Research Catalogue

an international database for artistic research

• 2025. Uniarts Helsinki RC publications in 2025 2025
• 2024. Uniarts Helsinki RC publications in 2024 Uniarts Helsinki RC publications and works.
• 2023. Uniarts Helsinki RC publications in 2023 Doctoral thesis works and other works.

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  Propositions for Unfinished Thinking: The Research Score as a Medium of Artistic Research (2020) author(s): Joa Hug published in: University of the Arts Helsinki
  This research exposition presents the process and results of the author’s doctoral research at the Performing Arts Research Centre of the Theatre Academy at the University of the Arts Helsinki, and is the final written part—the commentary—to fulfil the degree requirements. The research tackled the division between embodied and conceptual modes of reflection – a problem that is considered a key challenge for research into performer training. Crafted around Body Weather performance training, the research explored the epistemic potential of a touch-based body practice called the Manipulations, and engendered the transformation of this practice into a medium of artistic research—the research score—which is both the main method and the outcome of the research. In the commentary, the research score is considered to be a way of facilitating unfinished thinking that dissolves the division between physical practice and conceptual reflection, and which enables a shift from a representational towards a post-humanist performative model of knowing. Unfinished thinking is not the property of an individual, intentional, agential subject, but emerges from within an expanded network of inter-corporeal relations; it expresses thought without uncoupling language from its affective tonality, and it defies definite statements. The commentary covers a broad range of theoretical considerations on embodiment, materiality, (bodily) knowledge, technique, and reflection, and thus contributes to the debate on the epistemology and methodology of artistic research. Combining analytical and descriptive forms of scholarly writing with performative modes of experimental writing, the commentary expands the format of academic dissertation writing and offers new knowledge to the fields of dance (research), performance (research), performer training, and artistic research. Tiivistelmä Tässä kirjallisessa työssä esitellään kirjoittajan väitöskirjatutkimuksen tulokset ja tutkimusprosessin kulku, ja se toimii samalla tohtorintutkinnon tutkintovaatimusten viimeisenä, kirjallisena osana – kommentaarina. Tutkimus on tehty Taideyliopiston Teatterikorkeakoulun Esittävien taiteiden tutkimuskeskuksessa, ja se pureutuu kehollisen ja käsitteellisen reflektion välillä yleisesti tehtyyn jaotteluun – käytäntöön, joka muodostuu merkittäväksi haasteeksi esiintyjäkoulutusta käsittelevässä tutkimuksessa. Väitöskirjatutkimus perustuu pitkälti Body Weather esityskoulutukseen, ja siinä tarkastellaan manipulaatioiksi kutsuttujen, kosketukseen perustuvien kehollisten käytäntöjen episteemistä potentiaalia. Näistä käytännöistä kootaan taiteellisen tutkimuksen väline—tutkimus-score—josta muodostuu sekä tärkein tutkimuksessa käytetty menetelmä että sen merkittävin tutkimustulos. Tutkimus-score esitellään kommentaarissa tapana, joka edistää keskeneräisiä ajatusprosesseja ja tekee turhaksi jaottelun fyysisen toiminnan ja käsitteellisen reflektion välillä. Score mahdollistaa myös representaationaalisten tietomallien korvaamisen posthumanistisilla, performatiivisilla malleilla. Keskeneräistä ajattelua ei pidetä työssä yksittäisen, intentionaalisen ja agentiivisen subjektin ominaisuutena, vaan se nousee esiin kehonvälisten suhteiden laajennetusta verkostosta: siinä ilmaistaan ajatuksia tavalla, jossa kieltä ei eroteta sen affektiivisista sävyistä, ja näin ollen sitä on vaikea tarkoin määritellä. Kommentaarissa käsitellään kattavasti kehollisuutta, materiaalisuutta, (kehollista) tietoa, tekniikkaa ja reflektiota eri teoreettisista näkökulmista, ja tällä tavoin se muodostuu osaksi taiteentutkimuksen epistemologista ja metodologista keskustelua. Tieteellisen kirjoittamisen analyyttiset ja kuvailevat muodot yhdistyvät kommentaarissa kokeellisen kirjoittamisen esittäviin tapoihin. Työ monipuolistaa täten akateemisen väitöskirjan toteuttamistapoja ja tarjoaa uutta tietoa tanssin (tanssintutkimuksen), esityksen (esityksen tutkimuksen), esiintyjäkoulutuksen ja taiteentutkimuksen aloilta. Colophon: Joa Hug Propositions for Unfinished Thinking: The Research Score as a Medium of Artistic Research DOCTORAL RESEARCH Acta Scenica 59, 2020 ISBN: 978-952-353-026-3 ISSN: 2242-6485 PUBLISHER: University of the Arts Helsinki, Theatre Academy, Performing Arts Research Centre © 2020 University of the Arts Helsinki, Theatre Academy, Performing Arts Research Centre and Joa Hug
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  REACCLIMATING THE STAGE (SKENOMORPHOSES) (2020) author(s): vincent roumagnac published in: University of the Arts Helsinki
  REACCLIMATING THE STAGE (SKENOMORPHOSES) An Ecotonal Doctoral Piece in 40 Scènes, 15 Parergonal Writings and 5 Double-Postcards. From the perspective of mise-en-scène (staging), and correlatively that of the place and the practice of the metteur-en-scène (theatre director), this artistic research project addresses, examines and experiments on the question of the scenic/scenographic representation of a postnatural world, in climate transition, affected by global warming and moved by abstract data-flows, in a tangled web of storms, information, and algorithms. While lived and conceptual "time", no longer telically given as linear and chronological, is being anthropodecentered and, therefore, diffracted into an open plurality, the Reacclimating the Stage (Skenomorphoses) artistic research project takes the earlier notion of time as a raw material to reexamine, from an eco-scenic and research perspective, in order to transform the theatrical practice of its author and to trigger the latter’s specific contribution to artistic research milieu. By obliquely playing on one hand with memories of theatrical history of scenic internal modi operandi, architecture, and literature, and on the other hand with institutional requirements for doctoral research appearance, the project aims at repositioning the director's practice in a movement of transition of scenic thinking and imaginary through a series of artistic and research experiments, whose enactments and resonant redistribution are poetically at interpretative play in this exposition.
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  Throws of Dice (2019) author(s): Henna-Riikka Halonen published in: University of the Arts Helsinki
  My doctoral research project is a speculative spatial construct, an alternative labyrinthic infrastructure that is flexibly built within and as a response to the artworks it houses. Existing in tension with the framework affecting it, the artworks and the texts leak out from the structure and are performed in and around the physical floorplan. This format renders the configuration of the research project visible and temporary, with the potential to be reformulated and adapted to future contexts. The labyrinthic structure allows the research to go off in different directions, enabling us to consider the multiple perspectives and modes of writing that constitute its story and the complex infrastructures that might support it. As a strategy for artistic, social and political engagement and a reaction to a contemporary condition in which our claim to the positions we occupy is increasingly simplified, my research project creates a space of thinking, imagination and resistance. By confusing the functionality of language, it aims to make visible the power dynamics and infrastructures shaping our world. The notion of power is two-fold, the research examines, on the one hand, the complexity of human interactions and positions concerning hegemonic power structures and on the other hand, the relationship between the visual and the verbal and experience and affect. A number of defining characteristics of our contemporary condition are matters of concern; the speed of the networked globalized economy, the control enacted by states and categorization and exclusion of culture. In artistic research (and the networked world as a whole) there is often a tendency to adopt an overarching view which seeks to unify under a single concept a multiplicity of events. However, here the strategy is to do away with the reductive way of doing theory and instead, to dismantle hierarchical relationships between categories. My research project also contributes to the genealogies of participatory practices and to bridge the gap between language and visual art, I am tapping into similarities and differences of a kind of a virtual staging offered by literature, visual art and digital technologies. I draw from literary strategies of speculative fiction, in particular, those of the French Nouveau Roman. By using chance, paradox (aporia) and uncertainty as guiding principles and as revelatory tools this research endeavours to deconstruct and divert perception and language, emphasizing absurdity and creating sense rather than meaning. More particularly, the research constantly explores its own limits and reflects its involvement with the social and political structures it is addressing to create or anticipate new modes of existence. This project requires the reader/viewer's active participation, leaving holes or unknowns in the narrative structure that moves through entangled nodes of connections and different temporalities to suggest alternative and expansive forms of viewing and making art and research. The research uses my installation/performance Eden The Pow(d)er of Fear (2014) as a frame structure, both as a physical blueprint of a labyrinth and as a story. This approach is not intended as a retrospective view towards the work but proposes instead a speculative re-writing and re-scripting of a work that offers new 'portals' to other works and worlds, through other narrative and theoretical threads opening up new perspectives, concerns, times and spaces. The other works embedded in the structure are the moving image works Moderate Manipulations (2012) and Placeholder (2017).
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  Choreography as Reading Practice (2019) author(s): Simo Kellokumpu published in: University of the Arts Helsinki
  ENG My doctoral artistic research project (2013-2019) examines choreography as reading practice. In the research, the notion of choreography operates simultaneously as an analytical device, problem to be examined, and an artistic outcome. The primary method for the research is choreographic experimental practice that delves into the process of dynamic place-taking in which the human body couples with surrounding movements, from microscopic to telescopic, without the aim of mastering the movement. The research project contains two examined artistic parts; the first one consists of five choreographic projects and the second materializes choreoreading practice as performance with three performers. The research practice delves into the conditions of movement and choreography through the following transformations: from choreographer to choreoreader from choreographing to choreoreading from grounded embodied choreographic construction to astroembodied choreostruction from human vessel to human atmospheric organism In the framework of choreography studies, the research contributes to the shift and expansion from the historical notion of choreography as writing practice, in which the human body masters the movements to a choreoreading practice. The research project also contributes to the genealogies of site-specific and context-responsive practices, extending the notion of site to outer space. Errata On the cover page of the exposition, the peer review logo of The Federation of Finnish Learned Societes should be ignored as the publication has not undergone anonymous peer review. The logo was inserted by the publishers. FIN Tohtorintutkintoon johtanut taiteellinen tutkimusprojektini (2013-2019) tarkastelee koreografiaa lukemisen praktiikkana. Prosessissa koreografia toimii samanaikaiseseti analyyttisenä välineenä, tutkimuskysymyksenä sekä taiteellisena lopputulemana. Ensisijainen tutkimumetodi on ollut kokeileva koreografinen praktiikka, jossa paikantuminen ja paikan ottaminen toimii taiteellisena strategiana jossa ruumis linkittyy sitä ympäröiviin liikkeisiin mikroskooppisesta teleskooppiseen mittakaavaan ilman liikkeen mestaroinnin tavoitetta. Tutkimusprojekti sisältää kaksi tarkastettua taiteellista osaa; ensimmäinen osa koostuu viidestä koreografisesta projektista ja toinen osa on koreolukemista materialisoiva esitys kolmelle esiintyjälle. Tutkimuspraktiikka tarkastelee liikkeen ja koreografian olosuhteita seuraavin muutoksin: koreografista koreolukijaksi koreografioimisesta koreolukemiseen maadoittuneesta ruumiillisesta koreografisesta konstruktiosta astroruumiilliseen koreostruktioon ruumis-säiliöstä atmosfääriseen ruumiiseen Tutkimus asettuu siihen koreografiaa koskevaan historialliseen jatkumoon, joka laajentaa koreografian ymmärrystä kirjoittamisen praktiikasta, jossa liike ymmärretään mestaroituna materiaalina. Tutkimuksen esittelemässä koreolukemisen praktiikassa ruumis kytkeytyy liikkeeseen taiteellisessa prosessissa toisenlaisen asenteen kautta. Tutkimus sijoittuu myös paikka-, tila- ja kontekstisidonnaisen taiteen historian jatkumoon venyttämällä paikan ja tilan käsitteen ulkoavaruuden mittakaavaan. Errata Ekposition avaussivulla oleva Tieteellisten seurain valtuuskunnan vertaisarviointitunnus tulisi jättää huomiotta, sillä tätä julkaisua ei ole anonyymisti vertaisarvioitu. Virhe on julkaisijan.
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  Episodi vol 6 Introduction (2019) author(s): Tero Nauha published in: University of the Arts Helsinki
  Episodi is a series published by the Live Art and Performance Studies (LAPS) pro-gramme in Theatre Academy of the Uniarts Helsinki. This sixth volume of Episodi, 'Signatures' consists of six online expositions by the MA students of the LAPS pro-gramme, Harold Hejazi, Katriina Kettunen, Yuan Mor’O Ocampo, Daniela Pascual Esparza, Olga Spyropoulou and Nicolina Stylianou, where these are reflections on the LAPSody festival that commenced on February 21-23, or individual research. For the first time, Episodi will be published in an online format using the Research Catalogue (RC) publishing platform.
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  What colour is Signature? (2019) author(s): etherlinna published in: University of the Arts Helsinki
  What Colour is Signature? acts as a platform with a score to play and experiment with different compositional structures. The platform aims to create a non-intensive means to enjoy the possible mental representations you may experience when listening to sounds that negotiate the amount of noise and information. Fluxus and Avant Garde art in 1960s often explored the relation between noise and silence and how it is communicated within a space (during the so called ‘happenings’).  Noise (or the source of randomness) shifts the listener’s perception to the non-sense that art often produces, and brings into play the attempt of the mind to focus on the mental representations it is creating.  Therefore, the non-sense (noise and silence) in itself acts as a measurement of information.
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