The Research Catalogue (RC) is a non-commercial, collaboration and publishing platform for artistic research provided by the Society for Artistic Research. The RC is free to use for artists and researchers. It serves also as a backbone for teaching purposes, student assessment, peer review workflows and research funding administration. It strives to be an open space for experimentation and exchange.

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RESONANCE: (Re)forming an Artistic Identity through Intercultural Dialogue and Collaboration (2021) Nathan Riki Thomson
A B S T R A C T This artistic research examines how the third space emerging from intercultural dialogue and transcultural collaboration can be a catalyst for new musical discoveries, intercultural humility and the (re)forming of artistic identities. The body of this project is centred around three doctoral concerts, a CD/LP recording, and a documentary film, which took place between 2016 and 2021. In addition, I draw on the embodied experience of a five-year period I spent living and collaborating with musicians and dancers in Tanzania and Zambia prior to the doctoral project. As a double bass player and composer, I place myself in a series of different musical and multi-arts contexts, engaging in dialogue with musicians, dancers and visual artists from Brazil, Colombia, Estonia, Finland, France, Madagascar, Poland, Sápmi, Tanzania, the UK and Zambia. Various solo, duo and ensemble settings act as case studies to examine how this process takes place, the artistic outcomes, and the effects of intercultural dialogue, collaboration and co-creation on my own artistic identity. The instruments and forms of artistic expression used by my collaborators include the Brazilian berimbau, Chinese guzheng, dance, live electronics, experimental instrument making, Finnish Saarijärvi kantele, Sámi joik, vocals, percussion, live visuals, image manipulation, animation and film. In these artistic explorations, I draw on new knowledge gained from the collaborations, as well as from my five-year period of intercultural immersion in Tanzania and Zambia. As key concepts in this research, I investigate artistic identity, hybridity, intercultural collaboration, co-creation, third space theory and resonance, the latter being viewed both as a physical phenomenon and an approach to thinking about the ways in which we connect with the world around us. This research contributes to new knowledge and understandings in these areas through the interweaving of artistic processes, audio, video, photographs, artistic outcomes and text. Findings emerge in terms of new musical discoveries found in the dynamic third space surfacing from transcultural collaboration; the interconnected nature of my work and its reliance on meaningful dialogue and exchange with others; and the crucial role of resonance in forming a personal artistic identity. Further research outcomes include new techniques and the expansion of the sonic palette of the double bass, enabled by developing custom-made attachments, preparations and electronic manipulation. The complete scope of this doctoral project includes four artistic components, a documentary film and an artistic research thesis comprising two peer-reviewed articles and an integrative chapter, all housed within the main multi-media exposition, Resonance: (Re)forming an Artistic Identity through Intercultural Dialogue and Collaboration. Key words: artistic identity, intercultural humility, hybridity, intercultural collaboration, transcultural, third space, third space bass, resonance.
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B.O.D.Y. - Between auditory fiction and body-reality (2021) Erika Matsunami
The exposition "B.O.D.Y. – Between auditory fiction and body-reality" is a summary of my project `B.O.D.Y. 2010´, which was represented from 2009 (groundwork) until 2012 and includes theory, artistic practice, procedure, realization, representation and perception (Perzeption). Thereby the theories refer to my art works and are summed up own artistic thesis. The art works in this exposition are related to the theses of the academic and scientific fields. The artistic research for the audio and visual works is based on the project `B.O.D.Y. 2010´. This project is an intermedia project, it uses media such as photography and drawing, photography and sound installation, and music (sound/sonority/noise) and drawing. The research field is interdisciplinary in visual art and music within the expanded scope of the transdisciplinary approach. In the project B.O.D.Y. I used the time based mediums sound and performance which are the mixing layers of design, happening and performing. The act as well as performance is conceptual and improvisational which evokes in contrast the connotation of the objects with the body in the real time. In the space design for the installation and performance the horizontal dimension of this installation is variable. For each exhibition space of the installation and performance will be re-designed by the cross-disciplinary approach in the art such as in the representation's concept and artistic approaches. This digital exposition is likewise a part of the concept and contemplation for the art book B.O.D.Y. about the conceptualization for a multimedial art book design with the intermedia art works rudimentarily. *human studies in the keywords is not the area of studies such as human science.
open exposition
Silence surrounds us, and silence around us (2021) Erika Matsunami
What does silence mean to us now? The silence surrounds us with sound phenomena. We recognise the silence in our living space through hearing. We silently recognise its subjectivity and objectivity day by day. Silence can give us many different meanings, such as distance, coldness, or loneliness. The research question as the starting point for this artistic research is, "What can we see around us in this silence? ". This research question focuses on common sense and the habits of contemporary life. If creativity helps us, how far is the change necessary in the research context of a common space?
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JSS Book reviews (2021) Journal of Sonic Studies
JSS Book reviews
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HALFLIFE (2021) shasti
This exposition posits art as a form of contagious divination, a glimpse into the multiplicity of possible futures, and an examination of artists' ability to detect momentum towards unavoidable outcomes. In 2014, I was selected by curator Heather Pesanti to participate in the City of Toronto’s annual Nuit Blanche festival, an overnight public art event spanning twelve hours in multiple neighborhoods that draws over a million people from the surrounding regions. Spurred by my concerns about the inescapable gravity of mobile electronic media and "viral culture," my work was to be a performance premised on contagion, pointing to the monumental role that electronic media had assumed in mediating our direct experience, and the civic and societal fallout I believed would ensue. Little did I suspect how bizarrely prescient the work would turn out to be. On October 6th, 2014, one hundred glowing “carriers,” dressed in fluorescent hazmat suits, wearing fluorescent LED-wired helmets in the dodecahedral geometric shape of an adenovirus, dispersed throughout the City of Toronto, each "testing" and “infecting” at least one hundred festivalgoers by marking their faces and hands with “spots” “lesions” and “rashes” using surgical swabs dipped into a beaker of invisible UV-reactive ink. Each "test subject" was then gifted a small UV pen lamp with built-in reactive ink marker and instructed to "infect" and "test" ten others. It is estimated that HALFLIFE attained an "R-naught" value of ten, and through this performance, affected approximately one hundred thousand people. Images of the performance went viral on Instagram for seventy-two hours, during which Toronto General Hospital admitted their first and only suspected Ebola case.
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Effects of visual instructions in one-on-one violin lessons (2021) Mauro Smorto
Starting from my personal teaching experience, I have been studying the effect of visual instructions on my violin pupils. With a detailed analysis of the interactions between students and teacher and the help of 36 observation sheets, I could finally see the effects of enhancing visuals on student’s musical learning. All conclusions were drawn after taking into account specific studies mentioned in the theoretical framework and with respect to the observations made by three external experts. This research found further evidence of the link between visualization and critical thinking as well.
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