Archive | JAR

3

How do we expect a Journal for Artistic Research to look? What is the role and status of the design and layout of an exposition?

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A Hinge: Field-testing the Relationship Between Photography and Architecture

Marc Goodwin

This article seeks to share the methods and preliminary results of an artistic research project in the field of architectural photography. A central concern is the representation of atmosphere in place of the standard depiction of objects. Important also is an attempt at co-design through an interview process with architects based on the notion of the dialectic

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architectural photography

co-design

collaboration

Denmark

dialectic

Finland

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Doha

Miriam Ewers

During 2011-2012, I joined Virginia Commonwealth University’s Art and Design School in Qatar, a small country diplomatically and culturally important in bridging eastern and western cultures. There, my daily interactions with students naturally stimulated many questions of how a visual culture can lay the groundwork

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Innerground _ an Exploration of a Disused Mine Through the Memories of Former Miners

Carolina Goradesky

In order to create conditions for an engaged artistic production improving the knowledge on the theme and its no-more existent site, a research was conducted to identify space and sound attributes in people’s memories. Performing activities, the ex-miners endowed the mine space significance creating a particular relation with it

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Rationality, Intuition and Emotion - Exploring an Artistic Process

Gert Germeraad

This exploratory text communicates the relation between my figurative sculpture and abstract drawings in an attempt to find the deeper grounds in my artistic work. During this project writing has become a connecting element, both as a description of my artistic process and as an integrated part of my work

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Schizoanalysis as a Method in Artistic Research

Tero Nauha

This exposition uses concepts of contamination, sponge and plasticity to approach the heterogeneity of a schizoanalytic practice - and as such as a method for artistic research. These concepts are singular to my research on the amalgamation of performance, subjectivity and contemporary forms of capitalism. My argument is to a large extent based on the theoretical thinking and practical works of Félix Guattari

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Shift Happens

Neil Mulholland

Shift/Work has arisen from a number of learning experiments conducted in Edinburgh Sculpture Workshop and Edinburgh College of Art. Our shared concern was with the failings of art education that focuses solely on nurturing personal ontology

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art education

Edinburgh Sculpture Workshop

iterative

learning experiments

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Ten Diary Entries [2010 - 2012]

Simón Granell

This work is an exploration into a personal use of spoken language though a predefined process intended to mirror that of my painting practice. A similar process of self-imposed limitation is applied with the aim of suggesting both an autobiographical residue of my own thinking, and open up a potential dialogue for the reader

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Upper Styrian Big Band Folk: Exploring Local Identity and Authenticity in Jazz

Michael Kahr

Upper Styrian Big Band Folk is an arts-based research project which has aimed for the exploration of local identity, authenticity and meaning as manifested in and interrelated with jazz composition and performance. This exposition outlines the project, its underlying aesthetic values and presents a critical reflection of the work

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Austria

authenticity

big band

composition arrangement

identity

jazz

Performance

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2

During the past three years of working on the Journal for Artistic Research, we continuously asked ourselves how we may want to negotiate the artistic and academic poles of the debate on artistic research. Fuelled by ideological interests and distorted by economics, this debate has yet to deliver a critical foundation to the kinds of practices we are interested in. As a consequence, we decided to help digging those foundations by supporting concrete projects rather than simply voicing our own expectations.

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'Unfixed Landscape' - Is it possible to define 'place' through artistic practice?

Ruby Wallis

This exposition takes the form of a series of experimental and philosophical attempts to represent place through film, photography and drawing. The research is devised through the frame of the self-reflexive auto-ethnographer

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body

fixed self

Place

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Actor Self vs. Character Self: An Empirical Exploration

Eric T. Hetzler

This work combines the results of an online survey about the experience of acting with interviews of many of the respondents to explore how actors describe the relationship between the character they portray in performance

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Crossing: Between the Italic Domus and the Artistic Environment

Krien Clevis

Between 2009 and 2012 I made several visits to Italy to study at the Royal Dutch Institute in Rome, as well as to carry out historical field research in Pompeii, Herculaneum, Rome and Cerveteri. These trips were designed to provide material for writing several essays and developing an installation based on the classical atrium house

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Playing the Spiral Jetty

Juan Carlos Castro and Daniel T. Barney

In this exposition we describe and theorize the evolution of an artistic enquiry entitled Playing the Spiral Jetty. This is accomplished in four parts. In part one we present our understanding of play as research methodology. Then, in part two we narrate and contextualize

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medial space

miniature golf

Spiral Jetty

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The learning process in fado through artistic research

Brita Lemmens

This project focuses on the learning process in the oral tradition of fado. A common Portuguese saying 'O fado não se aprende' (one cannot learn to sing fado) forms the departure point of this artistic investigation. As a singer I dived into the practices of the oral transmission

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The taste of tree?

humhyphenhum (Deborah Harty and Phil Sawdon)

Walking around a tree, observing the colour, texture and outline, sitting to draw, to document the actualities of the object … this presents no interest

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Trapped to Reveal - On webcam mediated communication and collaboration

Annie Abrahams

An exposition concerning my collaborative webcam performance projects, focussing on / trying to determine the special aspects of machine mediated communication and collaboration

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collaboration

machine mediated communication

Performance

webcam

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Voice (a retracing): an emerging lexicon

Vida L Midgelow and Tom Williams

Voice (a retracing) is a video/sound work which seeks to capture and articulate the dancer's inner experience of movement improvisation. In doing so, this work layers and distorts video images and uses the dancer's spoken voice as the basis for an acousmatic composition

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acousmatic composition

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1

Welcome to JAR1, the first open submission and peer-reviewed issue of the Journal for Artistic Research. JAR remains a work-in-progress, and with this issue we introduce two major enhancements to the journal: a dedicated and open peer-reviewing process and an upgraded publication platform (the Research Catalogue) that is easier to use than its predecessor and enhanced with an initial set of social media functions.

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A Place, Constructed

Laura F. Gibellini

The exposition introduces the artist’s research into the concept of ‘place’. To do this, the weave has been conceived of as a place in itself and as a space for mapping some fundamental considerations implicit in the artist’s own practice. Layering image, moving image

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A Work on Progress

David Overend

The exposition functions as a critical reflection on A Work on Progress, a practice-as-research performance/installation. Aiming to provide an alternative to the commodification of theatre, the project explores the possibility of moving beyond postmodern

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Event

Installation

Play

Relational Aesthetics

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Expanded Architecture 01-06

Sarah Breen Lovett

The exposition of practice-based research is focused on using moving image installation to reflect upon our relationship to architecture. Through a site-specific practice, existing architectural elements are re-framed, re-focused and projected back onto themselves

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Architecture

Expanded Architecture

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Motion Perception: Interactive Video and Spatial Awareness

Nell Breyer

Interactive video art is increasingly woven into urban public places around the world. A dominant argument about this growing form of public art is that it offers potential for new social, political and physical engagement with public space

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chronoptic

engagement

public space

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Moving to Become Better: The Embodied Performance of Musical Groove

Vincent Meelberg

Starting from the knowledge that the perception, experience and creation of music is always a bodily activity, the exposition explores the influential and intrusive power of musical ‘groove’. Whereas the concept of groove has been extensively discussed both as a general

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Oorwonde - a tactile experience

Laura Maes

The exposition focuses on Oorwonde, a specific practical experiment within the research project Sounding sound art. The work, which falls somewhere between a sound installation and an interactive performance, consists of specially constructed

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Taking the Book Apart

Sarah Alford

The exposition opens up the artist’s investigations into the historical figure Ellen Gates Starr, co-founder of the Hull House, a settlement house in Chicago, Midwest United States. Reflecting on the life and work of Gates Starr and on the artist’s own works inspired by these

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Arts and Crafts

Ellen Gates Starr

political practice

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The Entanglement of Arts and Sciences: On the Transaction Costs of Transdisciplinary Research Settings

Martin Tröndle

Using the research project eMotion – mapping museum experience as a working example, the exposition examines the advantages and risks, challenges and hurdles, methods and management of projects based on transdisciplinary art research. On the one hand, analysis shows that the participating researchers’ embedded character, in their respective disciplines

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Collective authorship

Empirical Aesthetics

Epistemology of the arts

Transdisciplinary research

Visitor Studies

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0

The publication of this inaugural issue of the Journal for Artistic Research (JAR) coincides with a moment at which the term ‘artistic research’ has become ubiquitous. For some, this moment represents success, since, particularly in institutional environments, the production of objects, events or concepts is starting to lose its grip on the less tangible, intellectual and open-ended requirements of practice. For others this moment is viewed less favourably and represents an erosion of art’s perceived autonomy and efficacy.

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An Alphabet for the Nose

Sissel Tolaas

Given that our societies have developed a language for colour, it is remarkable that we have not yet developed one for smell. Generally, when we categorize smells we only use the subjective connotations ‘like it’ or ‘don’t like it’

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Cargo: Dwelling in the Archive of Slavery at the Cape

Mark Fleishman

In 2006, together with a group of collaborators, representatives from two Cape Town-based performance companies with connections to the University of Cape Town, I set out to create a production on the history of slavery at the Cape

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Jazzart Dance Theatre

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Diagrammatic Praxis

Sher Doruff

Diagrammatic Praxis was a post-doctoral research process drawing upon applied concepts of the diagram previously explored in my dissertation, ‘The Translocal Event and the Polyrhythmic Diagram.’ As a researcher in the Art, Research

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Glide: Design, Indeterminacy and the Specificity of the Contingent

Richard Blythe

There is a moment that paddlers and rowers all know, the pause between one stroke and the next, a kind of suspension of things when trajectory takes over from purposeful endeavour and the future belongs to the gods, or, to be more precise the designer of the hull

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Miltä hiljaisuus kuulostaa? What does silence sound like?

Elina Saloranta

The contribution consists of a nine-minute video Room and a text entitled ’What Does Silence Sound Like?’ The video records changes that take place in a bedroom after the occupant’s death

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Non-Humans and Performance: A Performance with an Ocean View (and a Dog/for a Dog) - II Memo of Time

Tuija Kokkonen

A Performance with an Ocean View (and a Dog/for a Dog) – II Memo of Time is a pair of performances where the basis of the presentation is weather, time, potentiality and non-human co-actors

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Research Navigations

Otto von Busch

In artistic research, the ‘reflective practice’ promoted by Donald Schön (1983) runs the risk of mere self-gratification. More perspectives need to be put into the equation, into something more ‘diffractive’, as Donna Haraway (1997) would say

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Song No 3 – Singing through Gestures

Cathy van Eck

This exposition discusses the performance Song No 3 in the context of research into the use of loudspeakers and microphones as musical instruments, and analyses what kind of categories of movements are generally used in music as well as how these different categories are connected to each other

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Composition

loudspeakers

microphone

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Staats-theater

Daniel Kötter, Constanze Fischbeck

‘staats-theater: Lagos/Teheran/Berlin’ is a modular art and research project initiated by Berlin based video artists Daniel Kötter and Constanze Fischbeck in collaboration with performers and architects from Lagos, Tehran, and Berlin, as well as the collective Hunter &

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Thanks to Lysenko, we got Haldane

Abhishek Hazra

The exposition contextualises a set of artworks that reflect on the notion of error both scientific and political - and the epistemological implications of partisanship. The artworks juxtapose diverse historical contexts, which might or might not share actual causal linkages.

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The Double Skin/Double Mind Interactive Installation

Bertha Bermudez, Scott deLahunta, Marijke Hoogenboom, Chris Ziegler, Frederic Bevilacqua, Sarah Fdili Alaoui, Barbara Meneses Gutierrez

The interactive installation Double Skin/ Double Mind is a virtual interactive version of the Double Skin/Double Mind workshop. This workshop, which has been taught by dance company Emio Greco | PC since 1996

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“Who creates the creator” - and the limits of interpretation?

Anders Hultqvist

In this presentation I will discuss some associative thoughts and preliminary results arising in connection with the forthcoming production of new stage-settings of Beethoven’s Fifth Symphony and Albinoni’s ‘Adagio’. The goal is to re-read and re-set the music.

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