Crafting Material Bodies – exploring co-creative costume processes
(2025)
author(s): Charlotte Østergaard
published in: Research Catalogue
This exposition is the submitted PhD thesis for the doctoral degree in artistic research in Perfroming Art at Malmö Theatre Academy, Lund University December 2024. This artistic research was carried out between 2020 and 2024 and financially supported by Malmö Theatre Academy, Lund University, Sweden.
Main supervisor: Sofia Pantouvaki
Second supervisor: Camilla Eeg-Tverbakk
The exposition is in three parts:
FRAMEWORKS – contextualization the artistic research including description of the artistic method in the research.
PROJECTS – containing descriptions and analysis of the three artistic projects "AweAre – a movement quintet", "Community Walk" and "Conversation Costume".
CONCLUSION
Abstract:
At the heart of this research are relational encounters between people and textile materials. As the title, Crafting Material Bodies, indicates, the research explores how human bodies are crafted by material bodies (costume) and vice versa. In the research textile materials and people are my co-creators and as co-creators they are invited to relate to, affect and become affected by other human bodies and more-than-human materials. As the subtitle, exploring co-creative costume processes, indicate the main quest is to explore how we (humans) co-create with textile and costume materials and to explore how textile and costume materials become equal co-creating partners.
In the artistic projects I invite fellow artists like performers and designers to explore specific connecting costumes (that connect two or more people) with me. As co-creators I invite them to engage, respond, inform, influence and/or interrupt our costume explorations in ways that matter to them and to critically reflect on our explorations. In the projects I study how listening become instances of relational acts between humans and more-than humans that evoke curious embodied and conversational dialogues Such dialogues are invitations to listen with the textile and costume materials, with (human) bodies, to share embodied experiences, to co-create and to elaborate on the various creative perspectives. During the artistic projects I act as more than an observing designer/researcher. I am the host that have crafted the connecting costumes in collaboration with the textile materials and as host I also actively take part in exploring what the costumes evoke and provoke. The goal is to explore how being a participating host affects the explorative costume situations.
The research has four focal themes – crafting, listening, hosting and co-creating – which are explored though three artistic projects. The artistic project AweAre, a movement quintet, explores the act of listening, Community Walk explores the act of hosting and Conversation Costume explores the act of co-creating, while all three projects explore different aspects of crafting. As the themes are entangled, all three projects contain aspects of the four themes.
With this research I suggest that it is critical that in co-creative situations we cultivate our listening abilities with human and more-than-human others, and I argue that textile and costume materials is a medium that enable us to do so. With this research my ambition is to formulate ideas on co-creative methods that value material-discursive listening and where the hosting attitude is orientated towards communal doings. The aim is that listenings and communal hostings become tools for designers to gain a deeper understanding of how costume affects performers, and the boarder scope is that the research contributes to discussions on how teams can collaborate with humans and more-than-humans in more generous and inclusive manners. One example is that we acknowledge that our different disciplinary perspectives are creative possibilities in our common doing and that we recognise that how we share and exchange our differences has an impact on how we flourish co-creatively with our human and more-than-human co-creators.
ISBN: 978-91-88409-39-3
Solastalgia – Toward new collaborative models in an interdisciplinary context
(2025)
author(s): Karin Emilia Hellqvist
published in: Norwegian Academy of Music
This artistic research exposition unfolds the collaborative work on the violin, electronics and video work Solastalgia, from the viewpoint of violinist Karin Hellqvist. Solastalgia is created together with composer Carola Bauckholt and video artist Eric Lanz. During the process, Hellqvist develops the concept of the artistic palette, helping her understand her agency and creativity as a performer. Through sharing materials and reflections from within the artistic process, Hellqvist describes the new work methods that emerge and how they affect the roles of composer and performer. Focus is directed toward ownership, safe space, resources and eco-anxiety. The work’s title is an homage to environmental philosopher Glenn Albrecht’s neologism solastalgia, describing existential distress connected to environmental change. Theory on collaborative composition situate the reflections in the research field that includes Alan Taylor’s typology of working relationships and Lydia Goehr’s concept of Werktreue.
[in]visible time
(2025)
author(s): Margarida Dias, Catarina Casais, Cristina Ferreira, Maria Lurdes Gomes
published in: i2ADS - Research Institute in Art, Design and Society
Stages, thoughts and results about the i2ADS project "[in]visible - [in]visibility of identities in Portuguese 1st grade elementary textbooks of Social & Environmental Studies after 1974" (DOI 10.54499/2022.05056.PTDC), funded by FCT - Fundação para a Ciência e Tecnologia.
+ info at https://invisible.i2ads.up.pt/en/intru/
‘Crowism’
(2025)
author(s): DAPHNA REVES
published in: Research Catalogue
The concept of 'crowism' allows to adapt the qualities of the crow and project them onto humanity's relationship. Like having an observation on the relation between a stat and the people culture motivation.
The feature of the crow, takes no burden of humanity society which mean: does not agree taming, presents an individual self-thought, cannot be restrained by regime and cannot be adapted to the pattern of the Western society.
Metamorphosis - Ethics and Aesthetics are One - from a Neuroscientific Perspective
(2024)
author(s): Erika Matsunami
published in: Research Catalogue
Wittgenstein's "Ethics and Aesthetics are one" is the starting point of this research. "In the Notebooks, Wittgenstein states that 'the world and life are one', so perhaps the following can be said. Just as the aesthetic object is the single thing seen as if it were a whole world, so the ethical object, or life, is the multiplicity of the world seen as a single object". (Diané Collinson, The British Journal of Aesthetics, Volume 25, Issue 3, SUMMER 1985, pages 266-272)
Art transcends boundaries of race, nationality and gender. It is a creative act of unifying in the context of humanity, from the subject to the various topics, by asking questions. This point is the lack of "reality" (dealing with reality) from a sociological perspective. However, it is impossible to define humanity and reality based on sociological statistics alone–which is my perspective of Wittgenstein's "Ethics and Aesthetics are one". Thereby, I examine 'world and life' from the 21st century perspective.
In other words, my research is on immateriality from a 21st-century perspective in relation to the context of neuroscience—on multifoldness.
I would like to explore the following
"What is diversity and its coexistence?"
...
Hva gjør musikk tilgjengelig?
(2024)
author(s): Maren Metell
published in: Research Catalogue
My doctoral research explored musical interaction with disabled children and their families, focusing on how, when and under what conditions music becomes accessible and meaningful. The serie of pictures provides an insight into how accessibility is co-created by participants, activities, actions, objects and the environment.
The whole PhD thesis can be accessed here: https://research.gold.ac.uk/id/eprint/34028/
