Research Catalogue

an international database for artistic research

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  IN SITU: Sonic Greenhouse. Composing for the intersections between the sonic and the built (2019) author(s): Otso Tapio Aavanranta, Josué Moreno Prieto, Daniel Adrian Malpica Gomez published in: Journal for Artistic Research
  This exposition presents and discusses a large-scale audio-architectural installation entitled "IN SITU: Sonic Greenhouse," which took place at the Helsinki City Winter Garden — or Talvipuutarha — in September and October 2016. Structure-borne audio transducers were employed to drive sound into the glass structure of the greenhouse in order to create an immersive sound experience emanating from the materiality of the building, transforming the site into a macro-scale musical instrument. Compositional strategies were developed in response to the context, emphasising the spatial dimension of composition more than the temporal and narrative ones, exploring an aural metaphor of transparency, as well as pointing towards the concepts of "sonic weather" and "sonic acupuncture." This exposition offers a reflective look at the work one year after its completion, fusing visual, audio, and textual elements to understand the piece’s aesthetic, theoretical, and experiential contributions.
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  Building Material Conversations (2019) author(s): Scott Andrew Elliott, Chris Cottrell published in: Journal for Artistic Research
  An expanded notion of conversation is developed through a series of large-scale temporary installations, and used to articulate an approach to collaborative creative practice that furthers the discourse of new materialist philosophy. These collaboratively produced installations are introduced into different spaces of a singular building in an iterative engagement sustained over a period of five years. In order to engage "conversationally" with the building, the projects adopt and rephrase the architectural language of their environment. An expanded conversation occurs between materials, creative practitioners, and the architectural site. This conversational approach is extended through an experimental writing project, where a “cut-up” writing technique functions as a third author that disrupts, complicates, and needs to be accounted for through the writing process. An iterative series of texts reflect on the ideas at play in the installations, raising new questions that are addressed in later installation projects. The built projects and the experimental writings raise larger questions about relationships between humans and surrounding environments, which unfold through our collaborative journey of creatively “getting to know” a building.
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  Anarchiving (in) Ben Patterson's Variations for Double-Bass (2018) author(s): Christopher Williams published in: Journal for Artistic Research
  Here I employ techniques of anarchiving to explore the dynamics of notation, improvisatory performance, and analysis in Fluxus artist Ben Patterson's Variations for Double-Bass (1961). Coined by process philosophers Erin Manning and Brian Massumi, the concept of the anarchive refers to "a repertory of traces of collaborative research-creation events. The traces are not inert, but are carriers of potential." Variations' proto-anarchival qualities drive the structure of the exposition, which includes superimposed video documentation from my own performances, as well as brief analytical texts and performance instructions for the reader. I hope that this meta-anarchival process both sheds light on Patterson's work, and shows how documentation and analysis in the spirit of the anarchive can propel experimental (musical) practice forward in unexpected ways.
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  The Red Shoes Project Revisited (2018) author(s): Lise Hovik published in: Journal for Artistic Research
  The author addresses various approaches to artistic research on the basis of her own artistic research project, The Red Shoes Project (2008-14), which consists of three closely related theatre performances for young children (0-3 years). The project was concerned with the development of dance theatre for the youngest children, in which opportunity was given for the children to participate actively and bodily in the performances. As a PhD project The Red Shoes Project (Hovik, 2014) explored the theatre event through three different art settings, following theories on performative aesthetics. Methods and research design are from the field of artistic research. The Red Shoes [De Røde Skoene] (2008) was a dance theatre performance for 1-year olds, Red Shoe Missing [Rød Sko Savnet] (2011) was an art installation, and Mum´s Dancing [Mamma Danser] (2011) was an improvised dance concert, both for 0-3 year-olds. All of these productions had red shoes as a connecting theme and playful artistic material. Playing and musical communication are core concepts guiding this interdisciplinary artistic research practice. The research methodology changed during the 6 years of artistic research and theoretical studies. Henk Borgdorff’s division into an interpretative, instrumental and performative research perspective (Borgdorff, 2012) provided a comprehensive theory for the development of this research process. These research perspectives together are helpful methodologies in the artistic process of creating art for the very young, and the artworks demonstrates the possibility of creating common artistic experiences between performers and children, in which both can take part in reciprocal interaction and improvisation. This exposition aims to give a presentation of the artistic research process as a whole, leaving out the more theoretical discussions from the PhD thesis, emphasizing the visual aspects of the artistic works . As the initial research questions from 2008 might be outdated today - there are a multitude of interactive performances for babies in 2018 - the presentation will touch upon some new relevant works and perspectives within this topic. Looking back on the research process and outcomes, focus will be on the investigating progress and methods in this specific artistic research. The exposition will connect text and visual research material, and open some internal reflections on the development of the research questions along the way. The shifts in methodological perspectives will be highlighted as this still can be fruitful in further research on the topic, both as artistic and academic research.
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  Between Agony and Ecstasy: Investigations into the Meaning of Pain (2018) author(s): Barbara Macek published in: Journal for Artistic Research
  Pains are moving, alluring us to world-making-activities, attuning our bodies with other bodies and therefore putting us in relation to others. Pains cut into our net of habits, and even the slightest pain causes a transformation. Pains are crushing, deeply distressing, showing us our limitations – but also our capability to go beyond our limits, to outgrow ourselves. In the course of my literary research for this project I generated 10 PAIN CATEGORIES that I derived from poems, philosophical and literary texts on pain, and my own experiences. These poetical/pictorial categories differ profoundly from pain categories as they are to be found in common pain questionnaires: They refer to the existential dimension of pain and do not differentiate between physical and mental pain in order to overcome the myth of this dichotomy. The next step of my project consisted in going into the field to look at, imagine and feel into pain. I conducted methodical observations in the casualty departments of two Viennese hospitals and developed my own method of "self-reflective observation in the mode of seeing/feeling". The assemblages as part of this exposition present the results of these investigations and reconstruct different perspectives on PAIN as an EXISTENTIAL PHENOMENON.
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  Responsive Aesthetics: Remediating Digital-to-Analog Television Converters as Artist Tools (2018) author(s): Eric Souther, Laura McGough, Jason Bernagozzi published in: Journal for Artistic Research
  “Responsive Aesthetics: Remediating Digital-to-Analog Television Converters as Artist Tools” documents the research process undertaken to explore the reanimation of a digital-to-analog television converter box as an artistic tool for intervention with the digital broadcast image through real-time datamoshing. We define datamoshing as an exploitation and interruption of the algorithms that comprise high quality digital streaming video, resulting in the visual distortion and alteration of the image. Our goal was to create a responsive datamoshing system that would not only modulate and distort the incoming broadcast image, but also provide artists with a level of control over these variations. We approached this process as artists, rather than technologists. Inspired by a specific visual or aesthetic result, we would reflect on how this result was achieved technically and then experiment with other methods that might offer further enhancement. The final result was the creation of a responsive datamoshing tool for use in exhibition or performance, both on its own or in combination with other systems (i.e., software, apps, image processing machines).
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