Research Catalogue

an international database for artistic research

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  Biopoéticas: convergencias artísticas interespecie (2022) author(s): ANA LAURA CANTERA published in: Journal for Artistic Research
  Español En la propuesta se reflexiona sobre las implicancias de concebir obras artísticas en conjunto con seres vivientes no-humanxs y las problemáticas y particularidades que esto conlleva. Asimismo, se propone la terminología de biopoética como alternativa nominal al concepto antropocéntrico y problemático del bioarte desde una concepción más locativa y contextual. Se pretende visualizar las metodologías y los accionares de la materia viva desde el arte contemporáneo latinoamericano y repensar tanto las prácticas como los modos de exhibición. English The proposal reflects on the implications of conceiving artistic works in conjunction with non-human living beings, as well as the problems and particularities that this entails. It proposes the biopoetics terminology as a nominal alternative to the anthropocentric and problematic concept of bioart from a more locative and contextual conception. It is intended to visualize methodologies and actions of living matter from contemporary Latin American art rethinking both practices and modes of exhibition.
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  Performing the ecstasis: An interpretation of Katharine Norman’s Making Place for instrument/s and electronics (2022) author(s): Jean Penny published in: Journal for Artistic Research
  Katharine Normans’ work Making Place for instrument/s with live electronics (2013/16) combines recorded sounds, images, text, live interactive processing and instrumental music performance to create a unique experience of place. As the performer, I can choose a location, collect photographic images and recorded sounds, and interpret and re-create the score. The score is semi-improvisatory, consisting of many composed and freely pitched musical gestures which trigger text, visual animations and sound processing. This exposition traces the re-conceptualization, adaptation and performance of Making Place for alto flute. A multi-layered experimental methodology evolved that encompassed practice, discussion, description and reflection, with the performance itself forming the pivotal event, the epoché. To begin I share pre-performance thoughts – ideas of re-conceptualization and the construction of method. I follow with an account of pre-performance activities – the walk, collecting materials, transposing the music for alto flute, inserting new artefacts into the software, and rehearsals. Next come descriptions of the performance, and finally, I offer a reflective conclusion to the project. This project illuminated the quotidian through sound, image and text, transforming the everydayness of a walk along a disused railway track, turned walking/cycling track, in Victoria, Australia, into an extraordinary musical work, creating a shift from a knowing about to a knowing from within, from playing and doing to reflective awareness.
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  The application of creative practice as a means of disrupting or re-defining the dynamics of power in, with or for different communities. (2022) author(s): Sabrin Hasbun, Gareth Osborne, Rachel Carney, Julika Gittner, Catherine Cartwright, agnes villette, Harry Matthews published in: Journal for Artistic Research
  In this exposition, seven research practitioners investigate how creative practice can be applied as a form of knowledge production in order to disrupt or re-define the dynamics of power in a range of different contexts. These applications of creative practice take varied and complex forms, often transferring creativity from the practitioner-researcher to their participants, increasing participant agency or re-defining existing hierarchies, as they form, empower, and enlighten real and conceptual communities. This collaborative exposition has been developed through presentations and discussions over the course of two years. Although each researcher applies different methodologies to their individual projects, our work as a group followed a pattern of creative practice, reflection, and reformulation, as we responded to each other’s research, creating a research community of our own. We want to emphasize that creative practice can not only disrupt or re-define the dynamics of power in a range of different contexts, but that it can do this in an infinite number of ways. In this variety and adaptability lies the potential of creative research.
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  Little Do They Know (2022) author(s): Olivia Rowland published in: Journal for Artistic Research
  This exposition functions as both a visual and poetic essay, and a manifesto for my methodology of ‘line’. My definition of ‘line’, defined here as: ‘The gestural and abstracting tandem force of drawing-and-writing as a narrative means to express selfhood.’ The exposition posits the methodology of ‘line’ as one alternate artistic means to artistically communicate feminine selfhood. The methodology of line works to resist the internalised assignment of feminine voice to a corporeal body. Instead, ‘line’ communicates selfhood through poetic means and a sense of fragmented corporeality. Visually, the stark and abstracting nature of the drawn line, and the allegorical, metaphorical nature of writing present an abstracted self that playfully evades full understanding. The titling phrase ‘Little Do They Know’ intones a kind of secret power on behalf of the speaker, and the presence of secret and intricate worlds to which the gaze of the spectator has limited access. It is on this premise which the exposition operates, articulating the presence (in all its anxiety, instability, rage, joy and frustration) of a playful and evasive selfhood that reclaims agency from the spectator’s gaze.
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  Subtle Ground: Feeling our ways towards a supportive method in ceramic practice (2022) author(s): Priska Falin, Helen Felcey published in: Journal for Artistic Research
  This exposition focuses on the exploration and development of Subtle Ground, a method that directs attention during and through making with clay, in the context of creative practices in ceramics. The method takes a non-conventional approach to making; it focuses on being with the material instead of pursuing a conclusion in the creative process. The method directs the practitioner to follow aesthetic qualities in making understood from a pragmatist view on having an experience. In this exposition, the focus is on the author's collaborative work that has shaped the Subtle Ground method, particularly the workshop ‘Sensorial Ground’. In Subtle Ground, the idea of dwelling is emphasized offering the specific approach to making. The method consists of a series of exercises that direct attention towards subtle sense perception within the body. Through working with the Subtle Ground method, we suggest that it is possible to begin to understand the embodied dimension and how it influences creative practice. The Subtle Ground method has been built on the clay’s supportive qualities, bringing together sense perception and physicality, thus understanding the practice’s aesthetic qualities and connections to meditation.
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  Experiments in Aural Attention: Listening Away & Lingering Longer (2022) author(s): Rebecca Collins published in: Journal for Artistic Research
  This exposition puts forward ‘lingering longer’ and ‘listening away’ as potential means to remain with non-semantic possibilities, resisting the tendency to know immediately or to classify — to get lost, albeit momentarily in a more messy moment of being. At stake in this investigation is the recognition that our experience of the world, characterized through a depth of engagement, is not limited to how relations operate on the surface. The direction or orientation of our attention, the intensity with which it is applied, and how it weighs on and shapes our experience implies choice and agency. Experiment I: Aural + Orientation = Aurientation emulates the experience of a fictional gallery-goer who encounters the sound installation, This is for You (Don’t Treat it like a Telephone) (2012). This piece was developed at the advanced centre for performance and scenography studies (a.pass) in Brussels and aims to consider how sound and the voice shape our orientation, when mediated through objects. Experiment in Aural Attention II: Vibrant Practice details the process undergone for creating Listening to Water (2013), a site-specific investigation into ancient well sites located in Powys and Ceredigion, two counties in Mid West Wales. The work, made in collaboration with Jane Lloyd-Francis and Naomi Heath, considers how a turn towards site, via a process of tuning in to the Welsh landscape, can bring attention to overlooked aspects of our environment.
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