Documentation of the 10th SAR International Conference on Artistic Research, Zurich University of the Arts, March 21-23, 2019
(last edited: 2019)
author(s): SAR10
This exposition is in progress and its share status is: visible to all.
For the 10th SAR conference on Artistic Research, the Society for Artistic Research (SAR) is back in Switzerland where the society was founded 10 years ago.
The 2019 SAR conference is organized around three topics and two types of session formats for input and discussion. This year’s conference puts the manifoldness of artistic research practices and the discussion of specific aspects in each session at the center of the conference. The three topics are Productive Gaps, Enhanced Dissemination Formats, and Inspiring Failures. To give an overview and deeper insight into the international artistic research activities, contributions take place in a short format of 20 minutes or in a long format of 90 minutes. A keynote presentation are delivered for each of the three topics by Rebecca Hilton, Cathy van Eck and Kristen Kreider.
The Conference Committee is delighted about the fact that individual researchers and research groups, 3rd cycle candidates, postdocs, senior researchers and professors alike have taken the opportunity to submit proposals. The conference has a particular emphasis on the development and use of the time available for discussion within sessions.
FACE NO DIAL OF A CLOCK. Investigating asynchronous experiences of present times by means of art
(last edited: 2025)
author(s): Laura von Niederhäusern
This exposition is in progress and its share status is: visible to all.
The subjective experience of time pressure in today’s efficiency- and performance-oriented society is fuelled by a paradox: acceleration is omnipresent due to economic and technological demands, while at the same time complexity and self-responsibility require more time for decisions.
This exposition examines individual and institutional ways of dealing with discrepant time demands. Where and how do different age groups experience divergent time regimes that occur simultaneously? Which techniques do individuals and institutions use or invent to synchronize different time perceptions, rhythms, and activities? How can artistic research create asynchronicity and make it experienceable through filmic means? And, finally, to what extent can filmic thinking produce ways of knowing that convey (as yet) unverbalized perceptions of time?
Methodologically, this research combines analytical and artistic approaches in an essayistic procedure comprising cinematic practice and writing. On the one hand, it explores different aspects of divergent perceptions of time in a series of case studies under the leitmotif of “asynchronous determinations of time.” Situated in both immaterial and care work, in which bodily and affective temporalities are highly important, these empirical investigations consider the role of lifetime (age, biography, memory) and temporal modes (tempos; imperatives, indicatives, subjunctives). On the other hand, this study develops specific artistic procedures for focusing perception by means of narration, fragmentation, montage, visual and linguistic interventions, extractions and interweavings. Since simultaneous non-simultaneities (tend to) overwhelm subjective experience, the procedures adopted in this research contribute to new forms of filmic thinking and images of thought. They should be understood as an incentive to empathize with different understandings of time.
