Here I want to be - Wandering through poetic fieldnotes
(2024)
author(s): Amba Klapwijk
published in: KC Research Portal
In this research I explore how writing poetic fieldnotes relates to my (compositional) practice. I examine a method of repeatedly visiting the same locations, wherever I am at the time, and writing about and reflecting on those situations and places when I'm there. Through this process of exploring and returning I hope to wander into ideas, connections, or otherwise inspirations for my practice.
Rewritable Creatures. Correspondence between Daniel Aschwanden, Vera Sebert and Lucie Strecker on Mimesis and Hybridity in Choreography
(2023)
author(s): Lucie Strecker, Vera Sebert
published in: University of Applied Arts Vienna
Lucie Strecker (Angewandte Performance Laboratory and Department of Art and Communication Practices) reveals the artistic working process preceding a production with the contribution "Rewritable Creatures", reflecting on mimesis and hybridity in choreography through an exchange of letters with the late performer Daniel Aschwanden (Angewandte Performance Laboratory and Department of Art and Communication Practices) and the author Vera Sebert. As the three letter-writers search, speculate and ask each other questions, the text becomes a written performance, revealing an immediate, polyphonic approach to the subject that allows readers to become part of the performance. In this way, processes of hybridisation become manifest in writing. The performance, however, cannot be completed; Aschwanden’s sudden death interrupts the text, turning the contribution, in a sense, into a memorial to an artist, friend, and colleague and the readers into witnesses.
The Theatre of Words Set to Music
(2022)
author(s): Lars Skoglund
published in: Norwegian Academy of Music
This doctoral project in artistic research concerns the relationship between music and text when both are created by the same person: a composer writing his own libretti. The project is situated in ‘the everyday’, with commonplace language and daily life situations being examined and explored both thematically and as material.
The combination of music with other elements on the stage has resulted in pieces of music theatre, with a focus on different forms of storytelling. The reflection given withing this exposition describes how the works have evolved and discusses the different impulses that have led to specific artistic and ethical choices.
This exposition is presented in partial fulfillment of the Ph.d.-programmet i kunstnerisk utviklingsarbeid at the Norwegian Academy of Music.
Coming Slowly to Writing with the Earth, as an Earthling
(2021)
author(s): Hanna Guttorm
published in: RUUKKU - Studies in Artistic Research
This article illustrates the slow coming to writing with the Earth inspired by both Indigenous ontologies and artistic research as well as post humanist, poststructural and new materialist theories. How does my thinking-feeling-sensing-moving body-mind-language become, or always already is, an Earthling, a habitant of this planet, in the era of super-complexity, in the need of turning the gaze towards the more-than-human(ist)? And were does this becoming/being (conscious) take this “me”? And how does writing and thinking emerge, when one has been waiting long enough?
Choreo-graphic Figures: Scoring Aesthetic Encounters
(2019)
author(s): Emma Cocker, Nikolaus Gansterer, Mariella Greil, Simona Koch
published in: Journal for Artistic Research
We have developed this exposition for ‘scoring an aesthetic encounter’ with the multimodal (visual, textual, sonic, performative) findings from Choreo-graphic Figures: Deviations from the Line, an artistic research project by Emma Cocker, Nikolaus Gansterer and Mariella Greil. Choreo-graphic Figures stages a beyond-disciplinary encounter between the lines of choreography, drawing and writing, for exploring those forms of knowing-thinking-feeling produced in the slippage and deviation when different modes of practice enter into dialogue, overlap and collide. Within this exposition, our aim is not to present an exhaustive account of the Choreo-graphic Figures project. Rather, we seek to test the specificity of this online context for extending our investigation through the following questions: how can we create a digital archive capable of reflecting the durational and relational aspects of the research process, a mode of online dissemination that enacts something of the liveness or vitality — the energies and intensities — within collaborative live exploration? Beyond the limitations of the static two-dimensional page, how can an enhanced digital format enable a non-linear, rhizomatic encounter with artistic research, where findings are activated and navigated, interacted or even played with as a choreo-graphic event?
We have modelled the exposition on the experimental score system developed within our research project, for organising our process of aesthetic enquiry through the bringing-into-relation of different practices and figures. The score is approached as a ‘research tool’ for testing how different practices (of Attention, Notation, Conversation, Wit(h)nessing) can be activated for sharpening, focusing or redirecting attention towards the event of figuring (those small yet transformative energies, emergences, and experiential shifts within artistic process that are often hard to discern but which ultimately steer the evolving action) and the emergence of figures (the point at which the experience of ‘something happening’ [i.e. figuring] coalesces into recognisable form).
Within this exposition, our research can be encountered experientially through → Playing the Score, whilst the → Find Out More section contains contextual framing alongside conceptual-theoretical reflections on the function of our score and its ecology of practices and figures.
Various Writings: Chapter One
(2018)
author(s): Dion Star, Lizzie Ridout, Maria Christoforidou
published in: RUUKKU - Studies in Artistic Research
VARIOUS WRITINGS: CHAPTER I
There are rumours that writing will cease, books will die, the digital eye will take over. Standing at the edge of this precipice we look away from these preoccupations. Instead we look back, investigating the act of writing through systematic consideration, attempting to disregard all preconceptions. This exposition focuses on the gestural and uses Vilém Flusser’s concept of ‘pseudo writing’, to analyse the interaction between the physical actions and the technologies of writing.
The first act of Various Writings’ was a response to Vilém Flusser’s text The Gesture of Writing. This text radicalised our ideas on what constitutes research and thematised the conditions of sharing in ‘other’ terms. Flusser meticulously disassembles the act of writing. We follow in his footsteps, using personal mythologies, Oulipian constraints / translations, taxonomies and non-verbal conversations as implements to excavate relics of writing. We collect codes, tools, surfaces; test writing against various technologies and translate it into movements, attitudes and objects.
Writing the Ephemeral. John Cage’s Lecture on Nothing as a Landmark in Media History
(2017)
author(s): Simon Aeberhard
published in: Journal of Sonic Studies
John Cage’s Lecture on Nothing is one of his early, legendarily forbidding speeches first held in 1950. The score of the lecture can be understood as a reaction to one of the most momentous cuts in twentieth century’s media history. Cage’s lecture overtly responds to the establishment of the electromagnetic recording, storing and distributing of acoustic material after World War II by reflecting on these technical developments. The text, however, also accurately and subtly reacts to the profound destabilization of the relationship between literacy and orality triggered by these inventions by applying new methods of writing.
Seen as such, the Lecture on Nothing can be connected to Cage’s electronic music on audiotape, Williams Mix for example, and his elaboration of 4’33”, which forms the basis of his “silent pieces.” What unifies these three contemporaneous, but essentially different, works is their thought-provoking semantic emptiness. This article argues that these works are best understood as an artist’s quest for an adequate semiotic means of writing an aural event after electroacoustic media have become widely accessible.
The Rembrant Search Party
(2016)
author(s): Jean-Marie Clarke
published in: Journal for Artistic Research
The object of my research involves an elementary particle of meaning: a letter of the alphabet. The claim that a single letter can make to meaning is clear in the case of an initial—which is usually a single, capital letter—and even more so when this initial appears in the context of a signature. Specifically, my research deals with the initial letter "R" used by the 17th-century Dutch painter Rembrandt Harmenszoon van Rijn (1606-1669) in his signatures.
The meanings that an initial letter can mediate are not limited to identification and references to a full name. Letters of the alphabet, while being basic verbal units, have visual, not to say pictorial features. All by itself, a letter is not yet a word or phoneme. It exhibits the formal characteristics of a sign, grapheme, symbol. Many of the major writing systems in the world—phonetic or not—were derived from pictograms, from representational pictorial symbols. We all learned to write by drawing letters before combining them into words.
The pictorial history of letters and writing (then printing) has been ignored by mainstream art history, which has devoted its attention to works of "high art," like painting. At what scale does an intentionally-made visual form become pictorially significant? The pictorial component is obvious in calligraphy and typography, even if only to a specialized audience. But there is a blindness relative to letter forms, such that, for example, few readers are aware of the shapes of the type or handwriting they are reading. This blindness is all the more surprising considering the fact that even phonetic writing was a visual achievement: the rendering of speech visible.
Given this, the traditional opposition between the verbal and the visual, between word and image, needs to be reconsidered in terms of vision coupled with blindness. Vision, because eyes read texts and see pictures. Blindness, because in both cases the medium—print or paint—is overlooked. I postulate this seeing/not-seeing paradox as a principle of vision-based works that could be summarized by the word overlooking. This ambiguous term can mean both "not seeing things" and "seeing things." Often, we end up either not noticing certain things or "seeing things" by virtue of looking too much: this is a basic risk in research of any kind. In reference to Edgar Allan Poe's famous detective tale, The Purloined Letter (1844), which provides a paradigmatic case of overlooking, I like to call it the "Purloined Principle."
Given the pictorial significance of a letter of the alphabet, a study of Rembrandt's signature—the graphic sign of his identity—will reveal that it may be considered as a historical, existential and esthetic document in its own right.
In and out of memory: exploring the tension when remembering a traumatic event.
(2015)
author(s): Anna Walker
published in: Journal for Artistic Research
The modernist approach to trauma points to an occurrence that demands representation and yet refuses to be represented (Roth 2012: 93); the intensity of the experience makes it difficult to remember and impossible to forget, making any form of recollection inadequate. This exposition explores the repetitive and unresolved notion of trauma using 11 September 2001 as the entry point to navigate a pathway backward into the past and all that was remembered, and uncovers what was forgotten in an effort to lay a traumatic memory to rest. The research began with a journal written on the day of and days following the disaster, which up until a couple of years ago remained closed and unread. Personal remembering is layered upon a well-established collective memory of the event and a vast array of literature, art, and theory written in response to 9/11.
Choreo-graphic Figures: Beginnings and Emergences
(2015)
author(s): Emma Cocker, Nikolaus Gansterer, Mariella Greil
published in: RUUKKU - Studies in Artistic Research
Choreo-graphic Figures: Beginnings + Emergences
Choreo-graphic Figures: Deviations from the Line is an interdisciplinary research collaboration involving artist Nikolaus Gansterer, choreographer Mariella Greil, and writer-artist Emma Cocker, for investigating the nature of ‘thinking-in-action’ or ‘figures of thought’ produced as the practices of drawing, choreography and writing enter into dialogue, overlap and collide.
Central is an attempt to find ways of better understanding and making tangible the process of research ‘in-and-through practice’ — the unfolding decision-making, the thinking-in-action, the dynamic movements of ‘sense-making’, the durational ‘taking place’ of something happening live — and for asserting the epistemological significance of this habitually unseen or unshared aspect of the artist’s, choreographer’s or writer’s endeavour.
Our research enquiry unfolds through two interconnected aims: we are interested in the nature of ‘thinking-feeling-knowing’ operative within artistic practice, and seek to develop systems of notation (and exposition) for sharing and reflecting on this often hidden or undisclosed aspect of the creative process. Through this specific exposition — Beginnings and Emergences — our intent is to share findings from the prologue phase and year one of our three-year research project Choreo-graphic Figures: Deviations from the Line, during which we have explored how various processes of ‘beginning’ performed within live artistic activity might create the conditions for processes of emergence to arise. The intent is to share some of the ‘figures’ developed within this research project for articulating ‘beginning’ within a collaborative artistic process (e.g. Figure of Circulation, Figure of Shared Vibrations, Figure of Clearing, Ordering and Emptying Out, Figure of Touch and Reaching Towards the Other), alongside reflecting on and attending to the process of emergence within artistic labour itself – a process we have called ‘figuring’. Figuring – we use this term to describe those imperceptible or barely perceptible movements and transitions at the cusp of awareness within the process of “sense-making”: the moments of revelation, epiphany, synchronicity, of change in tack or direction or pace, the decision to stop, do something different, begin again. Figuring manifests within those threshold moments within the creative process that are often hard to discern but which ultimately shape and steer the direction of the evolving activity. Our research involves cultivating practices of attention (a perceptual heightening, hyper-sensitizing, sharpening of alertness) for noticing these emergent figurings within the process of creative activity, and devising systems of notation for identifying, marking and even tentatively naming these processes of emergence.
In developing this exposition, our intent has been to remain faithful to the process of investigation itself. Rather than being conclusive, our exposition reflects the process of its own production; itself a diagramming of the multiple and at times competing forces and energies operative within the process of artistic collaborative practice. We propose an exposition that unfolds less as the linear explication of a process, but rather — like artistic process itself — more as an assemblage of overlapping and concurrent components, where attention shifts between the textual and the visual, between what is sayable and what is shown.
Unspeakable Dialogues: Writ in Rock
(last edited: 2024)
author(s): Rolf Hughes
This exposition is in progress and its share status is: visible to all.
Positioning the locus of writing beyond the human, this presentation questions our anthropocentrism by drawing on the notion that traces of worlds in motion create recognisable details (forms of writing) that can be read if we pay them the appropriate care and attention. Such issues are essential in our greater literacy for ecological thinking, and actions capable of engendering life-promoting practices. How we may read the writing of the more-than-human realm is not just essential for our own understanding but a communications issue in search of a better relating to a changing reality. Raising questions about the recognition of the “other,” the attention paid to atypical subjects and an ethics of care for those we do not easily understand, are subjects for broader discussion with respect to artistic research in assessing and deciding what kind of writing works and is valuable in artistic research undertakings. Writing is thus conceived as an ethical undertaking rather than a purely formal concern. Our chosen forms of writing direct questions to the critical objectives of artistic research that is ecologically focussed, de-centring the human subject, and inviting new engagements through writing that can be presented in artistic research contexts and publications.
This video was presented at the CARPA 7 conference (2021) on "Elastic Writing" (for theme 2: Dis[guised] Writing).
CHOREOGRAPHIC TOOLBOX #1: METAMORPHOSES
(last edited: 2023)
author(s): Janne-Camilla Lyster
This exposition is in progress and its share status is: visible to all.
Choreographic Toolbox #1 is a collection of tools for imagining. It offers analogue technologies that can act as an expanded imagination. As a single user, you can work with them in between productions or processes, with the purpose of sparking new notions and material connections. The tools can also be used by two or more people, side by side, collectively, or as part of a specific process. They are an invitation to engage in exercises and procedures for creation, exploration, and reflection. This publication is a consequence of the author’s continuous excitement for the prefigurative phase of creation: where things are moving from nothing to something.
Unrevealed Revelations: Philbert-Kalinda Technique for dance and performance
(last edited: 2023)
author(s): Jamie Philbert
This exposition is in progress and its share status is: visible to all.
This essay provides an introduction to Kalinda and Philbert-Kalinda Technique for dance and performance. It explores the tradition of Kalinda, a sacred martial tradition in Trinidad and Tobago in relation to the creation of a multi-modal pedagogy and performance practice rooted in its form. This multi-modal arts pedagogy and performance practice is freedom based and derives from an African-Caribbean diaspora futuristic ancestral technology.
Writing performance : on relations between texts and performances
(last edited: 2023)
author(s): Lilo Nein
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
In art history, performance is categorized as performance art and defined as live-act. However, performance is no longer conceived of by artists as live-act only. Rather, the art of producing performances, according to artists, also includes considerations of their documentation and mediatization. In these contexts a paratextual perspective would enable considering documentation practices as part of performance art, which would also mean to acknowledge that performance is a practice associated with other practices that go beyond the enactment or staging which precedes or follows it. It is my claim that the potential of performance in visual art lies exactly in this ability to divest itself of a stable medial identity. This is to say that performance does not only have the practical need, but also the general potential to connect itself with other media, such as texts and audiovisual records. I think that contemporary performances in visual art cannot be viewed as distinct from the intermedial and paratextual issues with which they are connected. They engage, intermingle and enter into reciprocal relationships with these issues. So, I propose to understand performances in and through their relations to texts.
Research by Lilo Nein
Word and Whetstone: Perspectives on Writing at the Intersection of Art and Academia
(last edited: 2023)
author(s): Maya Rasker
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
This research of Maya Rasker in only available in Dutch. The English version will be ready later in 2023.
The position of writing within the domain of artistic academic research is not self-evident. In academia, standard practice is to use writing for the transfer of knowledge: it is a means of communication. In the practice of (nonlinguistic) artistic research, the outcome is also often contextualized in a written argument. This leads to the paradox that, if writing as an art form is to be relevant in and for artistic academic research, it must relate discursively to itself in its own medium in order to achieve that relevance. This paradox has been embraced in this dissertation and research.'Word and Whetstone. Perspectives on writing at the intersection of art and academia' is the outcome of inquiry into the epistemological possibilities and characteristics of writing. The question is whether and how writing as a communication vehicle and as an art form can also serve as a knowledge generator. To investigate this, the practice of writing is thought of as an experimental system, analogous to the scientific experiment. Processes of narrating and annotating generate a dialogical encounter for new insights as well as providing a structure. The material is both the object of research and method.
Sonic Peripheries: Middling With/In the Event
(last edited: 2023)
author(s): Petra Klusmeyer
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
This exposition showcases select parts of the doctoral dissertation from which it derives its title. To access the full thesis, follow the link to Leiden University Scholarly Publications (http://hdl.handle.net/1887/77342). The purpose of this exposition is to present a non-linear reading experience featuring a range of materials, including artifacts from a course of research events (see/visit Online Addendum) and individual experimental chapters (see/click, e.g., Experimenting Sound/Non-Sound).
About the research and dissertation
The research explores what and how sound does in certain art practices; it lends an ear to so-called ‘material-discursive’ events that come into expression as in/determined sonic occurrences through aesthetic practices. Likewise, the research done in and through the arts attunes to the vibrational immanence that underlies all experience. This view considers the sonic as a vibrational force and an affective, affirmative, albeit paradoxical event: oscillating between matter and matter-mattering, intuited as intensive force and apprehended as ‘aesthetic figure’ through sensation. This ambiguity or sense of betweenness is felt throughout the thesis and lies at the heart of the inquiry, which asks, among other questions: How do the material conditions of a sonic artwork-performance (the content) and the ensuing sensations (the form of expression) co-emerge; how are they produced in one another?
The dissertation has three main objectives. Firstly, it describes sonic art practice as experimental research and makes a case for curating such practices as a form of research; it positions this type of research as a contribution to new forms of knowledge and provides a resource for future research-creations and (reform of) evaluation practices. Secondly, it brings together philosophy and art to elaborate a genuine manner of working with sonic matter (mattering); it conceptualizes and materializes novel ways of thinking, and creates a case for writing itself as practice and curating/producing art as theory; that is, it seeks to practice what it theorizes and vice versa. Thirdly, it advocates a certain transformation of self that lets us side-step ourselves, intervene and invent possible worlds or future fabulations. Practicing a process-oriented exploration complexifies as it advances; it creates resonances between theory and practice, between audience and sound art, between the written thesis – inclusive of presented artifacts – and the reader. It wants not to reduce but foster awareness of the ongoing complexity of life.
words meet material
(last edited: 2021)
author(s): Jelena Škulis
This exposition is in progress and its share status is: visible to all.
several authors met
in one millennium
and made words
nasty
our contribution to the common minority is meager but necessary / Elias Canetti, from Die Blendung, 1935
aspiration is to
reduce text
in its production
the conclusions are yet to come
questions will come at the end
-
Here I present little passages written by using autoethnographical approach and researching most important issues I cope during creative process. Selected short texts are the part of the artistic research connecting to themes about material and art through words. These little messages I call literature tattoos – usually performed on the skin, but the same action can emerge in the brain structure after reading. The video and artwork ’I have tried everything, nothing works’ were made in 2019, during the residency which was a part of Doctoral studies in University of Bergen, Faculty of Fine Art, Music and Design (Norway). There I was first time not using physical contact with community or handwork but was learning new technology - jacquard.
The texts in artwork =Co woven quotes from the books about artistic research. The set of rules or the menu of instructions are shown as possible (un)helper if you wish to perform (un)successful research being an artist. Phrases were picked out from books intuitively while practicing AR. The question is if, why or when they are helpful.
The whole AR is about analyzing links and boundaries between community, text and material.
13 Fragments for Aluminium
(last edited: 2021)
author(s): Elisabeth Schäfer
This exposition is in progress and its share status is: visible to all.
This fragmented text project belongs to
WHICH DANCES
A choreographic assemblage
Aluminum is a self-evident, dangerous preciousness. We are surrounded by aluminum in the form of objects, fabrics and in countless invisible compounds. The practical elegance and easy malleability that make aluminum one of the most used materials in our society is combined with the high energy expenditure of its production and the ecological destruction that accompanies it.
which dances approaches the dynamics of the material with actions and dances, texts, sounds, film, light, darkness and conversations.
For which dances, this means seeking out practices and narratives of recycling, environmentally friendly production, resistance, and learning from biological processes and using them as a basis for aesthetic speculation. In the age of the Anthropocene, new forms of coexistence between all life forms have yet to be explored. For example, in Kolontár, Hungary after the MAL AG (Magyar Alumínium) industrial accident, beech trees were planted to remove the heavy metals from the red mud spill from the soil. Or there are reports of ways to remove aluminum from the body with foods containing silicon.
which dances is situated in the field of art and ecology, based on the conviction that art, with its interdisciplinary language, can mediate between nature and man in relation to existing environmental problems and thus change the spheres of life of the various forms of existence on earth for the better. The project is a choreographic assemblage in which human and non-human actors interact. which dances moves along the transitions of performance of performing and visual arts and explores new presentation practices that deal with the intertwining of the notion of subject and object and the performance of material and immaterial practices.
To this end, the artistic team consisting of Sabina Holzer, Jack Hauser, Elisabeth Schäfer, Brigitte Wilfing and Thomas Wagensommerer turns its attention to aluminum and explores the aesthetic, material, socio- and pop-cultural entanglements that this material activates. We refer to the transdisciplinary, transmedial and transversal approach of new materialism and its critical engagements with the Anthropocene.
The artistic setting, which is open to the public, stretches over a period of one week and takes the form of a choreographic assemblage of various interconnections of the material aluminum - everyday use, material, geology, anatomy. The choreographic structure is informed by the different material references and is composed of spatial design, dances, texts, film, sound and a series of lectures and interventions. Visitors co-create this assemblage over the course of a week and are an active part of the choreography. They do this through their physical presence and are invited to bring material, or to further shape / write and dance with existing materials. Dancing here means a physical entering into relationship and touching / reading mediated by simple everyday gestures of grasping, placing, laying down.
See more: https://www.volkskundemuseum.at/whichdances
CHOREO–GRAPHIC FIGURES. Deviations from the Line
(last edited: 2020)
author(s): Nikolaus Gansterer, Emma Cocker, Mariella Greil
connected to: University of Applied Arts Vienna
This exposition is in progress and its share status is: visible to all.
"CHOREO–GRAPHIC FIGURES. Deviations from the Line"
The interdisciplinary research project “CHOREO–GRAPHIC FIGURES. Deviations from the Line” (2014 - 2017), led by artist Nikolaus Gansterer (Austria/Vienna) in collaboration with choreographer-dancer Mariella Greil (Austria/Vienna) and artist-writer Emma Cocker (UK/Nottingham), in dialogue with a team of international critical interlocutors was approved funded by the FWF/ PEEK research grant of Austria.
With ‘arts-based research’ at its heart, this research project stages an inter-subjective encounter between drawing (Gansterer), choreography (Greil) and writing (Cocker) in order to
a) investigate those forms of ‘thinking-feeling-knowing’ produced through collaborative, interdisciplinary exchange, ‘between the lines’ of drawing, dance and writing,
b) explore the performativity of notation (figures of thought, speech and movement) for articulating and making tangible this enquiry,
c) contribute new knowledge and understanding to debates about the specificity of artistic enquiry and expanded practices of drawing, dance and writing.
The project explores the nature of ‘thinking-in-action’ or ‘figures of thought’ produced as the practices of drawing, choreography and writing enter into dialogue, overlap and collide. Through processes of reciprocal exchange, dialogue and negotiation between the key researchers, "CHOREO–GRAPHIC FIGURES. Deviations from the Line" will interrogate the interstitial processes, practices and knowledge(s) produced in the ‘deviation’ for example, from page to performance, from word to mark, from line to action, from modes of flat image making towards transformational embodied encounters.
Writing as the Body
(last edited: 2017)
author(s): Jonas Schnor
This exposition is in progress and its share status is: visible to all.
In the beginning of March 2016 a delegation from the literary label KØTER travelled to the high school Nova Academy in the small Swedish town of Simrishamn. Their ambition was to conduct a didactic experiment concerning writing and sensuous presence.
The set and setting for this endeavour was the alternate dimension of Sisters Academy - a performative space for poetic and sensuous learning.
In order to conduct their experiment, Frederik Bjare and Jonas Schnor from KØTER followed the credo of Sisters Academy and manifested into poetic selves: The Vibrator and The Shepherd, respectively. In addition, these two beings were able to transform into the collective poetic self of The Mongrel. This multidimensional being carried a large stick on its shoulders, decorated with notebooks and ballpoint pens. For the first two days ofTthe Takeover it roamed the rooms and hallways of Sisters Academy and together with students and other staff members explored the state of lingual transcendence now known as poetic meditation.
The first part of the text introduces the reader to the performative dimension of Sisters Academy. The second and primary part tells the tale of The Mongrel's two day immersion into this strange and fantastic realm. At the same time, it reflects upon what these experiences can tell us about the relationship between life and aesthetic practice.
The tale is told from the perspective of The Shepherd, in close collaboration with The Vibrator (and, of course, these beings’ everyday counterparts, but it also, at times, soars into the perspective of The Mongrel. In this way the text reflects the actual experience of being at Sisters Academy, which oscillated between everyday self, poetic self and collective poetic self.
The students’ writings during the poetic meditations comprise the potent material from which the reflections draw their energy. Therefore, quotes from the notebooks play an important role in the narrative. When the notebook entries are from The Vibrator, The Shepherd or The Mongrel, and not the students, this is clearly indicated.
Institutional Creep, 4 years since Andrea Fraser's There's No Place Like Home
(last edited: 2016)
author(s): Charlie Dance
This exposition is in progress and its share status is: visible to all.
Institutional Creep, 4 years since Andrea Fraser's There's No Place Like Home
What's changed? What's changing? Did anyone get on board with Fraser? Or has the institution creeped even further into the arts?a