Example 1:
Emilio Angel Reyes Bassail, ‘MEMORY AS A METHOD FOR FILMMAKING‘, Journal for Artistic Research, 19 (2019) https://www.researchcatalogue.net/view/648128/719591/0/0
Example 2:
Paulo de Assis, ‘Con Luigi Nono: Unfolding Waves‘, Journal for Artistic Research, 6 (2014) https://www.researchcatalogue.net/view/51263/52254/0/0
Example 3:
Susanna Hast, ‘Walking with Soldiers: How I learned to stop worrying and love cadets‘, Journal for Artistic Research, 21 (2020)
Example 4:
Lucie Tuma, Jens Badura, ‘it's doing it – the force of passivity‘, Journal for Artistic Research, 7 (2015) https://www.researchcatalogue.net/view/51120/51121
Example 5:
Anik Fournier, ‘Rudimentariness: a concept for artistic research‘, Journal for Artistic Research, 12 (2017) https://www.researchcatalogue.net/view/261526/316604/0/0
Example 6:
Matilde Meireles, Diogo Alvim, ‘Trigger Place - A Game of Sound and Architecture‘, Journal for Artistic Research, 14 (2017) https://www.researchcatalogue.net/view/309117/309794/95/155
Example 7:
Mick Douglas, Beth Weinstein, James Oliver, ‘Shuttling‘, Journal for Artistic Research, 9 (2015) https://www.researchcatalogue.net/view/80218/91677/0/1506
"The foundational category of the experimental philosophy, and of what counted as properly grounded knowledge generally, was an artefact of communication and of whatever social forms were deemed necessary to sustain and enhance communication. I argue that the establishment of matters of fact utilized three technologies: a material technology embedded in the construction and operation of the air-pump; a literary technology by means of which the phenomena produced by the pump were made known to those who were not direct witnesses; and a social technology which laid down the conventions natural philosophers should employ in dealing with each other and considering knowledge-claims." (484)
"The technology of virtual witnessing involves the production in a reader's mind of such an image of an experimental scene as obviates the necessity for either its direct witness or its replication. Through virtual witnessing the multiplication of witnesses could be in principle unlimited. It was therefore the most powerful technology for constituting matters of fact. The validation of experiments, and the crediting of their outcomes as matters of fact, necessarily entailed their realization in the laboratory of the mind and the mind's eye. What was required was a technology of trust and assurance that the things had been done and done in the way claimed." (491)
Here's a link to a Dutch project that explains the airpump and its role a little - with the help of videos and texts - http://airpump.ugent.be/en/
This presentation builds on 'Expositionality in Action' with the aim of engaging further with the aesthetico-epistemic effects of expositionality.
Reviewer comment https://jar-online.net/passivity-activity
