Research Catalogue

an international database for artistic research

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  Cleaning in progress: the line between art and life (2021) author(s): Ulvi Haagensen published in: Journal for Artistic Research
  This exposition combines image, text, and video to provide an overview of my artistic research, which focuses on the embodied experience of art-making in relation to the everyday. Equipped with the notions of a line and a circle, I explore the connections and overlaps between art and life through a multi-disciplinary art practice that combines installation, sculpture, drawing, performance, and video, and merges this with everyday experiences, mainly cleaning, one of the more mundane aspects of everyday life. In this work, I am accompanied by three imaginary friends, who are also artists. We find ourselves constantly crossing the lines between art, art-making, and everyday life as we move between our roles and various places of work, such as home, university, library, and studio. We dip into the everyday for materials, tools, and techniques, and work in the manner of a bricoleuse, using a ‘make do’ approach and ‘what is at hand’. Along the way, we ponder the specialness of art, especially from the perspective of an artist for whom art and art-making are a part of the everyday and therefore quite un-special. As we puzzle over the distinctions of whether something is practical or impractical, useful or useless, art or non-art, mundane or special, we end up blurring the borders to discover an approach that attempts to dispense with the idea of boundaries and binaries altogether.
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  Future Earth Scream Now - The Solresol Birdsong Translator (2021) author(s): Jim Lloyd published in: Journal for Artistic Research
  In this exposition, we describe a ‘speculative fabulation’ on communication with birds. A device was built that ‘listens’ to birdsong and translates this into human speech utilising the obscure musical language Solresol (François Sudre, 1866). Birdsong is analysed and converted into musical notes (one octave in the scale of C Major: do-re-me-fa-sol-la-ti). These seven notes are grouped to form four-note ‘words’ that are looked-up in the Solresol-English dictionary. Each note also has a rainbow colour assigned to it. In a variety of configurations, the device can output the birdsong, notes, music, translated words, and colours. Text and MIDI (music) files can both be saved for further output or processing. The software can run in a variety of modes and on a variety of hardware, including PC and Raspberry Pi. It can make use of both live and recorded birdsong. The device and software are described, as well as several examples of its outputs, such as ‘auto-poetry’ and music. The presentation of the work and modes of engagement are described. The contextual significance is discussed in relation to claims about the practice as artistic research.
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  Aubiome: A Collaborative Method for the Production of Interactive Electronic Music (2021) author(s): Joel Diegert, Adrian Artacho published in: Journal for Artistic Research
  Using a ‘performer-centric’ working method, artistic researchers Joel Diegert and Adrián Artacho investigate the potential of integrating the saxophone with real-time electronics. The musical work, 'aubiome', is used as a case study to demonstrate their collaborative co-creative approach. The six-stage, iterative working process that emerged during the aubiome project is broken down and described in detail.
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  Investigating the impact of Electroacoustic Music in Greek Culture, through a portfolio of Electroacoustic Music works which explore religious and mythological aspects of Greece. (2021) author(s): EPAMEINONDAS P. FASIANOS published in: Journal for Artistic Research
  My research investigated the viability of various electroacoustic music compositional approaches, which were used in a series of works that explored specific relationships between real-world and abstracted sound materials, through the strategic use of pitched, melodic, and non-pitched materials (as well as specific characteristics and behaviours of those materials) as integral elements in the composition. All of the compositions were linked to Greece in various ways, either directly or symbolically. My primary goal was to present transformed aspects of Greece while exploring all of these different levels musically through electroacoustic music. Furthermore, I attempted to explore new electroacoustic music territories by embarking on a journey from real-world instrumental and concrete soundworlds based on aspects of Greek culture (religion, mythology) to abstract soundworlds. Real-world soundworlds are made up of sounds, spaces, and places that have the potential to communicate human experiences such as familiar impressions, aural images, and evocations for the listener. Abstract soundworlds that emerge from real-world ones via various transformation processes include specific sounds, spaces, and places that can be notably different from those that emerge from real-world soundworlds. My main overall goal was to develop innovative techniques and processes that explore the intersections, contrasts, connections, and discourse between the two.
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  Raising the Voice: Sculptural and Spoken Narratives from the Flat Sheet (2021) author(s): Hannah Clarkson published in: Journal for Artistic Research
  This exposition explores ideas of narrative and storytelling through sculptures and texts raised from a flat sheet, a kind of visual and spoken poetry which is both particular and multiple. In this paper, the key area of investigation will be the relationship between sculptural and spoken narratives in my practice. This is engaged with in four main areas: • The flat sheet and the fold as sites for storytelling • Multiplicities inherent to storytelling • Architecturality and the space between bodies and buildings • Words, text and the voice, and their relationship to sculpture I explore the role of the architectural in the space between sculptural and spoken narratives, both of which are forms that begin with a flat sheet. The research also looks at how one might write about art in order to expand understanding but not reduce it to one meaning, writing around or through objects so as to leave gaps for the imagination and other narratives. The importance of the voice in the telling of these narratives is investigated, as well as the relationship between bodies and buildings.
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  Encore (2021) author(s): Mika Elo published in: Journal for Artistic Research
  The exposition presents two installations—Mitä uutta kivistä?/Anything new about stones? (2017) and LAB-O(U)RATORY (2019)—and enfolds them in a series of repetitive gestures that stage their methodical entanglement. Both of the installations explore and articulate the research potential of expanded writing. At stake is the ecology of attention in a setting that thematises the co-existence of different modes of articulation, interlinked spatial and temporal arrangements as well as their associative mechanisms. What happens when a spatial constellation is presented on a medially formatted time line? How to focus one’s attention in an associatively saturated literary space? Rather than attaching itself to an already existing theoretical framework or meta-discussions on artistic research, the exposition aims at explicating a singular artistic framework and its constellated structure.
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