Research Catalogue

an international database for artistic research

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  Empty Space (2024) author(s): Barbora Haplova published in: UMPRUM - Academy of Arts, Architecture and Design Prague
  This artistic post-master research explores interpretational possibilities of empty space. Combining literary and graphic creative work with documentary, personal and research background, the e-book asks a question how can we find connections between individual occurrences of empty space. Through bilingual essays, visual essays, and practical exercises, this work proposes the following perspectives: empty space as a mode of attention; nuanced individual interpretations of empty space as missing, coming together, not being, disappearing; empty space as a field designed to be filled; and the non-definition of empty space as accepting the unknowability of its possibilities.
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  Amazing Patterns ▓▓█▋▋◣◢▋ (2023) author(s): Rozita Sophia Fogelman published in: Research Catalogue
  Using ASCII and Unicode 8 and 16-Bit systems, I create patterns in real-time online on my ASCII Digital Design Museum page: https://www.facebook.com/Museum/ ▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋▋◣◢▋▓▓█▋
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  A Model for Understanding the Evolving Role of Graphic Designers in the Era of Artificial Intelligence (2023) author(s): Stig Møller Hansen published in: HUB - Journal of Research in Art, Design and Society
  This paper examines the possible impacts of artificial intelligence (AI) on the ever-changing role of graphic designers. As its main contribution, the paper proposes a model based on the intertwining concepts of deduction, induction, and abduction. It argues that deductive and inductive tasks in graphic design can be effectively and advantageously outsourced to AI, while abductive tasks are still best performed by human graphic designers. Additionally, the power balance between humans and AI is discussed, concluding that human graphic designers must play a pivotal role in initiating and critically evaluating the results of any collaboration with AI tools. The model introduces the metaphorical notion of a "disciplinary expertise filter," which serves as a professional quality assurance for AI-based automation and augmentation in the design process. The distinction between "black box" and "clear box" AI systems is briefly discussed to provide a more nuanced understanding of AI as being "a magic tool" for graphic designers. Lastly, the paper presents six perspectives derived from the model, aiming to foster informed discussions and encourage critical reflections among graphic designers regarding their future role in the era of AI.
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  Curating as graphic design research (2022) author(s): Sara De Bondt published in: Journal for Artistic Research
  In 2019, I curated and designed Off the Grid, an exhibition on post-war Belgian graphic design at Design Museum Gent. The show included public events (Design Museum Gent, 2019–20) and led to a publication (De Bondt, 2022), all of which have been elements of my practice-based doctoral research at KASK School of Arts and Ghent University. Curating Off the Grid allowed me to define my own research area, namely the investigation of graphic design from a specific country and period. The process also raised broader questions around naming, authorship, and canon-formation, which in turn have enriched my practice as a designer and educator. The curatorial thus became a methodology that allowed me to bring the two sides — my historical research and my graphic design practice — together. In this article, I discuss my engagement with graphic design via the curatorial, and how the latter can be deployed for practice-based graphic design research in and beyond exhibition spaces.
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  Exploring taboos through Socially Oriented Design (2022) author(s): Yann Charles M Bougaran-Faivre d'Arcier published in: Research Catalogue
  Visualising taboos and societal issues. For the last 5 years we've been investigating the possibilities to inform and communicate several societal issues and taboos such as loneliness, mental issues related problems and failure. S.O.D. has been working with students, graphic designers and teachers in Russia, England, France, Norway, Finland and South Korea to investigate these problems within an international framework. S.O.D.’s primary goal is to communicate. Based on the fact that graphic design is one of the best tools available to do so, I am constantly reminding our members to develop their ideas and to design in order to reach our goal, not to win awards. Graphic design is not a sport, but a set of tools and skills that allow us to do a specific work to solve a specific problem. This approach is in line with the general understanding of design and its difference from art: in the Design: Creation of Artifacts in Society, it is understood as an activity where a gap is first defined and a solution is proposed, prototyped and developed. In the case of S.O.D the gap is a lack of attention to the problems of societal issues and taboos, and the design process focuses on developing solutions that could affect these issues in a positive way. Our work can be seen as a non commercial use of Graphic Design, tending to communicate based on emotional responses from the audience instead of consumer's needs. These projects have been a stepping-stone towards future investigations of societal or cultural themes may be put under a new light by using the means of S.O.D. By exposing societal issues as something different than an individualized fiasco. Perhaps S.O.D will make a small, but significant gesture of emancipation to those who feel the need to share their thoughts and make a change.
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  Good Morning! Good Day! Good Afternoon! Good Evening! Good Night! (2021) author(s): Anna Nurmela published in: Research Catalogue
  Process of a workshop organized by Aalto ARTS, Experimental Scenography Workshop that explores the Peripheries in Parallax. This exposition is based on an artistic research that was done between 05.10.2020-10.04.2021. Including process ideas, photos and final exhibition, Matter. Work title: Good Morning! Good Day! Good Afternoon! Good Evening! Good Night! Peripheries in Parallax: BRAVE NEW PERIPHERIES is organised by the four-year “Floating Peripheries – mediating the sense of place” artistic research project funded by the Academy of Finland (2017–2021). Read more on https://pinp2021.aalto.fi/
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  En egen trykkpresse (2020) author(s): Ane Thon Knutsen published in: VIS - Nordic Journal for Artistic Research
  A Printing Press of One’s Own (En egen trykkpresse) is a practical examination of the relationship between art and technique, hand and spirit, thought and printing ink. The project came out of an interest in the printed medium in a digital age. Book printing has been the dominant technology for setting and mass reproducing of the printed word from when Gutenberg popularized the technique in the 1450s, and until well into the 20th century. Thon Knutsen set out to search for a professional position which allowed her to combine an artistic approach to typography and graphic form with her technical insight and historical knowledge of book printing. She found Virginia Woolf. The canonised modernist author and the feminist icon worked in parallel with both her writing as artistic practice and as typesetter and printer in her own private printing press. Through in-depth close reading of Woolf's authorship, seen through the first-hand experience as typesetter and printer, Thon Knutsen has found new ways to read Woolf, and a direction for her own artistic and research-based practice. Thon Knutsen has recreated the short story that Woolf printed in her debut, The Mark on the Wall, in its whole, but with a new aesthetic appearance. She has done this with a method that Thon Knutsen claims must have been used by Woolf; the thought and the writing must have been influenced by the experience of setting and printing as a pendulum between the spirit that writes and the hand that sets.
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  XRW (Implicature) (last edited: 2024) author(s): Zoe Panagiota (aka Betty) Nigianni This exposition is in progress and its share status is: visible to all.
  50 A3 drawings black and coloured markers, including: 3 A3 collages on paper with newspaper cutouts and printed photos. 12 A3 drawings on paper with coloured markers + 1 A3 with black ballpoint pen and markers. 13 A3 drawings on paper with black marker, and red, pale blue, gold, pink and orange markers +1 A3 wo-sided. 17 A3 drawings on paper with coloured markers. 1 drawing on sketchbook cover with red nail polish. 1 text drawing on sketchbook cover inside. 1 drawing on sketchbook cover back inside with black, orange and gold markers. Some of the above is preparatory work for 4 large prints and 13 paintings. 22 A4 drawings with ballpoint pen. I did the art between 2023-2024. I adopted the visual vocabulary of the graphic novel, which I partly studied and read a lot about looking at different graphic artists' work, when I was attending classes at the University of Malmo, Sweden, in 2012. I mixed this with stylistic elements of the architectural sketch, using heavily the black marker and stick figures. Much of this work is, amongst other, about children. I wanted to emphasise that, by intentionally applying stylistic elements from children's drawings, too, in a naive architectural composition. Using this visual approach, I wanted to give a comically sharp twist to the otherwise dark subject matter. "Pop and Politics" (Pop Og Politikk) Where does the boundary run between art and popular culture? Pop art embraces the iconography of mass culture. Themes are taken from advertising comics, cinema and TV. The slick, impersonal style is a deliberate provocation. In Norway, pop art is part of a broader left-wing protest movement. Everything from capitalism and imperialism to environmental and gender politics is subjected to critical scrutiny. The exclusive, unique artwork is replaced by mass-produced prints and posters, well suited to spreading a political message." From the National Museum, Oslo, Norway. For Nikos, Filip and "Brandon". See exposition in connection with "The (Origins of) The Game", "Debris", and "The Loot".
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  Breaking Circles (last edited: 2024) author(s): Sunniva Storlykken Helland This exposition is in progress and its share status is: visible to all.
  The project 'Breaking Circles' is matriculated in the field of social design - an area within the design field that has renewed itself in recent years. Social design is user oriented towards vulnerable and exposed groups within society. Serving a sentence in prison is often associated with a range of penalties. Norway has only one penalty; denial of freedom. The inmates have the same rights as the rest of society, and are supposed to take part of it. The Norwegian Correctional Service’s unofficial slogan reads: ‘better out, than in’ meaning that rehabilitation overcomes penalty. The inmates have both the right and a duty to work, getting educated or attending amendment programs. The goal of their work is to qualify for working life after prison. Having to go to prison will without a doubt be a personal crisis for anyone, and can lead to loss of jobs, housing, personal economy and social network. Inmates could benefit from building professional networks to avoid seeking out old acquaintances in criminal networks after prison, heading into criminal relapse. Having worked with design projects in the western region of the Norwegian Correctional Service, I have seen the vast areas and systems within prisons and the service that are untouched by design strategy. Design has considerable potential to help inmates benefit from their surrounding systems, both within prison and outside. I aim to use social design to ease inmate’s transitions to becoming potential employees through their work within prison. To be able to do that, there are several problem areas to address: the content of inmate’s work in prison, inmate’s tools of sentence progress, barriers between prison and society and the lack of established professional networks to prevent criminal networks taking over after serving. Using graphic design and visual communication in social design can contribute to a dawning interest in design and creative practice to prevent recidivistic crime and social marginalization. Breaking Circles is a project with a strong emphasis on design experiments through field work in a real-life context: prison.
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  Aftermath (E for Installation) (last edited: 2024) author(s): Zoe Panagiota (aka Betty) Nigianni This exposition is in progress and its share status is: visible to all.
  Design for interactive art installation with urban regeneration proposal, as well as video about environmentalism and our technologically mediated private and public lives; installation catalogue design with photography and textual collage, 2021-2023. "There is a massive abundance of goods that end up in landfills. With such abundance of goods, no one should be deprived." Visitors will have to leave an unwanted item of theirs and take another to collect the installation catalogue. The installation will be monitored for this purpose. Designed with Wi-Fi light technology for agility training, the interactive floor in the entrance will be controlled by the visitors through a tablet computer that will allow them to select the difficulty level. The exposition offers a critical viewpoint to the contemporary gallery-mediated commercial environment by making reference to the non-monetary economies of artistic and cultural production. Art "is an instrument of war for attack and defense against the enemy". The enemy is whoever exploits their fellows out of egoism or personal interest (Pablo Picasso). With summary and questions about David Murakami Wood's article "The Global Turn to Authoritarianism", 'Surveillance and Society', (15), 3/4, 2017: 357-370.
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  PS: What is a letter? (last edited: 2023) author(s): Dora Isleifsdottir, Åse Huus, Victoria Squire This exposition is in progress and its share status is: visible to all.
  PS: What is a letter? is an artistic research project in progress by Dóra Ísleifsdóttir, Åse Huus, and Victoria Squire.
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• Blind maps and blue dots: the blurring of the producer–user divide in the production of visual information (last edited: 2023) author(s): Joost Grootens connected to: Academy of Creative and Performing Arts This exposition is in progress and its share status is: visible to all.
  This dissertation of Joost Grootens explores the question of what contemporary mapmaking practices can reveal about the ever-evolving field of graphic design. The shift towards digital modes of production has fundamentally changed the field of graphic design, to the extent that a clear distinction between the producers and users of visual information no longer exists. The evaluation of graphic design’s recent developments is too strongly focused on what happened to the persona of the graphic designer. In this research an alternative model is introduced that focuses on the technologies that have shaped the field. Graphic design and cartography have different origins and concerns, but their contemporary practices have much in common. In this research, cartography is considered a testing ground to understand the transformations of graphic design. Adopting notions from post-representational cartography, three mapmaking practices of amateurs and technology companies were selected to survey, analyse and test that transformation. The dissertation contains of a series of visualizations that embody an alternative documentation of the research. The development of alternative and complementary languages is considered to be an essential aspect of artistic research. This parallel visual documentation of the research questions the discursive text, and all the prejudices and histories contained within it.
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• Bruno Munari and the invention of modern graphic design in Italy, 1928-1945 (last edited: 2023) author(s): Alessandro Colizzi connected to: Academy of Creative and Performing Arts This exposition is in progress and its share status is: visible to all.
  This study of Alessandro Colizzi examines Bruno Munari's work as a graphic designer from the late 1920s to mid-1940s, with the aim of understanding the emergence and characteristics of the modernist trend in Italian graphic design. Taking shape in Milan, an original 'design culture' eclectically brought together two quite different strains of Modernity: a local tradition represented by the Futurist avant-garde, and a European tradition associated with Constructivism. Munari (1907- 1998) worked simultaneously as painter and as advertising designer. Concentrating on Munari's stylistic development, the study seeks to explore the interaction between the Futurist visual vocabulary and conceptions coming from architecture, photography, abstract painting, and functionalist typography that trickled in from central and northern Europe. The discussion positions the designer in his time and place, concentrating as much on the artefacts as on the broader cultural framework. Secondly, the study attempts to assess Munari's reputation against a body of exemplary work, based on firsthand documentation. It is the first extensive, detailed record of Munari's graphic design output, and as such provides a substantial base for a full understanding of his œuvre.
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• Medikament beregning i VR (last edited: 2020) author(s): Kenneth Odden This exposition is in progress and its share status is: visible to all.
  Gruppe 13 sin prototype
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