Research Catalogue

an international database for artistic research

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  Miltä hiljaisuus kuulostaa? What does silence sound like? (2011) author(s): Elina Saloranta published in: Journal for Artistic Research
  The contribution consists of a nine-minute video Room and a text entitled ’What Does Silence Sound Like?’ The video records changes that take place in a bedroom after the occupant’s death. The text describes the making of the video soundtrack, focusing on the question of how to render auditive the silence of an emptying room. The text is mostly in the form of a dialogue, and it is based on taped conversations between Saloranta and sound designer Tatu Virtamo.
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  The Double Skin/Double Mind Interactive Installation (2011) author(s): Bertha Bermudez (Collaborator), Scott deLahunta, Marijke Hoogenboom, Chris Ziegler, Frederic Bevilacqua, Sarah Fdili Alaoui, Barbara Meneses Gutierrez published in: Journal for Artistic Research
  The Interactive Installation Double Skin/Double Mind is a virtual interactive version of the Double Skin/Double Mind workshop. This workshop, which has been taught by dance company Emio Greco | PC since 1996, represents the basis of the creative work of choreographers Emio Greco and Pieter C. Scholten. Participants in this workshop are challenged to discover new interpretations of their dancing body through the movement tracking program Gesture Follower developed by Frédéric Bevilacqua (IRCAM). As result of this comparison different feedback, including emotive icons, sonification and text displays is given through an interface lay out developed by Chris Ziegler. Participants are accompanied by different visualization and sonic information while mentally and physically travelling through the Double Skin/Double Mind structure. Professional as well as non-professional dancers are invited to experience this installation.
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  An Alphabet for the Nose. (2011) author(s): Sissel Tolaas published in: Journal for Artistic Research
  Given that our societies have developed a language for colour, it is remarkable that we have not yet developed one for smell. Generally, when we categorize smells we only use the subjective connotations ‘like it’ or ‘don’t like it’. This is why I began to invent the first words for a language of smells, which I named NASALO. After nearly twenty years of collecting and archiving smells and dozens of artistic research projects on smell and smelling, NASALO has developed into an alphabet for the nose with its own logic and linguistic rules.
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  A Performance with an Ocean View (and a Dog/for a Dog) - II Memo of Time (2011) author(s): Tuija Kokkonen published in: Journal for Artistic Research
  A Performance with an Ocean View (and a Dog/for a Dog) – II Memo of Time is a pair of performances where the basis of the presentation is weather, time, potentiality and non-human co-actors. A Performance with an Ocean View (and a Dog) was performed on the ancient shore of the post-ice-age Yoldia Sea in the northern suburbs of Helsinki. A Performance with an Ocean View (for a Dog) took place on a potential future seashore on the roof top of a city centre department store. It was created and performed for a dog as its main spectator, though human spectators were present part of the time. The performances moved in the space between live art, environmental art and conceptual art. They were performed in May and August 2008 in Helsinki in Finnish and in English as part of the program of Kiasma Theatre / Museum of Contemporary Art and Baltic Circle Festival. Memos of Time is a performance series, which forms a central part of my artistic research at the Theatre Academy, Helsinki: ‘The potential nature of performance. The relationship to the non-human in the performance event from the perspective of duration and potentiality’. The underlying question in my research as well as in the exposition for JAR, is the role of art and artistic research in an age of ecological crisis. What does it mean if we begin to perceive nature, its beings and phenomena, as agents or actors - and how will that perspective possibly change our understanding of the human, of performance and the question of duration. These issues were explored through the practice of working with non-human agents - as co-actors and as spectators - and with non-human durations and rhythms. The questions were/are examined in a dialogue with Bruno Latour’s notion of non-human actors, Giorgio Agamben’s notion of (im)potentiality and with animal studies.
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  Glide: design, indeterminacy and the specificity of the contingent (2011) author(s): Richard Blythe published in: Journal for Artistic Research
  There is a moment that paddlers and rowers all know, the pause between one stroke and the next, a kind of suspension of things when trajectory takes over from purposeful endeavour and the future belongs to the gods, or, to be more precise the designer of the hull. A good hull glides. A poor one does not. The glide exists also in other, even social forms. At the end of a good dinner party there is a similar moment, a sort of social version if you like, an unspoken understanding that the party is over even if it is not quite ended, time to move on. We recognise that we know these moments most intensely in the awkward presence of those that have not yet understood that it is time to leave. The occupation of such moments is critical, how to move from one purpose to the next, to move between purpose, without disturbing the glide from one place to another, to have a good hull. Architecture passed through the end of the last century, leaving behind it a splash of empty isms, and entered this one in a glide. Our digitally enhanced and technologically advanced cultures suspended. Not frozen but caught in a trajectory, a propelling forward, a movement beyond some edge. We’ve entered a new space, one that is not yet a place that we recognise. How is it possible to design as gliders of our indeterminate condition? In the second year of this century the architectural practice Terroir completed their first significant commission Peppermint Bay, a restaurant project set in a stunning estuarine landscape on the south eastern cost of the Australian island Tasmania that hangs on the extreme southern edge of the globe. This year, the practice completed a paper maker’s gallery on the northern coastline of the same island in a town called Burnie. In between these two projects the three practice directors – Gerard Reinmuth, Scott Balmforth and Richard Blythe – undertook practice-based design research higher degrees that drove key developments in the way these designers grappled with their practice. This paper will chart the design journey from one project to the other exploring how a new practice discovered a way of working as gliders of our digitally enhanced globally challenged condition.
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  Thanks to Lysenko, we got Haldane (2011) author(s): Abhishek Hazra published in: Journal for Artistic Research
  The exposition contextualises a set of artworks that reflect on the notion of error - both scientific and political - and the epistemological implications of partisanship. The artworks juxtapose diverse historical contexts, which might or might not share actual causal linkages.
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