Örat nära munnen: samtal mellan film och filosofi
(2024)
author(s): Marius Dybwad Brandrud
published in: Stockholm University of the Arts (SKH)
This PhD project is a study in and through filmic conversations. The project addresses the role of conversation in philosophy education. While philosophy often is manifested in individually written form, this is a study of how filmic conversation can act as philosophical expression, mainly based on the film "Samtal om samtal" which is the principal material of this PhD project. The film begins by addressing the manner of which we speak to one another in a seminar; and by extension how that manner decides which philosophy is at all made possible: Who is speaking and who is listening? Whose experiences count and whose ideas are welcome? Yet, conversation is not only of interest as practice but also as expression. Sometimes something is said through/as conversation that could not have been expressed in any other form. What would happen if conversation, as a communal way of saying things, would constitute a form of philosophical expression in its own right, on par with the individually written text? What form would such an expression be allowed to take? Could philosophy be expressed through the medium of film? In and through the filmic conversation of this study, these queries also lead on to issues of representation and responsibility: What signifies the practice of making a film about or with someone? How are those involved in a film project affected, and how can the film act (in the world) independently? How could responsibility be understood in the process of making a film and regarding the final result? In addition to "Samtal om samtal", the text "Eftertext" is submitted. The text further explores the previously mentioned questions, but adds another layer in commenting on the filmic work of "Samtal om samtal". "Eftertext" also refers to the films "Ett jag som säger vi" and "Rehearsals", as well as the document "Transkription". These works are included as appendices, forming sub studies in the process of making "Samtal om samtal".
NUMB - exploring emotionally charged interactions to motivate reflection on non-fiction topics
(2023)
author(s): Elin Festøy
published in: University of Inland Norway
This PhD project in artistic research by Elin Festøy, research fellow at The Norwegian Film School, Innlandet University College, is situated in the field of interactive experiences. Festøy explores how emotionally charged interactions can be used to build trust and communicate non-fiction topics in a way that is more likely to motivate empathy and change. The artistic exploration consists of a consecutive row of conceptual VR experiences. The reflections turn to the role of freedom and agency in interactive experiences and how these can help build a trusting relationship between creator and participant.
Music Education Through Autobiographical Digital Storytelling (METADS) at the 14th SAR International Conference on Artistic Research
(2023)
author(s): Jeffrey Cobbold
published in: Research Catalogue
METADS stands for “Music Education Through Autobiographical Digital Storytelling”. It’s a special initiative for furthering interdisciplinary arts thinking and production that is inspired by music. METADS’ history started in 2017 with Jeffrey Cobbold’s musically rich digital audio sermon album focused on his autobiographical story as a music educator. Included in the sermon are observational digital stories of various music students, which offer approaches to confronting fear through various modes of truth-telling.
In 2020 METADS was mastered by audio engineer Johnny O, who also sang on the song "JOURNAL PROMPT" on the METADS album. The album’s cover art was created by graphic designer Lauren Meyer. In 2021 METADS expanded into a visual art project through Cobbold’s invitation to Meyer to create visualizations for the digital audio sermon album into a comprehensive visual guide/coloring book. Meyer’s involvement in METADS has furthered its progression toward interdisciplinary arts thinking and production inspired by music and storytelling.
For the 14th SAR International Conference on Artistic Research, METADS makes an urgent appeal for music educators and musicians to tend to the stewardship of their relationships in music through the creation of their own autobiographical digital stories, offering them as artistic research in this sensitive area of our musical lives. This is an effort to improve professional practice through investigation of relational fears and the expression of rare relational truths that are often concealed or neglected. METADS also seeks to appeal to the non-musician at the conference who engages in personal storytelling inspired by music or other mediums with a concern for the moral fabric of their creative relationships.
Assembling a Praxis: Choreographic Thinking and Curatorial Agency - Being and Feeling (Alone, Together)
(2023)
author(s): Lauren O'Neal
published in: University of the Arts Helsinki
What "moves" in an exhibition, if not the bodies of artists, audiences, and objects? How does conversation move us? What can speculative artistic research offer? This exposition, "Being & Feeling (Alone Together),” held at the Lamont Gallery at Phillips Exeter Academy in 2020, is part of my doctoral research project, “Assembling a Praxis: Choreographic Thinking and Curatorial Agency.” While some aspects of the project (including the title), were developed before the COVID-19 pandemic, most of the project unfolds in relation to myriad cultural, spatiotemporal, and civic situations that the pandemic produced. This situation required experimental and responsive curatorial methods that encouraged the project to move in unexpected ways.
[This exposition corresponds to Section Seven: Letting Things Move in the printed dissertation.]
taiteen vaikuttavuus
(2020)
author(s): Pekka Kantonen
published in: RUUKKU - Studies in Artistic Research
Vaikuttamisen festivaali oli vuosina 2016–2018 Baltic Circle -teatterifestivaalin osakokonaisuus, jossa etsittiin ja tutkittiin taiteen mahdollisuuksia vaikuttaa ja luoda vaikuttavuuden tiloja. Tämä ekspositio käsittelee taiteen vaikuttavuutta käsittelevää taiteellista tutkimustani, jonka toteutin festivaalin osana. Sovelsin tutkimuksessa tohtorintyöni metodia, videokuvan sukupolvittelua (Generational filming). Haastatteluissa tiedustelin festivaalin tekijöiden ja osallistujien näkemyksiä festivaalin vaikuttavuudesta. Haastattelin heitä sekä ennen tapahtumaa että sen jälkeen. Jälkimmäisessä haastattelussa kukin haastateltava näki koosteen edellisestä kerrasta ja reflektoi aiempia kommenttejaan. Projektin lopussa järjestimme työpajan, jossa keskusteltiin taiteen vaikuttavuudesta kuvaamieni videoiden pohjalta.
Tutkimuskysymykseni nousevat saamastani työtehtävästä: Mitä videokuvan sukupolvittelun avulla voi kertoa festivaaliin osallistuvien näkemyksistä taiteen vaikuttavuudesta? Mitä metodi tuo esiin taiteen vaikutuksesta festivaalin osallistujiin? Millä tavalla metodi tuo esiin osallistujien näkemyksiä taiteen yhteiskunnallisesta merkityksestä? Millaista itsereflektiota metodi synnyttää? Vaikuttavatko videoidut haastattelut kokemukseen taiteesta? Mitä metodi tuo esiin taiteen mitattavuudesta? Mitä taiteellinen lähestymistapa tuo taiteen vaikuttavuuden tutkimiseen?
"Artistic Research on Socially and Environmentally Engaged Art - Ethics of Gathering
(2020)
author(s): Katja Juhola, Maria Huhmarniemi, Kaisa Johanna Raatikainen
published in: RUUKKU - Studies in Artistic Research
Art symposiums and similar gatherings in which international artists come together to collaborate are a longstanding tradition of the global art world. In 2019, artists and environmental researchers and experts were invited to work with a local school on environmental issues to create place-specific art and scientific collaborations. Three interdisciplinary teams focused on locally current topics. In this article, we present the process of one of them: the freshwater pearl mussels sub-project. In addition, we discuss the research practice of the International Socially Engaged Art Symposium and the ethics related to the gathering. The research practice included various forms of dialogue, such as presentations, structured group discussions, reflections, mentoring and art-based practice with community members. Tight living together in a humble, small house supported the dialogue. Environmental issues, critical environmentalist thinking and the ethics of the practices were discussed in the process. The ethical elements of the symposium were considered during the processes of defining the themes and aims, curating and producing the event, respecting peer artists and researchers, interacting respectfully with the surrounding community such as school children and community members in countryside villages, and non-human nature, considering the environmental footprint of the symposium and aiming for a meaningful ecological handprint. The documentation, data collection and research reporting also considered ethical issues. The research is part of a cyclic development of art symposiums as socially and environmentally engaged events.
Just a mere Spring to take: Embedding in Capitalocenic Atmospheres
(2019)
author(s): Christoph Solstreif-Pirker
published in: RUUKKU - Studies in Artistic Research
30 years after the publication of Félix Guattari’s “The Three Ecologies,” we are facing a turning point in the way we are encountering our environment. Established concepts of “nature” have proved to be considerably part of a grand homocentric design whose spatiality Peter Sloterdijk poignantly defined as the “World Interior of Capital.” To investigate these capitalocenic strata, it becomes necessary to re-territorialize institutionalized debates, conceptions and practices, and perceive contemporary landscapes as manifold, unknown and peripheral alterities.
This research exposition aims to encounter the capitalocenic field, its actors and inherent specificities, and to propose a peripheral methodology for its investigation. According to its etymological roots, periphery not only implies a field or site at “the outer surface”, but also refers to the Greek verb periphérō, meaning “to carry around.” This adds a proto-ethical component, as we become part of a carrying and compassionate interplay with virtual forces of capitalocenic dominance, violence, and destruction.
In this intimate moment of becoming peripheral, we are striving from the grand institutional narrative towards the fragility of an uncertain world interior. To Félix Guattari, this is an act of empathy, of an affective affinity and imaginary re-construction that unfolds new practices, grounds, and epistemologies of how to encounter our manmade planet. Furthermore, it highlights the importance of peripheral discourse on the edge of the planetary crisis, and unfolds a vibrant and democratic borderspace within the all-encompassing ecological trauma.
Departing from Victor Turner’s “social drama” and the unpredictability of a global monetary system, the research exposition focuses on the specific context of Iceland as a knot geographically located within the global fabric of the Capitalocene. Being the site of a massive banking crisis between 2008 and 2011, the island-state is seen as an artificial environment of capitalist warfare, based on an ecosystem of virtual forces that actualize themselves on a social, economic, cultural or ecological level.
Applying a situated performative research praxis, the research exposition affirmatively investigates this manifold and monetary-driven spatiality. As the research exposition suggests, performative research allows to confront the unpredictability of the capitalocenic field in all its complexity and to pave the way for “vanquishing [...] or even befriending“ the dominant forms of global financial market capitalism” (Gilles Deleuze, Logic of Sensation). “Just a mere Spring to take” is a discursive assemblage of various investigative highlights on a virtual, global and elusive phenomenon, aiming at peripherically unfolding horizons of performative thinking, and enabling a fragile intra-active confrontation with our vertiginous, traumatized but still living cosmos.
On intimacy,
(2019)
author(s): Eugene A. Kim
published in: Research Catalogue
This poetics study seeks to answer a question like, "What is music?"; its conclusion would be something like, "It's sharing time with the Other." Investigations into how one shares time with the other, privately or publicly, leads the author to intersect personal observations within musicking and resonant concepts from various other domains, such as ethics and love. The result outlines a sparse poetics of being (loving) with the other—this principle inseparable from musical practice.
images and their agency
(2017)
author(s): glad fryer
published in: Research Catalogue
The exposition Images and their Agency presents a text alongside a group of paintings. The text is a reflection on the practice-based research being carried out across a number of paintings concerning images and there agency. This project is ongoing.
We need to grasp both sides of the paradox of the image: that it is alive but also dead; powerful but also weak; meaningful but also meaningless. (wjt Mitchell, what do pictures want)
In the text I respond to W.J.T Mitchell’s suggestion to consider the aliveness and the deadness of images. I take a phenomenological perspective and consider how we experience their power and weakness, their meaning and meaninglessness - how we experience their agency. I do this by critically reflecting on a group of paintings I begun making in 2004; I enquire into the capacity of these paintings to address the agency of the image and how it is felt or experienced.
I am concerned with a common ontological or moral proposition that they as a group of images pose. This proposition of the image is the focus of my practice-based research.
I frame the enquiry into this group of painting through three sets of questions. The first set of questions concerns the image, which is explored through Badiou’s ideas on the truth process. The second concerns the body, which is explored through J. Bennett’s research into affect and trauma. The third concerns Flesh, which is explored through Merleau-Ponty’s phenomenological reflections on the relations between eye and mind.
Anatomy of a (Musical) Ethics Lab SAR 2023 submission
(last edited: 2022)
author(s): Christopher Williams
This exposition is in progress and its share status is: visible to all.
Supplement to the presentation proposal 'Anatomy of a (Musical) Ethics Lab'
This PhD project in artistic research by Elin Festøy, research fellow at The Norwegian Film School, Innlandet University College, is situated in the field of interactive experiences. Festøy explores how emotionally charged interactions can be used to build trust and communicate non-fiction topics in a way that is more likely to motivate empathy and change. The artistic exploration consists of a consecutive row of conceptual VR experiences. The reflections turn to the role of freedom and agency in interactive experiences and how these can help build a trusting relationship between creator and participant.open exposition comments (0)
This poetics study seeks to answer a question like, "What is music?"; its conclusion would be something like, "It's sharing time with the Other." Investigations into how one shares time with the other, privately or publicly, leads the author to intersect personal observations within musicking and resonant concepts from various other domains, such as ethics and love. The result outlines a sparse poetics of being (loving) with the other—this principle inseparable from musical practice.open exposition comments (0)
Supplement to the presentation proposal 'Anatomy of a (Musical) Ethics Lab'open exposition comments (0)