The past is rotting in the future: Exploring the Aesthetics of Absence in the daily life
(2024)
author(s): Alexandra Corcode
published in: Royal Academy of Art, The Hague
The Past is Rotting in the Future: Exploring the
Aesthetics of Absence in Daily Life, embarks on an
exploration of absence within the human daily life, examining
its manifestation through relations, processes,
and objects. It seeks to understand how absence is not
merely a void but a significant presence that shapes perception,
memory, and imagination. Through a multi-disciplinary
approach that integrates personal narrative with
academic writing, this research investigates the ways
in which absence is performed, textured, and materialized.
Central to the thesis is how photography, as both a
personal and artistic practice, serves as a critical medium
for discussing and visualizing absence, navigating
through personal experiences of loss, and broader philosophical
questions about how absence influences and
constitutes our understanding of the world.
Navigating in Overlaps: Redefining Performance Space as Multi-Space
(2024)
author(s): Stijn Brinkman
published in: KC Research Portal
In this study it is advocated to perceive performance space as overlapping multiple spatial layers, all existing in the same moment, but all with different boundaries. A triangle of performer, audience and surroundings creates performance space together as co-players by activating spatial layers and redrawing spatial boundaries. A new term is coined to better understand the unstable, moving nature of performance space: multi-space. To deal with the concept of multi-space in actual performances, the use of the verbs ‘navigate’ and ‘zoom in/out’ are advocated.
Embedded in this study is an exposition of the artistic projects of Stijn Brinkman, in which the concept of multi-space is tested as new tool to create performances with more exploration, agency, imagination, and movement. By finding a way for performers to disappear and to be present at the same time, the domination of walls and the domination of a performer's body (both apparent in many traditional performances) are challenged. The concepts of multi-space, navigate and zoom in/out stimulate audiences to engage more with their surroundings, while helping performers to shape their ideas always through site-specific processes.
Observations of: The Observation of Perception, considered through Drawing
(2023)
author(s): Mike Croft
published in: Research Catalogue
The exposition provides some indication of the content of an exhibition at Lugar do Desenho – Júlio Resende Foundation between 23 September and 28 October, 2023. Several artistic research projects have been explored by the author through drawing and writing between 2021 and 2023 while resident in Porto, Portugal. The projects have each been hosted by i2ADS (Institute of Art and Design Society) as part of a larger collaborative research project called 'The Observation of Perception', considered through Drawing. Two of the projects, or one project divided into two parts, are specifically a contribution to a genetic ancestry project – ‘Call for drawing – Genetics and Identity’ – hosted by i3S (Institute of Investigation and Innovation of Health), Porto University. The main formatting of all of the projects has been the Research Catalogue, in which the visual works that now comprise the exhibition have previously been placed in a multiple media context as artistic research.
Aimpathy
(2023)
author(s): Amit Yungman
published in: KC Research Portal
Much research has been done to better understand the emotional experience of music; from the philosophical, artistic, psychological, and statistical approaches. In this research we conduct a cross-domain experiment based on those four disciplines, to further understand the factors that influence the emotional perception of music; and in particular the difference between the artist’s emotional conception and the audience’s perception.
In the experiment we train a novel model of an Artificial Neural Network, to predict the perceived emotion from a short musical phrase. We then feed the machine curated input, which simulates artistic choices, to explore its most significant factors in determining the perceived emotions.
In the conclusion we describe the results, as well as the possible follow-ups to the experiment, such as an emotional expression training tool for musicians.
Diagramming Perception
(2022)
author(s): Mike Croft
published in: i2ADS - Research Institute in Art, Design and Society
This artistic research is a contribution to a larger research project titled ‘The Observation of Perception, considered through drawing’, hosted by i2ADS. The research begins with the hypothesis that perception can be diagrammed, in this case through and as a form of drawing that indicates how perception is for this investigator conceived and works in action. One of the two visual motifs of the work is also a meta-motif, in that as an action-camera placed over the eyes, it is the means by which the investigator records himself at work on the second main motif, which is his image as viewed in a circular hand-held mirror. The investigator approaches the initiative as a question of diagramming the self-same initiative, accepting whatever are its developed implications as the aesthetic of the work. Peirce's division of the diagram into elements of firstness and secondness, with the elusive recognition of diagram as an abstract entity before any communicative purpose, keys into a working practice that in any case veers towards the diagrammatic. The investigator's tendency to audio-visually record his working process has led him to a position where the logistics of the purpose paradoxically reveal the subjectivity – if not absurdity – of the self-same process. In this case, little by little, a contingent factor of a wart takes centre-stage as blind spot; at-once a torn hole within the drawing's material surface, the action camera as an illusory obstruction, and a factor that oscillates with and as the circular self-portrait. The presentation takes the viewer/reader through the process, largely perceptual, that is diagrammed on and as the artifactual outcome, the drawing.
NEUROPOSTHUMAIN : expérimentation transcyberféministe des techniques de l'hybridité en tant que critique des biopouvoirs dans une pratique de l'art performance technologique
(2022)
author(s): Archie S. Reid
published in: Research Catalogue
Archie Reid (i(e)l) explore une pratique expérimentale du rapport à ses perceptions. Par une approche de l’hybride et des multiples (mad, trans, non-binaire, gender hacker), ses expérimentations du posthumain déconstruisent et reforment, par la méta-cognition, une exploration transformative de soi, des sens et des synesthésies.
Arcade: A Guide to the Operas in the Doctoral Project "An Operatic Game Changer"
(2022)
author(s): Hedvig Jalhed
published in: Research Catalogue
This exposition is a guide to the four ludo-immersive chamber operas in the doctoral project An Operatic Game-Changer. The operas were created during the period 2016–2020 and are contextualized and discussed in the dissertation with the same title, in which the practice of facilitating operas as adventures rather than spectacles is fleshed out. Through these participatory and multi-disciplinary concepts, conceived with the purpose of generating and analyzing live encounters between professional opera artists and co-playing visitors, immersive features are realized and explored.
Arcade is also a kaleidoscopic performance and an exhibition, designed as an operatic amusement park in miniature, with artefacts and excerpts from the operas, and presented live in connection with the public defense of the thesis in 2022 at the Academy of Music and Drama in Gothenburg. This online resource functions as an archive of information about the operatic works and their performances, both for those attending the performance/exhibition in Gothenburg, and for those wanting to learn about the project without experiencing this event.
ON THE EMERGENCE OF AN ENTITY OF ENTROPY v.0.7.3
(2021)
author(s): Udo Maria Fon
published in: Research Catalogue
The last decades have shown that the human sensory system is hardly able to process not local events without technical support. And with technical support, the amount of collected data worldwide, can not be worked up by a single human brain. So either the human sensory organs are not designed to see what is going on in the world, or the human brain is not designed to process this vast amount of data.
Is there a common denominator of perception and cognition existing? Or is the view of the world always scattered?
In this social cognitive concept, specific scientific phenomenons are scaled to social interactions. And describes the interaction of individual and collective perception as co-creation of specific rooms of perception.
Coded Perception: 'Out of the Corner of One's Eye'
(2021)
author(s): Mike Croft
published in: i2ADS - Research Institute in Art, Design and Society
The exposition concerns how aspects of perception, mainly visual but not excluding other senses, are encoded within the artist’s drawing-based practice. Such coding is increased due to the artist's use of speech and its recording to eventually produce textual transcripts, and video evidence of the process of drawing while drawing. More inclusively stated, the artist’s practice oscillates between visual and linguistic means, and analogue and digital methods. As research, the exposition questions where and how coding is implicit in the artist’s perception during his approach to his work. Such questioning is enabled by a split between the artist in his reflexive involvement presented as speech transcripts and supporting screenshots from the video recording, and his reflective observation on the content of the transcript as if made by another-person interlocutor. The exposition is presented as a textual introduction and conclusion, between which is access to the full audio-visual recording of the drawing process and a flip-book presentation of the transcript and interlocutor interventions. The exposition's main image is the artist's finished drawing.
BRIEF HISTORY OF PERCEPTION
(2021)
author(s): Udo Maria Fon
published in: Research Catalogue
Even if this brief historical outline of perception is structured chronologically as far as possible, it is difficult to describe the variety of parallel events. This overview, therefore, makes no claim to completeness. It demonstrates that after the establishment of technical aids for the expansion of human perception, phases of an intensive exchange of information begin. This allows existing structures to be viewed and reflected on in a new way. But this does not mean the end of the world in any way. Only the end of an outdated worldview. And that means a new beginning.
Art and Material
(2020)
author(s): Michael Kargl
published in: University of Applied Arts Vienna
This exhibition discusses the question of what the term material means in relation to artistic work. Starting from a classical understanding that describes the materials of art only retrospectively, the exhibition explores the impossibility of understanding material as something separated from the artist and the working process, and thus as something that can be definitively named. Rather, it is proposed to understand material as something that is subject to constant change and exists as such only at the moment of its comprehension as material. The concept of material thus changes from a fixed fact to a concept of a relational process.
The event of disorientation: artistic methods of immanent critique
(2019)
author(s): Scott Andrew Elliott
published in: RUUKKU - Studies in Artistic Research
Through stories recounting experiences of disorientation and the process of reorientation, potentials are found for rethinking our relation to built surroundings. Engaging with art historical examples of architectural art installations that use methods repetition and replication, disorientation is approached as a catalyst for a process of ‘immanent critique’. This presents a way to critically engage with and inflect what is happening in the moment while remaining within the immediacy of that moment. This holds the potential for a participant in the event to inflect the event with one’s own implicated agency. The unfolding event is redirected, and novelty can emerge.
The artworks of Mike Nelson, Gregor Schneider and Glenn Seator are discussed as sharing methods of artistic practice that catalyse immanent critique through their disorienting installations. Through a discussion of a selection of art installations, this paper proposes how employing methods of architectural repetition or doppelgängers can result in a catalytic disorientation. It is within this experience or event of disorientation that an immanent critique can take place, and where potentials for change can be taken up.
Human Speed in Music
(last edited: 2023)
author(s): Ned McGowan
This exposition is in progress and its share status is: visible to all.
Despite the ubiquitous role of time in most everything we do there is still much to understand about its essence as a function of human perception. One way to learn about the cognisance of time is simply by listening to music. The rhythms, sounds, and silences of music are jacketed by the human condition. The expansive identity of time with its major implications in the realms of science, philosophy, and religion, tells little about our immediate experiences in music. The concept of speed, though, is full of enlightening character.
In this essay, I explore the experience of speed in music with an artistic research methodology. Based on my artistic and pedagogic experience, the arguments consider areas of performance, composition, and perception, and references are made to neurobiological research. A multitude of perspectives are presented here, such as an explication of speed, a study on tempo 10 bpm, the relationship between emotions and our perception of the speed of time, plus many musical examples, including compositions, tests of duration and maximum speed perception and a full range of musical speed.
The goal is to reveal properties about musical speed to provide a clearer concept for the reader to experience, interpret and conceptualize for herself.
Forma
(last edited: 2023)
author(s): Ana Miriam Rebelo
This exposition is in progress and its share status is: visible to all.
"Forma" is a visual inquiry on the limits of perception and understanding. It is about the moments when it seems we can grasp, understand, but the truth eludes us. About the hesitant movement that comes with this moment, about that mystery. Weight, strangeness, loneliness. Enchantment, silence, and a promise of something hidden, something that is far away, either too big or too small. About our perception and understanding of space. What is the void, what exists between things, what separates or unites them? Trying to show space, imagining shapes. In search of that emptiness, I found other things difficult to see, opaque things, abysses, darkness and too much light. I keep looking, in the night, in the snow, in the fog.
Animated Ecology
(last edited: 2023)
author(s): Lina Persson
connected to: Stockholm University of the Arts (SKH)
This exposition is in progress and its share status is: visible to all.
In these works I have explored how I can relate to my environment through my daily practices of teaching, eating, animating etc. I begun the project by improvising lectures for various audiences I wanted to have input from. I have lectured to all possible enteties in the ecosystem I am a part of, from blueberries to colleagues to films. Every time something new continues to take shape. The exposition include essays, paintings and animations.
A Change in Perception
(last edited: 2022)
author(s): Garry Barker
This exposition is in review and its share status is: visible to all.
An artist’s narrative that sets out to introduce the starting point for a new body of evolving work that will grow out of an interrogation of somatic perception and interoception.
As the corona virus pandemic emerged the artist Garry Barker had just been given a commission to develop a series of playing cards that were designed to help people develop conversations about their bodies. However lockdown prevented many proposed activities taking place, initial packs of cards were produced but they couldn’t be used to play the suggested games, and the artist was asked if he could develop an online version. The artist’s research then began to change direction and questions were asked about the nature of perception itself, the body and somatic awareness. Research was refocused on inner body perception and neuropsychology and associated drawings were made in response to a growing awareness of internal body schemas, together with visualizations of relationships between interoception and exteroception. Gradually what emerged was the artist’s realization of how important his own imagination was in building images of how we feel about our inner bodies.
PhD - architectures of speed
(last edited: 2017)
author(s): Ned McGowan
This exposition is in progress and its share status is: visible to all.
In 2016 I began work on a PhD at Leiden University / Orpheus Institute via DocARTES program. Supervisors: Henk Borgdorff, Marcel Cobussen and Richard Barrett.
Architectures of speed: reinventing the tools, functions and potentials of speed within rhythmical frames in music.
The speed of rhythms in live acoustic music, literally the velocity at which notes are sounding, can be defined in absolute terms based on clock time. But there is also the perceived speed that, in the simplest terms, states that musical material can seem fast, slow or some other relational quality.
Speed is articulated by sounding rhythm. Rhythms, however, manifest themselves through a myriad of various implicit and explicit frames, depending on the musical context, including tuplets, meters (traditional and "irrational"), tempo, polytempos, pulses, polypulses, polyrhythms (superimposed frames), additive frames, divisive frames, metric modulation, time brackets and other structures. Through analysis and composition this PhD will research the current practice, precise identities and possibilities of the various time frames in music and the bearing they have individually and in combinations on the speed of the music.
Much research has been done to better understand the emotional experience of music; from the philosophical, artistic, psychological, and statistical approaches. In this research we conduct a cross-domain experiment based on those four disciplines, to further understand the factors that influence the emotional perception of music; and in particular the difference between the artist’s emotional conception and the audience’s perception. In the experiment we train a novel model of an Artificial Neural Network, to predict the perceived emotion from a short musical phrase. We then feed the machine curated input, which simulates artistic choices, to explore its most significant factors in determining the perceived emotions. In the conclusion we describe the results, as well as the possible follow-ups to the experiment, such as an emotional expression training tool for musicians.open exposition comments (1)
Archie Reid (i(e)l) explore une pratique expérimentale du rapport à ses perceptions. Par une approche de l’hybride et des multiples (mad, trans, non-binaire, gender hacker), ses expérimentations du posthumain déconstruisent et reforment, par la méta-cognition, une exploration transformative de soi, des sens et des synesthésies.open exposition comments (0)
The last decades have shown that the human sensory system is hardly able to process not local events without technical support. And with technical support, the amount of collected data worldwide, can not be worked up by a single human brain. So either the human sensory organs are not designed to see what is going on in the world, or the human brain is not designed to process this vast amount of data. Is there a common denominator of perception and cognition existing? Or is the view of the world always scattered? In this social cognitive concept, specific scientific phenomenons are scaled to social interactions. And describes the interaction of individual and collective perception as co-creation of specific rooms of perception.open exposition comments (0)
Even if this brief historical outline of perception is structured chronologically as far as possible, it is difficult to describe the variety of parallel events. This overview, therefore, makes no claim to completeness. It demonstrates that after the establishment of technical aids for the expansion of human perception, phases of an intensive exchange of information begin. This allows existing structures to be viewed and reflected on in a new way. But this does not mean the end of the world in any way. Only the end of an outdated worldview. And that means a new beginning.open exposition comments (1)
This exhibition discusses the question of what the term material means in relation to artistic work. Starting from a classical understanding that describes the materials of art only retrospectively, the exhibition explores the impossibility of understanding material as something separated from the artist and the working process, and thus as something that can be definitively named. Rather, it is proposed to understand material as something that is subject to constant change and exists as such only at the moment of its comprehension as material. The concept of material thus changes from a fixed fact to a concept of a relational process.open exposition comments (0)
"Forma" is a visual inquiry on the limits of perception and understanding. It is about the moments when it seems we can grasp, understand, but the truth eludes us. About the hesitant movement that comes with this moment, about that mystery. Weight, strangeness, loneliness. Enchantment, silence, and a promise of something hidden, something that is far away, either too big or too small. About our perception and understanding of space. What is the void, what exists between things, what separates or unites them? Trying to show space, imagining shapes. In search of that emptiness, I found other things difficult to see, opaque things, abysses, darkness and too much light. I keep looking, in the night, in the snow, in the fog.open exposition comments (0)
In these works I have explored how I can relate to my environment through my daily practices of teaching, eating, animating etc. I begun the project by improvising lectures for various audiences I wanted to have input from. I have lectured to all possible enteties in the ecosystem I am a part of, from blueberries to colleagues to films. Every time something new continues to take shape. The exposition include essays, paintings and animations.open exposition comments (0)
Work in progressopen exposition comments (0)