Magic and sorcery as creative methodology
(2024)
author(s): Carolina Albuquerque
published in: Research Catalogue
Studies in art production using sorcery, magic and rituals to access the unconsciousness and engage art production and performances. As part of the PhD research and as result of the class of Actual Thought in Arts, this publication aims to demonstrate the possibilities of utilizing ancestral practices to contribute to the creative process. To achieve this, themes such as the unconscious, magic and sorcery, mythology, and decolonialism are intricately connected to the development of art and performance in this context. There is no way to disconnect one area from the other. When discussing magic, it is essential to understand the reasons for its marginalization. Magic has been utilized in numerous rituals, and rituals can be viewed as performances of artistic actions that permeate our unconscious.
Seminar – Of Artistic Research: considered through hybrid writing and visual practice
(2023)
author(s): Mike Croft
published in: i2ADS - Research Institute in Art, Design and Society
The exposition involves the adaptation of the psychoanalyst Jacques Lacan's logical square, to convey an idea of artistic research practice considered from the perspective of the human subject's position in its midst. As part of the discussion the author has used some evidence of a previous lecture presentation, integrating such material with that of a newer project concerning the visualization of a nightmare image of a phantom in a portal. The tools of the research are a hybrid form of writing that embroils fictional and academic modes as a language-based practice, and visual artistic practice. The author takes Lacan's idea of the confounding of any logical argument by automatic obfuscation of it by unconscious process, and imagines that he has an other to him as a subjective second voice. The question of voices is central to the research; the suggestion that one does speak to oneself in various ways simultaneously that may be fashioned as distinct and separate. It is argued that the research aspect of artistic practice involves just a section of Lacan's logical square, particularly concerning contingency. This orientation may call to question one's tendency to reason and find meaning from the necessary locus of inquiry from the vantage-point of the language-based Symbolic – of Lacan's three psychic structuring registers Imaginary, Symbolic, Real. The element of fiction provides a literary inclination whereby, while the artistic research speaks about itself as research and references a visual practice, the exposition could also be considered a language-based practice in its own right.
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.
Studies in art production using sorcery, magic and rituals to access the unconsciousness and engage art production and performances. As part of the PhD research and as result of the class of Actual Thought in Arts, this publication aims to demonstrate the possibilities of utilizing ancestral practices to contribute to the creative process. To achieve this, themes such as the unconscious, magic and sorcery, mythology, and decolonialism are intricately connected to the development of art and performance in this context. There is no way to disconnect one area from the other. When discussing magic, it is essential to understand the reasons for its marginalization. Magic has been utilized in numerous rituals, and rituals can be viewed as performances of artistic actions that permeate our unconscious.open exposition comments (0)