Research Catalogue

an international database for artistic research

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  Digitally Produced Jewellery: Tactile Qualities of a Digital Touch (2019) author(s): Sofia Hallik, Darja Popolitova published in: Journal for Artistic Research
  The importance of tactile contact between the artist and their jewellery has increased over the last decade. More and more artists now implement digital technologies into their work process. This raises questions about the notion of tactility, something that is usually associated as something tangible or given to touch. The authors show that there is a different sensorial mode of engagement with jewellery presented on the screen: during the 3D modelling process or 3D printing. This article aims to investigate the intangible qualities of tactility in the field of digital crafts, while focusing on the material, technical, performative, and psychological aspects. The outcomes include a set of tactile qualities evoked by screen-oriented labour and machinery production: resolution sensitivity, thin-skinned data, psycho-performative realism; and fingerprints, incompleteness and glitch.
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  Site-integrity: a dynamic exchange between site, artist, device and audience (2019) author(s): JULIE MARSH published in: Journal for Artistic Research
  Site-integrity is a proposal for a working methodology - a particular but original mode of site-specific practice that potentiates a dynamic exchange between site, artist, device and audience. Non-haptic, non-temporal ways of representing place have come to dominate contemporary practice. When site is reduced to representation, the experiential qualities are lost. Site-integrity repositions the act of representation from its retrospective or projective dimensions towards that which is performed and is experiential. This exposition presents three specific projects; Assembly, Moving site/sight and Screen space that explore temporal relations with space and place via motorised recording/display devices. These projects are examples of artistic devices that contributes (not exclusively) to a specific practice - site-integrity.
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  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.
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  Translucent surface/Quiet body, redistributed (2019) author(s): Katrina Brown published in: Journal for Artistic Research
  'Translucent surface/Quiet body, redistributed' is a dissemination of artistic research investigating drawing as a choreographic activity and bringing attention to the material, visual and haptic organisations of moving-drawing in relation to gravitational force and surface dimension. Working in residence and on a large table-like construction at the dance research centre L'Animal, Celrà in Catalonia, a moving-drawing body was recorded from beneath the receiving surface of the elevated table-top, offering an inverted view of surface contact between static and moving surfaces, between paper-glass and skin as the performing body worked low and close in the horizontal plane. The exposition presents a choreographic view of findings and highlights emergent coinciding capacities of surface (paper, glass, skin, screen) to support, receive, record, touch and display. Art historian Leo Steinberg’s notion of the ‘flatbed picture plane’ (1972) was reconsidered within a choreographic practice and research of moving-drawing relative to gravity, orientation and distribution of data. The exposition over the two-dimensional online page presents another surface on which to distribute observations, notes, findings as extended making-thinking, as documentary work-surface - and as flatbed.
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  Passages of Light: Analogue and Digital Moving Image Installation. (2019) author(s): Alexander Nevill published in: Journal for Artistic Research
  Within a rapidly changing media landscape, light remains an intrinsic and potentially expressive aspect of moving imagery, regardless of the shape, form and resolution that specific capture and display devices might take. The practice of light in moving imagery is typically considered through an arrangement of sources, filters and modifiers that sculpt the aesthetic appearance of a two-dimensional frame and is often studied in relation to mainstream Hollywood films. This practice-research investigation seeks to compliment such discourse by extending the consideration of lighting practices beyond conventional cinematography to an installation context. Through the presentation of several artworks, this exposition reveals a distinction between the light ‘of’ an image and the light ‘within’ an image. It also explores the material considerations of a practitioner’s control of projected light. Each artwork seeks to create an interoperation between analogue and digital moving imagery, weaving together various technologies in order to reveal an array of textures and qualities of light. Drawing primarily on autoethnographic notation captured during the creation of these artworks, as well as discussion of a range of film and video texts, this exposition investigates material tensions of mediated illumination.
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  50 Billion Micrograms. In the Search of the Aftermath of an Event (2019) author(s): Christine Hansen published in: Journal for Artistic Research
  This exposition provides an example of how art can offer an alternative way of understanding the past through my work “50 Billion Micrograms”. The project explored a forgotten media event from 1979, in which a gigantic meteorite supposedly landed in a remote lake on the west coast of Norway. The exposition attempts to demonstrate how ambiguity was a fuel the project. In the process what I call "fluctuating thinking" was an important method. This meant that I let seemingly irrelevant and speculative elements be part of the process. In this process, the different conceptual and aesthetic elements had to be studied carefully to consider whether random ideas and speculative elements were relevant for the work. However, such an open-ended approach is often fundamental to artistic research, I argue. I had no hope of finding the answer about the meteorite or explaining this natural phenomenon. My interest was to dwell on the uncertainty and keep the wondering alive. What became increasingly important was to explore the search itself through images and sound. The exposition also ask what is an event, what keeps an event alive? Were does fact and fiction interlace?
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