Situated Knowledge, Transmissions of Practice and Parasitic Endeavors
(2018)
author(s): Helen Palmer, Victoria Hunter, Jessica Foley, Karolina Kucia
published in: RUUKKU - Studies in Artistic Research
This paper presents an exchange between four practitioners from distinct disciplines of site dance, philosophy, experimental writing and pedagogy. It presents responses to provocations that position these practices as containers of Situated Knowledge, it interrogates the transmission and reception of practical knowledge, and employs the notion of ‘parasitic endeavor’ as a lens through which to facilitate discussion of of how disciplinary specific practices and emerging knowledges might traverse from one discipline to another and how this knowledge might be articulated and communicated to wider audiences. Informed by Bennett’s notions of ‘vibrant matter’ (2010), Barad’s conception of agency and intra-action (2003), transversality (Guattari, 1964 and Dolphijn and van der Tuin, 2012) and J.J. Gibson’s theory of affordances (1986) the paper explores how embodied knowledges become activated and mobilised through human-material-world intra-actions and how interdisciplinary engagements facilitate the articulation of such knowledges. The notion of parasitic endeavor employed here alludes to a temporal process in which theoretical paradigms from one discipline are employed within or applied in another for a required period of time to facilitate the articulation of complex intra-active and diffractive human-nonhuman entanglements.
This paper seeks to show how distinct practices transmit knowledges beyond disciplinary boundaries. Each respondent will offer a ‘score’ to provoke and support intra-active practice. The score frames a set of instructions, rules or constraints for fellow authors to explore and reflect on their experiences in relation to their own, customary modes of ‘doing’ practice and research. For publication, each contributor will present a response to one or more of these scores, drawing on their own disciplinary methods and working practices to consider how the specificities of their discipline engage creatively with these alternate actions and actors.
In this scenario the notion of ‘parasitic endeavor’ is positioned as prodigious and facilitatory; we move through and beyond disciplinary silos, borrow and compare, creating new theoretical and disciplinary entanglements, through which new/augmented modes of thinking/doing might emerge.
Projeto Solo
(last edited: 2024)
author(s): Cristiana Bouça Nova Macedo
This exposition is in progress and its share status is: visible to all.
(PT)
O Projeto Solo, tem como base o estudo de solos e matérias naturais portuguesas como um dos elementos principais de aplicação no campo das artes plásticas. Através de workshops, pretende-se que os estudantes alarguem o seu conhecimento dos materiais que utilizam diariamente, assim como pensar sobre os diferentes solos e pigmentos de Portugal.
(EN)
The Soil Project is based on the study of Portuguese soils and natural materials as one of the main elements of application in the field of fine arts. Through workshops, the aim is for students to broaden their knowledge of the materials they use on a daily basis, as well as to think about the different soils and pigments in Portugal.
A historical Overview of Flute Materials
(last edited: 2023)
author(s): Elin Körnich
This exposition is in progress and its share status is: visible to all.
The flute is one of the oldest instruments in the world. Most likely, after humans figured our percussion, they blew across reeds to make sounds. And so the flute was born. They are an instrument shrouded in mystery and ritual, but that is not what this text will be focusing on. Rather I would like to ask the question how we went from making flutes out of the bones of animals, to wood and today to using precious metals such as gold and silver? What makes this material so much better than the wood that had been the standard for hundreds of years, even though it arguably is much more difficult to acquire? In this text I will explore the different materials used throughout history for the European Flutes, and when and why it changed.
(PT) O Projeto Solo, tem como base o estudo de solos e matérias naturais portuguesas como um dos elementos principais de aplicação no campo das artes plásticas. Através de workshops, pretende-se que os estudantes alarguem o seu conhecimento dos materiais que utilizam diariamente, assim como pensar sobre os diferentes solos e pigmentos de Portugal. (EN) The Soil Project is based on the study of Portuguese soils and natural materials as one of the main elements of application in the field of fine arts. Through workshops, the aim is for students to broaden their knowledge of the materials they use on a daily basis, as well as to think about the different soils and pigments in Portugal.open exposition comments (0)