How can we collectively support the emergence of different species of proximity and community within the field of expanded language-based practices: we-ness and near-ness; participation; observation; conversation; caring/curation; listening; hosting; guesting; audiencing; supporting; bearing witness; hearing out; feeding back; offering help; spending time; sharing time; sharing resources, world-building? How can we together support different modes of relationality and connectivity [gravitational pulls and resonant affinities] within the field of expanded language-based practices, further ways for generating mutual support and resource?
Towards a more distributed, open organisation of the Special Interest Group within this expanded and expanding community of practice through the evolution of live constellations of interest and focus within the field of language-based artistic research.
These various 'thematic nodes' present existing networks/research groups within the field of language-based artistic research, or have been initiated by individuals or by groups specifically for engaging with a specific thematic focus, a field of attraction and resonant affinity, or a matter of urgency.
Future invitations for further emergent thematics will be announced through the mailing list.
Daisy Hildyard | Katrin Hahner | Rosie Heinrich| Sepideh Karami
Drawing inspiration from and propelled by studies into the entanglements between new scientific research that challenges the concept of the bounded “individual”, the collapse of dominant orders and categorisations, and the hospicing of modernity/coloniality, this research project explores (visual / textual / polyvocal) expressions of the dissolution and abolition of the concept of the “individual”.
Lynn Margulis once said: in the arithmetic of life, one is always many. Marisol de la Cadena uses the phrasing: human… but not only. That we are multispecies symbiotic assemblages requires an unlearning of habitual grammars of thinking. Replete with excesses, extending beyond skin, fur, bark: binaries like “inside” / “outside” are troubled. Selves are plural, uncontained, decentered, and polyvocal. On the other hand, Trinh T. Minh-ha’s concept of “plural I” highlights the political aspect of the individual as standing out, taking position and responsibility: an “I” that can potentially stand for many without reducing it to the crowd.
Rooting into the foundations of modernity’s grammars that shape ways of relating, and pressing into language’s inherent evolution, this research project aims to advance a necessary unlearning in ways of relating to the world, ourselves as human-bodyings, and language itself. It attempts to do this through expanded reading/writing/listening/making practices (eg. developing notational scores; claying with words and voices): interrupting, disorienting and seeking openings that gesture towards other ways of relating and worlding.
Conversation-led, collaborative, decentralised, plurally shaped: the practice reflects the research, engaging fully with the phenomenon of being more-than one. With initial conversations among Daisy Hildyard, Katrin Hahner, Rosie Heinrich and Sepideh Karami, as this collective emerges it hopes to connect with potential (un)known voices through conversations, searching into what is not included in the singular narrative of colonial modernity.
Encounters Write Choreography
Kirsi Heimonen | Leena Rouhiainen
We - Dance artists and artist-researchers Kirsi Heimonen and Leena Rouhiainen - are working on a novel approach to textual choreography that considers choreography as a form of site-specific choreo-writing. The objective of the choreographic processes is to allow the impact of the bodily sense of being in contact with different urban locations to permeate the authors’ activities in writing. To support this intention, we have generated a phenomenologically informed performative score on experimental writing that aims at appreciating the vitality of the sensuous. The overall aim of our work is to develop expanded forms of choreography that extend conventional choreography, namely dancers performing predesigned movement sequences, into the medium of writing. We likewise want to encourage anybody interested in movement and words to engage with choreography in the situations they find themselves in.
Contact information: firstname.lastname@example.org and email@example.com
Image: Writing as choreography. Photo: screen shot from short-film Writing the Shadow as Choreography (Concept, text and speech: Kirsi Heimonen and Leena Rouhiainen, filming and editing Raimo Uunila, sound design Antti Nykyri)
Collective writing in public space
Initiated by Lena Séraphin with Emma Cocker | Andrea Coyotzi Borja| Cordula Daus | Vidha Saumya.
What other ways for perceiving and reimagining public space emerge in and through language? In turn, how does writing in a public space shape and inform the emergent possibilities of language, alongside the felt sense of subjectivity for both writers and readers? How are shared spaces constructed in/by/with text? What worlds become “opened up by the words”, by “the space of the text”?
Inspired by the writings of Georges Perec - and his book An Attempt at Exhausting a Place in Paris that acknowledges overlooked phenomena in a Parisian square in 1974 - this ongoing enquiry engages with different public spaces as ever-changing phenomena, writing and rewriting site and situatedness through the lens of different prompts and scores. In one sense, the project explores ways for intervening in, disrupting or unsettling the homogeneity of civic consumerism and the commercialisation of urban common space, as well as operating as a countertext to the commodification of our bodily selves, through the gentle act of focused attention and through languaging the space otherwise. Collective writing in public space invites a multitude of intertwining writerly perspectives through observational writing underpinned by bodily awareness, perception and sensations, moving away from solitary writing towards collective and multilingual writing. Writing is understood in a broad sense, extending beyond alphabets into the interweaving of movements, presences and actions in public space, posing questions on how we communicate and have an impact on each other when traversing public sites. Through the writing and reading of texts generated in touch with public space, this enquiry redefines the solitary act of writing, introducing collective live-writing in public space as an artistic-literary genre.
Kris Pint | Nadia Sels | Goda Palekaitė | Maria Gil Ulldemolins
Passage is a transdisciplinary research line based in Hasselt University, Belgium. We understand autotheory and other hybrid and performative forms of creative-critical writing as connective methodologies in artistic research. We use text as a tool to bring together different genres of knowledge, from critical theory, to embodied experience, pop culture, or unconscious fixations. Writing becomes a space where unexpected meetings can take place: different media, epochs, cultures, registers, languages. We think of provoking these encounters as a practice in itself. This practice is many-headed: artistic and theoretical, yes, but also architectural and embodied; conglomerated, subjective, and often, anachronistic. For us, it is a way to seek new forms of defining and dwelling in both our inner and outer environments.
We can be found at projectpassage.net, where we also publish a peer-reviewed journal for other academics, writers, architects, and artists that use these methodologies.
Image: Kris Pint. 2022. 'Hunters in the snow'.
The un|common ground
Regina Dürig | Marinos Koutsomichalis | Phoenix Savage,| Anna T.
How to carefully catch the words | τι λατσά που μαζευτήκαμε εδώ να παίξουμε | black on crisp white | su quella tristeza transcendente | ka ji ni kutukutu | eu estou aqui para vocês | das Gleißen des Gefieders, der Gedanken, der Geduld | emi ti ji ni kutukutu, mo ti mohun ipin ko’pin
Our individual research areas overlap in decolonial, non-western, and off-center language-informed/language-driven and poetic practices. How do languages embed, implement, and help establish colonial regimes and how may these be challenged and resisted through language? How can we use language to creatively articulate decolonial concerns? Can language become some kind of sanctuary? A hiding place wherein borderland and non-dominant (micro-)cultures may dwell and thrive? How can non-western languages and off-center references set out new directions for artistic research and practices? What happens when such off-centered – strictly non-western, non-dominant, queer or feminist – local points of reference intersect and inform one another? What is the relationship between language (embodied, oral, and written) and community-forming, ununderstandability, untranslatability, and opacity? We reflect on these and other questions against the backdrop of our research practices and poetic/literary projects.
Contact: Marinos Koutsomichalis <firstname.lastname@example.org>
Words as Matter
Mariana Renthel | Anouk Hoogendoorn
Words as Matter - alchemical operations on words would like to become a constant conversation and exploration open to whomever would like to join and co-explore: namely implementing actions that trigger exploration in the simple, yet interesting realm of using words as matter(ial). Understanding that through word quality recognition one could give place to so-called “alchemical operations'' such as the possibility of flexibility in shape and etymology of words by: dissection, merging, malleability, trans-lingua and in-betweens. In that sense, speculations are also welcome as a strategy to be used mainly, while inhabiting the creation process.
The affinities between perception, writing as graphism or drawing and the opportunities to implement those operations on wording could further on understanding and poetic capabilities as an artistic practice, methodologies or strategies.
email@example.com or firstname.lastname@example.org
email@example.com or firstname.lastname@example.org
Writing as research as writing
Marjolijn van den Berg | Nirav Christophe | Daniela Moosmann | Ninke Overbeek
We are a research group within the Professorship Performative Processes of HKU Utrecht University of the Art. We explore the ways in which both artistic research and artistic practice can be disseminated in and through writing.
The production processes of writing and researching have become more and more intertwined; the research and the work exist in dialogue with each other.
The researchgroup works along five lines of inquiry:
* Creative writing techniques being used as a method of artistic research;
* Alternative writing techniques in BA-, MA- and PhD-thesises in Higher Art Education;
* Knowledge on writing processes informing artistic research methologies;
* Writing practice and artistic research seen as collective and co-creative activities;
* Research and writing pedagogies in Higher Art Education.
Where they all meet is the idea of writing as research as writing.
Key words: Peer writing, Polyphony, Ficto/critical Strategies, Enquiry through writing; Creative Writing Pedagogies, Co-creation, Dissemination of Artistic Research.
More on the research can be seen in here and here
We would like to actively invite people to join us in our research, by adding to our collective writing sessions. For example, we would like to invite you to add your own voices and bodies to the text shown in the collaborative writing video: tinyurl.com/4x35ds37
The inquiry focuses on the relationship of language based practices and the construction, withholding and disturbance of meaning making, as it proceeds through personal artistic explorations - articulating solitudes. Thus far this is being explored through the practice of considering language as something becoming image and vice versa in and through Dutton’s artistic practice and through the application of Mers’ Diagrammatic Instruments which are the construct at the center, and quite literally the 'middle term' of her artistic practice of Performative Diagrammatics - articulating solitudes together. What develops, amongst other things, is an ongoing dialogue around the nature of intention, interpretation, when to speak and when to be silent, and the work of art as finding its form by perpetually performing itself. Discourses that intersect with our inquiry are Aesthetics and Epistemology, Cognitive Linguistics, Philosophy of Language, Performance Philosophy, and New Materialist Philosophy, along with ecological inquiries across social justice, gender and organization studies. We are interested in curating, facilitation, dramaturgy and performance. Others are welcome and the focus of the group is flexible and expansive. Please email us, including ‘Articulating Solitudes’ in the subject line.
Contact: email@example.com, firstname.lastname@example.org
Adelheid Mers | Steve Dutton
Unspeakable Dialogues: Narratives for the Anthropocene
Rachel Armstrong | Breg Horemans | Rolf Hughes | Virginia Tassinari
Recognising that many disciplines do not understand each other and are therefore incapable of genuine or meaningful dialogues (and therefore potential innovation), we define Unspeakable Dialogues as the absence of common understanding between disciplines. This is not simply a lack of (academic) language, but (with art, design and architecture offering artistic, performative and embodied ways of expanding our nodes of understanding) concerns rather an expansion of literacy. Unspeakable Dialogues accordingly develops a set of knowledge instruments that that help us reconceive research from a post Anthropocene perspective. It prepares us for holding new conversations about how we live, communicate and creatively engage our world, and so alter the impact of human development towards a life-promoting culture. The interdisciplinary research arising from such dialogues will involve an expanded notion of dialogue as the site not merely for consensual interpretation (by setting contested concepts against each other and exploring the ‘third’ – hermeneutic – space that results, as in the established, but still under-explored, genre of the philosophical dialogue), but also as a methodological frame, or disciplinary interface, for confronting viewpoints, disciplinary logics and values that have been neglected by modern science and Western-centric, anthropocentric models of knowledge. It facilitates new insights into the challenges of interdisciplinary research by incorporating hitherto repressed ways of knowing (sensory, bodily, spiritual, experiential, emotional, tacit, ineffable, but also non-human or “more-than human” forms of knowing). It explores a more performative, embodied idea of unspeakable dialogues by questioning the current Western-centric epistemological paradigm, engaging in new forms of experimental knowledge creation, able to embrace relationality and care, through artistic and design research.