Biopoéticas: convergencias artísticas interespecie
(2022)
author(s): ANA LAURA CANTERA
published in: Journal for Artistic Research
Español
En la propuesta se reflexiona sobre las implicancias de concebir obras artísticas en conjunto con seres vivientes no-humanxs y las problemáticas y particularidades que esto conlleva. Asimismo, se propone la terminología de biopoética como alternativa nominal al concepto antropocéntrico y problemático del bioarte desde una concepción más locativa y contextual. Se pretende visualizar las metodologías y los accionares de la materia viva desde el arte contemporáneo latinoamericano y repensar tanto las prácticas como los modos de exhibición.
English
The proposal reflects on the implications of conceiving artistic works in conjunction with non-human living beings, as well as the problems and particularities that this entails. It proposes the biopoetics terminology as a nominal alternative to the anthropocentric and problematic concept of bioart from a more locative and contextual conception. It is intended to visualize methodologies and actions of living matter from contemporary Latin American art rethinking both practices and modes of exhibition.
Using wool’s agency to design and make felted artefacts
(2019)
author(s): Bilge Merve Aktaş
published in: RUUKKU - Studies in Artistic Research
This exposition presents an explorative project that examines employing material as a reference point for designing and making an artefact. The material’s effects on designing and making have been elaborated upon from many angles. This exposition also examines how material affects designing and making processes from the perspective of material agency. This study argues that by observing a material’s behaviour from the perspective of agency, one can genuinely understand what the material does, and accordingly can find ways to collaborate with it in the process of designing and making artefacts. The discussion is articulated through a designer’s project in felting by employing a practice-led research approach that examined the decision-making processes through written reflections and visual documentation. This examination suggests that by including material as a reference point, design and making can reflect the ecology of the material in a way that combines human power with the activeness of the material.
Towards a Response-able Com-position Practice: Entangling with Humans, More-than-humans and Materials
(last edited: 2022)
author(s): Fulya Uçanok
This exposition is in progress and its share status is: visible to all.
This exposition is an accompaniment to an artistic research process tied to my dissertation, titled "Towards a Response-able Com-position Practice: Entangling with Humans, More-than-humans & Materials". The exposition provides a condensed and compact format of information allowing the viewer/listener to trace the process, mainly led by graphics, sound files, along with short informational and contextual texts.
My research is based on a model that springs from a relational, sympoietic, socio-musical imagination for composition. The research sprang from my interest and desire to attend otherness, for cultivating generative and creative practices through collaborative socio-sonic engagements, first and foremost interested in the interface of connection and co-creation.
In the composition model, relationality focuses on perspectives of response-ability in the act of com-posing with human, material and more-than-human agents. I call this model Response-able Com-position (RC), as the aim of the practice is to generate and cultivate various abilities to respond, and trace these responses within the act of com-position.
Instead of placing the performer/composer's agency at the center of the composition process, the model widens and shifts the center to other humans, non-humans and materials, where they are not the object of study but the generators of knowledge itself. By privileging such position, the whole proposal revolves around resonances and potentialities consist of listening-within entangled relations. Listening as performative auralities entail, listening through aural analysis, embodied forms of listening (performance) and listening-back to the process and re-evaluating.
The study proposed by the model is interested in working through differences in a relational way, enacting a series of collaboratory events through differentiating and entangling agents and selves, within a multivalent plane. Working from within a paradoxical situation, it deals with processes of disruption that leads into new ways of thinking, feeling and acting.