Marcela Armas [es] [https://doi.org/10.22501/jarnet.0085]

And a review:

Review of Falk Hübner, “Method, Methodology and Research Design in Artistic Research” by Jen Clarke [en][https://doi.org/10.22501/jarnet.0084]

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 40 (Last issue of 2026) is the 31st of January 2026.

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

Editor in Chief: Michael Schwab
Managing Editor: Barnaby Drabble
Editorial Board: Annette Arlander, Diego Castro Magas, Carolina Benavente, Danny Butt, Iram Ghufran, Yara Guasque, Julian Klein, Joseph Kunnuji, Paul Landon, Barbara Lüneburg, Gabriel Menotti, Vytautas Michelkevičius, Lauren O’Neal, Cara Stacey, Tosin Tume, Reiko Yamada, Mariela Yeregui and Lim Kok Yoong

Interns: Veronica Laminarca and Costanza Tagliaferri.

Associate Editors: Joaquín Macedo and Elisa Noronha

Spanish Panel: Mariela Yeregui, Diego Castro Magas, Carolina Benavente and Yara Guasque

Portuguese Panel: Yara Guasque, Mariela Yeregui, Carolina Benavente and Gabriel Menotti

German Panel: Michael Schwab, Barbara Lüneburg, Barnaby Drabble and Julian Klein

French Panel: Carolina Benavente 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.