Research Catalogue

an international database for artistic research

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  Motion Perception: Interactive Video and Spatial Awareness (2011) author(s): Nell Breyer published in: Journal for Artistic Research
  Interactive video art is increasingly woven into urban public places around the world. A dominant argument about this growing form of public art is that it offers potential for new social, political and physical engagement with public space. However, there is little consensus or even analysis of just how such engagement is taking place. The exposition is an attempt to specify what drives the ‘physical engagement’ in this genre of work. It develops the argument that movement-centric and body-centric visualizations provide multi-modal movement representations, and that these can direct spatial attention through immersive and particularized experience. With reference to examples, the exposition concludes that interactive video art can offer a chronotopic experience in which space is understood through the time it takes to move the body.
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  Research Navigations (2011) author(s): Otto von Busch published in: Journal for Artistic Research
  In artistic research, the ‘reflective practice’ promoted by Donald Schön (1983) runs the risk of mere self-gratification. More perspectives need to be put into the equation, into something more ‘diffractive’, as Donna Haraway (1997) would say. As part of artistic research we could be inspired by, and use, a wide range of methods for navigating a research process and take the journey into safer waters. Here we
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  staats-theater (2011) author(s): Daniel Kötter, Constanze Fischbeck published in: Journal for Artistic Research
  ‘staats-theater: Lagos/Teheran/Berlin’ is a modular art and research project initiated by Berlin based video artists Daniel Kötter and Constanze Fischbeck in collaboration with performers and architects from Lagos, Tehran, and Berlin, as well as the collective Hunter & Gatherer (Manuel Shvartzberg and Fabian Faltin). The project undertakes an exemplary investigation of the state-representational and socio-political conditions of theatre and the opposing informal potential of performativity in three capital cities: Lagos (Nigeria), Tehran (Iran) and Berlin (Germany).
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  Song No 3 – Singing through Gestures (2011) author(s): Cathy van Eck published in: Journal for Artistic Research
  This exposition discusses the performance Song No 3 in the context of research into the use of loudspeakers and microphones as musical instruments, and analyses what kind of categories of movements are generally used in music as well as how these different categories are connected to each other. Song No 3 is a performance for a performer with a small loudspeaker in front of her mouth and a microphone in her hand. This exposition analyses what kind of categories of movements are generally used in music as well as how these different categories are connected to each other. Whereas some are more perceived as ‘silent’ movements, others clearly have a audible result. Due to working with loudspeakers, microphones and digital sound processing, the audible results of movements in a performance can be changed during the performance itself and these changes are essential elements of the composition.
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• ‘Who creates the creator’ – and the limits of interpretation? (2011) author(s): Anders Hultqvist published in: Journal for Artistic Research
  In this presentation I will discuss some associative thoughts and preliminary results arising in connection with the forthcoming production of new stage-settings of Beethoven’s Fifth Symphony and Albinoni’s ‘Adagio’. The goal is to re-read and re-set the music and relieve it from some of the cultural layers and interpretational rituals that conventionally have been assigned to the pieces. The first part of the title, ‘Who creates the creator?’, refers to a question raised by Pierre Bourdieu in relation to in whose interest the present interpretational tradition is upheld? Is it for the sake of the art object or just for upholding the business around virtuosity and the genius? I want to bring forward a slightly different story, and this from within the musical material. Both of the works are exceedingly well known and are in different ways incorporated in our cultural canon. Beethoven’s Fifth Symphony is seen as the overall emblematic piece for the whole classical tradition. Albinoni’s Adagio on the other hand plays a different role in the cultural landscape and addresses nostalgia in a more direct manner. “A musician, as is obvious, must, in the Western musical tradition, know how to intelligently read a score… For once one leaves meaning-interpretation for — what shall I call it? — structure-interpretation, the spell of monism is broken. Why shouldn’t a structure have more than one interpretation, more than one way it goes?” This citation from philosopher Peter Kivy can be widened, I will show, to also include the interpretation of form within a piece of music. By presenting two, in a way opposite, interpretational strategies in the same concert program, there is a larger possibility than is usually the case, for the audience and the musicians to start reflecting on the question of musical interpretation in a broader sense. With orchestras around the world relentlessly upholding the classical and romantic tradition in their repertoire there is a great need for new interpretational angles. The two new interpretations are to be performed by the Gothenburg Symphony Orchestra in October 2011.
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  Diagrammatic Praxis (2011) author(s): Sher Doruff published in: Journal for Artistic Research
  Diagrammatic Praxis was a post-doctoral research process drawing upon applied concepts of the diagram previously explored in my dissertation, ‘The Translocal Event and the Polyrhythmic Diagram.’ As a researcher in the Art, Research, Theory and Innovation (ARTI) lectoraat of the Amsterdam School for the Arts, the primary focus was on image/text relationality as a vehicle for investigating applied theoretical practice in artistic processes. I worked with Foucault’s concept of the diagram, rejuvenated by Deleuze as abstract machine and Massumi’s concept of the biogram. Thinking the diagram entails negotiating several registers of relations between forces immanent to a field of experience. A diagrammatic practice emphasizes movement with and through the dynamic intensities of an inter-disciplinary field, instantiating the commingled performativity of theory and artmaking through fielding. It experientially engages energetic transductions between unformed matter and unformalised function, between the discursive and the non-discursive, the visible and articulable, content and expression, chaos and order, catastrophe and rhythm. The research aims to contribute to emerging discourse on artistic research as experimental methods of reading and writing are interwoven with artmaking processes. Additionally, the current wave of discourse on vibrant materiality, object ontologies and thing theory resonate with collaborative, diagrammatic methods. Diagrammatic praxis is situated within interdisciplinary investigations of the collaborative dynamics of mattering. How, as Bruno Latour has pointed out, matters of fact emanate as matters of concern. How objects, things, performers and publics might generate the felt concerns of the event. This proposition of gathering, through an intricate mesh of mattering inclusive of things at all scales of experience, from quarks to cosmos, from facts to fictions excites what matters as the experience of the relational dynamics of the event and its emerging concerns. The material presented in JAR is a compilation of a fraction of the image and text elements from a three-year process, shaped as a graphic essay. Works include graphic translations, works on paper and published texts created from an integral diagrammatic method.
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