9

Would JAR consider a submission that engages with the precarious material status of objects? What about research carried out during a residency in Mozambique? What about in Tokyo? Or during a trip across Australia? Might we be interested in live-performance sampling? What about the staging of scientific texts? Would we exclude architecture research? Literature? Graphic design? Can a text be poetic, interactive, multilayered, or even missing? Can documentation be problematised? May a submission travel from art to philosophy and back?

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8

From the very beginning, the notion of practice that JAR has employed has included its own communication – or exposition, as we call it – as research. This implies that key concepts relevant to contemporary art can be engaged with even in the context of something as scholarly – and for some boring – as a journal article. In this editorial, I would like to sketch the relevance of appropriation to expose the point at which stable notions of ‘research’ are jeopardised. Such instability is perhaps difficult to evaluate but, we believe, exciting to engage with.

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'Beware the Danger of Merging': Conceptual Blending and Cognitive Dissonance in the work of IOU Theatre

Deborah Middleton & Tim Moss
This exposition introduces and analyses the work of British-based IOU Theatre, a company that has been exploring intermedial theatre and installation since 1976. IOU's work, we suggest, is characterised by their particular strategies
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keywords: OPEN EXPOSITION

Hinges of correlation: Spatial devices of social coexistence

Espen Lunde Nielsen
This project investigates the coexistence of and the correlation between the inhabitants within my apartment building, using artistic practices and my own lived experience. These everyday spaces form the primary interface between the individual
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keywords: OPEN EXPOSITION

7

JAR supports the exposition of practice as research. While we continue to highlight the ‘as’ construct – the folding of something into something as trace of difference and motivation – the notion of ‘exposition’ is often used as shorthand for what otherwise may be called a ‘journal article’. Still, even outside the intricacies of expositionality, what may look like a simple substitution of terms affects the kinds of objects that the word is meant to represent. Out of the wealth of associations, three may deserve particular mention.

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Transcribing Johann Sebastian Bach's Lute Music for Guitar Bouzouki

Andreas Aase
Johann Sebastian Bach's lute suites were probably written on the harpsichord, and are commonly performed on the guitar. This project examines the possibilities and limitations in transcribing one suite for a four-course, fifth-tuned instrument in the cittern/octave mandolin family
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keywords: OPEN EXPOSITION

6

The role of ‘process’ in artistic research is not necessarily clear. There is a general tendency to believe that a research process starts with a set of questions to which over time answers are given. Two fixtures, a beginning and an end, here bracket a process. Accepting this crude order for the moment, it seems that a publication in JAR must be associated with the later stages of this process – ideally perhaps a report on a research project’s findings.

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Anatomical Self-Portraits as Fieldwork: Observations, Improvisations, and Elicitations in the Medical School

Kaisu Koski
This exposition discusses an artistic research project involving a field trip to a medical school. It introduces part of my postdoctoral project as a case study, discussing photography and video self-portraits as a means for exploring anatomy and clinical skills education. Instead of analysing the resulting photo series and video piece, the exposition has a focus on process and methodology
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keywords: OPEN EXPOSITION

Con Luigi Nono: Unfolding Waves

Paulo de Assis
This exposition presents diverse materials related to, or inspired by Luigi Nono’s piece for piano and tape …..sofferte onde serene… (1975–77). Organised in seven modules, the exposition offers different perspectives on a vast collection of materials around the original work, its performative renderings, and its orchestral transformation
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keywords: OPEN EXPOSITION

sonozones

Jan Schacher, Cathy van Eck, Trond Lossius, Kirsten Reese
The 'sonozones' project investigates sound art practices in public places through personal and public acts of listening and sounding. The topic is explored using artistic processes developed on site in Mülheim in the Ruhr region of central Germany
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keywords: OPEN EXPOSITION

Stained Black Mirror

Vappu Jalonen
This work examines the material entanglements of humans and touch screens. The starting points are Donna Haraway's 'Cyborg Manifesto', read now over twenty years after it was first published, and the figure of a black mirror. The black mirror does not pretend to reflect back only that to which it has been turned. It also shows itself
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keywords: OPEN EXPOSITION

5

After an artistic practice is exposed as research, it is easy to believe that it has always been research, regardless of its exposition. Conversely, if a case has not been made for something to count as research, a doubt on its epistemic relevance will linger over it. While a different attempt at an exposition may yield different results, we are tempted to see the research in the thing itself and not also in its exposition. This conjecture is problematic.

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Art and Research Colliding

Teemu Mäki
This exposition concerns the relationship between art and research. It focuses on the questions: How can we define knowledge and research in the context of artistic research? What is artistic research? What is its goal? How is it different from other traditions of combining art and research? How should the university system
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keywords: OPEN EXPOSITION