We Invite You To Sleep With Us
(2024)
author(s): Kimey Peckpo
published in: Research Catalogue
As a child my father sung me to sleep with folk songs weaving pain, desire and death. This milieu was comforting and his circumstantial act (not a decision) shaped my sense that songs are a technology of meaning. Is meaning a word for perceiving the story with ourselves as a part of it? Plato told a story about how the dialectic will separate us from becoming a part of the cosmos. F. Scott Fitzgerald told a similar story about a man bound to an idealised concept of beauty who cannot find his way back to the cosmos of feeling. He cannot emerge into the pragmatism of what Catherine Malabou calls the “one life only”. A N Whitehead describes this as the event of the past emerging into the present into the future. Using song, I speculatively invite attendees to experience meaning inside the event.
As a researcher drawn to Barad’s ideas of the intra-relational, I feel stories are the cosmos expressing itself. In stories, as with Plato’s Republic, we can accidentally describe the problem. Fred Moten is clear on how maintaining a reciprocal assemblage methodology in the lyric creates an ability to “stay with the problem”,
“Let’s call it the scene of empathy. Lets call it the hesitant sociological scene. The scene of the in calculable rhythm. It is a scene neither of subjection nor objection. Looking with this hearing is a kind of building with or bearing.” (2017)
My research, along the song lines of Whitehead, Moten, Deleuze and Guattari et al, has arrived in the region of singing in academia. I enjoy the irony of Katherine Rundell concluding in her essay in defence of books that when you make them inaccessible to a child,
“you cut them off from the song that humanity has been singing for thousands of years… To fail to do everything we can to help children hear that song is a stupidity for which we should not be forgiven.”
We Invite You To Sleep With Us because my father’s songs were a gateway to the somatic experience of sleeping, a region where we are once more a part of.
FORO NO.2 NODOS ACTIVOS (2023): Artistic Research Through Playing (2023)
(2023)
author(s): Yamil Hasbun Chavarría, Pamela Jiménez Jiménez
published in: Research Catalogue
Systematization of the experiences lived in a space for reflection and dialogue between teachers, researchers and students from various artistic and design fields around the theme “artistic research through playing”.
The games implemented in this forum are the culmination of an extensive design and planning process summarized in a second exposition in this catalog titled DESIGN OF GAMES AS ‘HANDS ON RESEARCH TOOLS’ FOR FORUM No.2 NODOS ACTIVOS: 2023’ (
https://www.researchcatalogue.net/view/1920338/1920339)
This exhibition recounts the experience of playing those games during the month of October 2023, in the facilities of the Center for Artistic Research, Teaching and Extension (CIDEA) and their surroundings, where the four schools of arts and design of the University come together: School of Art and Visual Communication (EACV), Performing Arts (EAE), Dance School and Music School.
Aside from the researchers in charge of the Nodos Activos project, the creative team in charge of the development, design and ‘put to practice’ work implicit in all these research tools/games included EACV students Karolay Mendoza Castrillo, Marian Casanova Guzmán, Iván Sibaja Segura, and Nicole Barboza Alvarez; and EAE student Adrian Campos Chaves.
Breathing into the Ecological Trauma: The Case of Gruinard Island
(2020)
author(s): Christoph Solstreif-Pirker
published in: Journal for Artistic Research
With the performative investigation of Gruinard Island, Scotland, an exemplary non-site of anthropocenic extinction, this research exposition aims for alternative ways of encountering space in the midst of the present ecological crisis. The research exposition suggests an inclusive way of breathing, thinking, and living that merges “with experience, art, ethics, technology, mysticism, science, etc.” (François Laruelle: Principles of Non-Philosophy).
Facing our own imminent extinction, ecological thought can no longer fall back on ideologies toward-death but has to investigate how the immediacy of our planetary all can be encountered in the fullness of its ambivalence. With this affirmative approach, a feminine, birthing approach unfolds, that makes the otherness of the environment an ally for forging practices of vibrant becoming, political responsibility, and mutual trust.
Performative Symposium for Ecological Spectatorship
(2018)
author(s): Juriaan Achthoven, Rhian Morris
published in: Research Catalogue
This page consists of the program of the Performative Symposium for Ecological Spectatorship, that took place on the 16th of October in Het Huis Utrecht.
***
The symposium is organised by Gaia’s Machine: an upcoming artistic research collective exploring the intersection between art, technology and nature. Aims for the symposium are:
- Exchange knowledge between arts and sciences leading to a cross-fertilization of ideas and practices related to ecological spectatorship
- Reflect on our positioning as young artists & scientists at a time of ecological crisis
- Open a space for a young generation to question our responsibility and to explore potential methods of moving forward
The term ecological spectatorship draws awareness towards humanity’s entanglement within an ecological web. We approach ‘ecology’ from an ethical perspective, addressing the responsibility we have as a human species in relation to the earth (our oikos). Furthermore, we focus on ‘spectatorship’ – a branch within theatre studies that is concerned with the relation between makers and performers and the audience. We emphatically include the spectator in the performative space. Ecological spectatorship expresses a concern that in our view is not only relevant for theatre makers but also for politically engaged scientists.
In the symposium we will not only take the placement of the spectator into account but we will allow the spectator to become actively engaged in making sense of ecological spectatorship. We are keen to create ample space for the audience to reflect on their experience and to open an exchange of knowledge between both objective and embodied knowledge, and between the collaborators as well as the audience.
We will be researching the proposition of ecological spectatorship through the form of a performative symposium – a play on the traditional form of the symposium by making it both artistic and participatory.
Periphrasis (for a ditto, ditto device)
(2017)
author(s): Franz Thalmair, Michael Kargl
published in: University of Applied Arts Vienna
Periphrasis (for a ditto, ditto device) is an experimentally designed scenario in the draft stage, a think-tank and rehearsal for a future exhibition—but Periphrasis (for a ditto, ditto device) is also an exhibition in itself. Starting from the idea of the copy as a nowadays omnipresent yet more and more invisible artistic practice and form, seven Austrian and international participants discuss different strategies of appropriation. At the center of this public reflection on methodologies is the potential of the act of copying, its generative force and mimetic productivity. The purpose of this test setting is to collect current copying methods and to analyze their modes. By subjecting the copy to the act of copying again, new copying techniques will derive from this process, creating a research loop that is self-reflective and auto-generative at the same time.
Material in the artistic process
(2017)
author(s): Michael Kargl
published in: University of Applied Arts Vienna
The materials used in a work of art are not necessarily determined from the start. The contemporary artistic work process involves a great deal of experimenting in order to arrive at the most suitable material to realize an idea. In this test phase one also risks altering the complete work, its parameters, characteristics, and not least its final appearance. This process of material-based transformation has a two-fold effect: first, on the artwork itself (its haptic conditions), and then on its perception, which in turn influences the specific form of aesthetic recognition actuated by the artwork.
PERFORMING WORKING PD HKU
(last edited: 2026)
author(s): Philippine Hoegen
This exposition is in progress and its share status is: visible to all.
Performing Working is an ongoing doctoral project by artistic researcher Philippine Hoegen at the University of the Arts Utrecht. The project explores the performativity of work, with particular attention to undervalued, hidden, and unwaged forms of labour. Hoegen's artistic practice is grounded in performance, approached both as a way of thinking with, through, and from the body. Methodologically, the project builds on traditions in performance research that treat artistic practice itself as a mode of inquiry, where making, documenting, and reflecting intertwine. This orientation frames performance not only as a method but also as a field with its own resources for generating and sharing knowledge, and as a discipline with its own creative, infrastructural, and relational tools.
MA seminar on Artistic Research-25
(last edited: 2026)
author(s): Geir Harald Samuelsen
This exposition is in progress and its share status is: visible to all.
MA Seminar – Reflection and Method in Artistic Research
This MA seminar explores how reflection and method intertwine in artistic research. Through a series of presentations and discussions, the seminar examines how artistic processes can generate knowledge and how this knowledge may be articulated and shared.
Invited speakers – Marsha Bradfield (Central Saint Martins, London), Sergej Tchirkov (University of Bergen) and Jostein Gundersen (University of Bergen) – each present distinct approaches to artistic research, spanning visual art, music, and interdisciplinary practice. Their contributions highlight the diversity of methods and the critical importance of situated reflection within creative practice.
The seminar concludes with a collective panel conversation focusing on how artistic research can balance openness and rigour, intuition and analysis, collaboration and individual voice.
LGP Performative method
(last edited: 2025)
author(s): Lorena Croceri
This exposition is in progress and its share status is: visible to all.
LGP Performative Method
Embodying Creative Transitions Through Project-Based Immersion
The LGP Performative Method is a transdisciplinary support system designed for artists, entrepreneurs, and hybrid professionals navigating complex creative transitions. Rooted in performance, psychoanalytic insight, and ritualized thinking, the method invites participants to engage deeply with their emotional landscape and personal image as they develop projects that are both intimate and public.
This article presents the conceptual pillars and the evolution of the method through performative installations, site-specific experiments, and testimonial archives. Unlike coaching or therapy, LGP works by immersive presence and symbolic acts that reorient the practitioner in relation to their project, their desire, and their audience.
With a focus on Erotic Leadership, Liminal Psychoanalytic Fashion, and Project Reconfiguration, the method offers a dynamic toolkit to support non-linear processes and facilitate creative emergence. The piece includes visual documents, field notes, and reflections on what it means to be a body-in-process building something real.
4 sides of a triangle
(last edited: 2023)
author(s): Marjolein Wagter
This exposition is in progress and its share status is: visible to all.
Abstract,
this research was done in the context of the master COMMA, master in choreography for dance, circus and community arts.
Being a performer in outdoor circusarts, I am used to start a creation with an idea for an object, in this case a mobile triangle for aerial performance. I asked my self the question: ‘how to let meaning arise through the practice of creation, using ‘the other’ by listening to reflections and reactions during the creation process.
Breaking boundaries with the audience and ask for feedback during the creation process to get informed about the meaning of the piece is the approach I use
I am interested in how much of influence on the meaning of the piece is the material, the object we work with in itself? I decided to not know what the performance is about until the presentation in May.
GLORIES TO NOTHINGNESS: A Music Research Seminar honouring Accademia degli Incogniti and Claudio Monteverdi
(last edited: 2020)
author(s): Elisabeth Laasonen Belgrano, Päivi Järviö, Johannes Boer, Dinko Fabris, Mauro Calcagno, Björn Ross, Charulatha Mani, Elisabeth Holmertz
This exposition is in progress and its share status is: visible to all.
A Music Research Seminar
honouring Accademia degli Incogniti
and Claudio Monteverdi
Palazzo Grimani, Venice
15 June 2017
Nordic Network for Early Opera and Nordic Network for Vocal Performance Research, in collaboration with Scuola di Music Antica Venezia, are delighted to invite you for a performance seminar in Venice 15 June around the theme of vocality, music drama and the vibrant intellectual / artistic scene in Venice around Monteverdi and Accademia degli Incogniti. The idea comes from a desire to offer a fringe-event / sub-encounter / prologue for (among others) participants of the two symposia co-happening in Venice 16-17 June: The Foundazione Cini conference on Monteverdi (16-17 June) and the symposia "Encounters, Discussions, Experimentations: Art, Research and Artistic Research in Music”, the Research Pavilion of the University of the Arts Helsinki, Venice Biennale 2017 (16-17 June)
We are also hoping to meet anyone interested to explore the fairly new academic field of Artistic Research.
Time:
15 June 2017
15:00-18:30
Venue:
Palazzo Grimani, Ruga Giuffa off Campo Santa Maria Formosa, Venezia,