Methodologies for Artistic Research

Experience in search of an experiencer-W.R. Bion's group ideas applying in performing arts The article is based on the thoughts about the "stranger" that arose during the research project Body and the other and the performance concept Unfamiliar Dialogues-reverie stage that was born based on these thoughts.

What is the artist-researcher doing, looking out the window of their studio?
As artist-researchers, often working with a film camera, we take its frame
and the technique of montage as the starting point of our contemplation.
What is visually represented, and what is reflected? Specifically, this chapter attempts to look at what reflections become perceptible on the brackish waters of artistic research. How can we reflect on the work between sensory input, artistic processing and output? How could we think about the circular relation of agency, perception and epistemic processing from and within this discipline? Exemplified by our own artistic research on states of dizziness, as states of uncertainty, unpredictability and confusion, we look for the spaces that open on the liminalities of reflexivity and experience. Separating and reconnecting experience and reflection in the vestibule of their convergence, the compossible space of con-fusion allows for a rethinking of the given and wont. Therefore, it is important for the artist-researcher to simultaneously get lost in thought and stay on track.

This article explores the evolution of the restoration programme at the Academy of Fine Arts Vienna throughout the 20th century, starting from the introduction of the first formal courses in 1908 and covering the tenures of three professors until 1994. The study employs the perspective of science as a cultural practice to understand how restoration's identity and, in turn, its curriculum have transformed over time. Guided expert interviews, archival documents and other written sources were employed to glean insights into the evolution of the programme. Throughout its history, restoration was marked by interactions between different scientific cultures-fine arts, chemistry and art history. This aspect is also reflected in the development of its curriculum, which demonstrates restoration's negotiation between the natural sciences, the humanities and artistic practice, presenting challenges for students who had-and still haveto navigate different scientific disciplines and the respective cognitive styles. The article concludes by emphasising the value of interlocking expertise and the ability to bridge the gaps between different scientific cultures.

El presente artículo consiste en una bitácora y divagación reflexiva a partir de la revisión y puesta en  diálogo de dos proceso de investigación artística desarrollados entre los  años 2014-2016 y 2019-2020, en torno al  Oasis de Niebla de Alto Patache, Desierto de Atacama, Región de Tarapacá (Chile). Articulando nodos especulativos entre procesos diferidos espacial y temporalmente, el artículo busca establecer conexiones y derivas entre un primer proceso de investigación mediante metodología de trabajo de de exploración de campo, y un segundo proceso de investigación mediante metodología de análisis de crónicas y archivos históricos. De esta manera, el  artículo va hilvanando preguntas y relaciones entre la calidad material, sentidos simbólicos y denominación que da nombre al fenómeno de niebla costera llamada “camanchaca”, transitando también por las nociones de desierto, frontera y visibilidad, y reflexionando sobre sus implicancias en la configuración del imaginario paisajístic...

El proceso creativo que un artista desarrolla a lo largo de su trayecto es uno de los aspectos más importantes que lo acompañará durante toda su vida, debido a la naturaleza misma de la labor artística, bajo una percepción evolutiva. Se cuestiona desde la comprensión de su propio papel, su percepción del arte, las fórmulas de representación e interpretación, hasta su propia relación con su obra. Se intuye la transdisciplinariedad entre diferentes medios de expresión artística, como la escritura, en particular con relación a la comprensión del proceso artístico y todos los campos que conlleva, ya sea la creación, la percepción o la concepción. Esta cuestión se sitúa en un contexto histórico específico debido a su propio origen. Se lleva a cabo un trabajo de indagación, análisis e interpretación dirigido a artistas emergentes de la ciudad de Tunja, Boyacá, Colombia, con el propósito de construir una percepción aproximada e invitar a la consciencia de la misma.
Palabras claves: Arte, escritura, transdisciplinar, identidad, creación.

Is it possible to speak circus? This is an investigation of the circus trick as it relates to three fields; gravity, language and capital.   I will fully break down and unpack what I mean by ‘trick’and relate its relevance to language, finance, and of course gravity. It is an artistic research paper, formed through the transposition of circus physicality into abject arenas.

Исследование посвящено Ленинградскому театру физической культуры «Спартак», существовавшему в 1930-х гг. и пока не становившемуся объектом отдельного научного исследования. На основании материалов фонда театра, хранящихся в Центральном государственном архиве литературы и искусства Санкт-Петербурга и практически не вводившихся в научный оборот, реконструированы основные этапы его развития и особенности в контексте истории физической культуры в Советской России в межвоенный период. В результате был сделан вывод, что главной причиной его сложной судьбы и закрытия стал финансовый фактор, когда ни одно управление не желало брать на себя убыточный театр. В результате во многом уникальное и в целом востребованное начинание оказалось без должной поддержки и протекции, что не было единичным случаем для физкультуры и спорта периода в условиях дефицита ресурсов.

»Being(s): Artistic Research in Transformative Contexts of Health« ist das Thema der kommenden drei Jahre für die neun Stipendiat*innen des neuen PhD in Art Practice-Programms an der HFBK Hamburg, das im April gestartet ist. Das Programm versteht sich als rein künstlerisch-praktische Promotion und eröffnet neue Perspektiven auf inter- und transdisziplinäre Fragestellungen. Im Zentrum steht die Frage, wie künstlerische Prozesse Erkenntnisformen hervorbringen können, die über klassische Wissenschaft hinausgehen. Diese Lerchenfeld-Ausgabe stellt die Forschungsprojekte der Stipendiat*innen vor und lässt auch die betreuenden Professor*innen zu ihrer eigenen forschenden Praxis zu Wort kommen. Ergänzend beleuchtet Sophie Witt das gesellschaftliche Potenzial künstlerischer Forschung, Sara Hillnhütter zeigt Beispiele politisch positionierter Kunstprojekte, und Edna Bonhomme reflektiert über Krankheit und institutionellen Rassismus im Kontext der Covid-19-Pandemie. Hanne Loreck widmet sich der Künstlerin Ketty La Rocca, während Nora Sternfeld das »Verlernen« als Teil einer kritischen künstlerischen Praxis diskutiert. Diese und viele weitere Beiträge verdeutlichen, wie künstlerische Forschung Denk- und Handlungsräume schafft, Deutungsmuster hinterfragt und gesellschaftliche Debatten bereichert – ohne den Anspruch auf eindeutige Antworten.

Recommended citation Fleischmann, Monika; Strauss, Wolfgang. 2025. «The online archive as a dynamic thinking space: from search to re-search». In: Francesca Franco and Clio Flego (coords.). Node «Memory matters: navigating the history of media art, science and technology» Artnodes, no. 36. UOC. [Accessed: dd/ mm/aa].

Este ensaio objetiva discutir contribuições do Modo Operativo AND (MO_AND) para os campos do cuidado e da clínica. Partimos de análises de uma pesquisa anterior que tratou de mapear a dimensão de cuidado na prática de jogo do MO_AND, discutindo-o como dispositivo que enfrenta problemas clínico-políticos do contemporâneo. O cuidado mapeado apresenta-se como uma prática relacional, que articula agentes humanos e não-humanos, promovendo um trabalho com a dimensão prerrefletida da experiência, o qual podemos nomear como cuidado-curadoria. O cuidado no MO_AND traz contribuições para repensar e ampliar os sentidos de dispositivos e elementos da clínica tais como setting, interpretação, escuta, sintoma, diagnóstico. Mas também, repensar e ampliar sentidos de suas diretrizes e operadores mais basilares, o que fazemos a partir da noção de tripla modulação do reparar.

The symposium Genius Loci (from Latin ‘energy or spirit of place’) explores the role of ecosomatic arts as vehicles of awareness and connection across disciplines and as gateways to valuable knowledge and necessary alliances (human and more-than-human) to respond to ecological crises through processes of perception, care and participation. Genius Loci supports the translocal sharing of processes, methodologies and visions based on the embodied and regenerative relationship with the places and communities in which artistic practices are born, grow and transform--in urban, rural, naturalistic, architectural and archaeological contexts. The symposium is aimed at eco-oriented and community-engaged artists, scholars and pedagogues in the fields of somatics, dance, choreography, performance, theater, music, film, visual, multidisciplinary and curatorial arts, education, anthropology, archaeology, architecture, philosophy, ecology and other related disciplines. https://www.raffaelerufo.com/ecosomatics/genius-loci-symposium-2025

Arteterapia es el nombre de un modelo de
educación humanística a través del arte,
con el que se ha creado un espacio para la
reflexión del sí mismo y el desarrollo de la
creatividad, donde se hace posible promover
el bienestar interior a través del arte y sus
distintos lenguajes. Este proyecto se ofrece
al público durante el otoño en 15 sesiones
semanales de 3 horas cada una, a través de
Extensión Universitaria en la Universidad de
Guanajuato, Campus León.
  Tiene por objetivo explorar y comprender
las relaciones que surgen entre los procesos
humanos y los procesos artísticos como re
cursos que facilitan la conciencia personal y
su expresión y que promueven la resignifica
ción de la subjetividad.
  Esto es relevante puesto que el mundo se
vuelve cada vez más complejo, y, como resul
tado del confinamiento, se generaron cam
bios emergentes que dieron lugar a transfor
maciones sin precedentes, no sólo en cuanto
a la salud física, sino también afectiva, así
como los aspectos familiares y sociales, labo
rales y económicos, políticos y culturales,
que modificaron la realidad vivida hasta
entonces, en todos niveles. En este orden y
después de una crisis que nos transformó, se
volvió necesario recuperar el propósito vi
tal y el equilibrio personal desde el ejercicio
de la voluntad, al crear espacios seguros con
una enfoque práctico y metodológico para
la educación humanística a través del arte y
que abre un universo de posibilidades para
la creación artística con propósitos propios,
así mismo y de manera simultánea realizar
los objetivos globales sobre la demanda so
cial del arte.

En términos generales se puede afirmar que la educación artística tiene la posibilidad de realizarse a través de tres grandes enfoques: la educación en el arte disciplinar o académico, a través de la historia, la teoría, los métodos, la estética, la cultura visual, la curaduría, entre otros; el arte como práctica, en el quehacer de los lenguajes artísticos, y, el arte como método de procesos de enseñanza aprendizaje, donde el énfasis está dirigido hacia algún aspecto del desarrollo de la subjetividad. Por lo anterior, el propósito del presente texto es presentar algunas reflexiones derivadas de la investigación y sistematizadas en un dispositivo de educación artística que tiene la función de promover el autoconocimiento y el cuidado de sí. Esto es relevante, ya que de cara a la complejidad de las condiciones de vida actuales y a las recientes realidades originadas por el confinamiento, se vuelve urgente reflexionar, repensar y llevar a la práctica experiencias significativas que promuevan el autoconocimiento y el cuidado de sí de los sujetos en todos los ámbitos de la vida cotidiana, para la recuperación del sentido y del bienestar individual y social. PALABRAS CLAVE Educación artística. Autoconocimiento. Cuidado de sí.

Art is an aesthetic experience that realize through perception pro
cesses a condition that expands the sensibility of the subject with
respect to internal and external reality. The purpose of this text is
to analyze the relationships between human processes and creation
processes which when they are articulated with intention give pla
ce to the dissolution of blockages of personality and creativity, that
is to say, subserve aesthetic corporeization and creative recovery.
The methodological organization consisted of contrasting the theory
with the observations in a Creativity Workshop model, based on lo
gical deduction, where it is possible to observe how human proces
ses and artistic experience can function as simultaneous processes
of meaning. Thus, the approaches to psychoanalytic theories and
methods, specifically the sublimation phenomenon as a symbolic
process offers the possibility of understanding, explaining and rela
ting these processes.

“Moderna mecenater” undersöker framväxten av privatfinansierade konsthallar i Sverige från slutet av 1980-talet till 2010-talet, och placerar dem i en idéhistorisk och sociologisk kontext. Med utgångspunkt i Pierre Bourdieus fältteori analyseras relationen mellan filantropi, kulturellt kapital och det moderna entreprenörskapets logik. Studien spårar kontinuiteter och brott mellan det borgerliga mecenatskap som präglade sekelskiftet 1900 och de samtida initiativ som vuxit fram parallellt med välfärdsstatens tillbakagång. Genom fallstudier av Bonniers Konsthall, Sven-Harrys konstmuseum, Artipelag och Fotografiska diskuteras hur självbild, ekonomi och publikt tilltal samverkar i konstruktionen av dessa institutioners identitet. Av särskilt intresse är hur dessa konsthallar rör sig i skärningspunkten mellan symboliska och ekonomiska värden – från gåvoekonomi till affärslogik – och vad detta säger om konstlivets förändrade villkor i en marknadsorienterad samtid.

É s un tòpic insistir que vivim en una època marcada per una voraç apetència de canvi, d'una successió de modes a vegades asfixiant, que fa que la variació diacrònica del gust i els seus consegüents estils es desenvolupi a un ritme frenètic i, moltes vegades, convergeixi en un breu espai de temps allò nou i la seva revisió, o que esdevingui una contraproposta. Aquesta pressa també afecta a la producció historiogràfica, marcada per una necessària acumulació curricular que pot veure's, a vegades, afectada per la mateixa successió sense fi de modes, en aquest cas, de biaix metodològic. Noves propostes d'estudi són fagocitades per mitjans més convencionals, a vegades sense una necessària reflexió sobre què i com es diu, i altres vegades obviant un necessari reconeixement a la historiografia prèvia des d'una època d'adamisme i de modes instantànies. Perspectives d'estudi prèvies cauen en la sospita del que no està de moda i, encara pitjor, del que no és vàlid. Així, algú podria estar temptat de pensar que les recerques d'història de l'art medieval basades en l'estudi de l'estil, és a dir, el denominat "atribucionisme", són la part més conservadora de la nostra disciplina. Dependrà del que entenguem per "conservador" i "innovador" en el context d'una matèria que, des de la seva fundació al segle xviii, no ha patit excessius canvis en les metodologies primordials, de base, que la caracteritzen. Podem dir amb això que l'estudi de les obres d'art i, en concret, de les produccions del període medieval, ha romàs invariable i impermeable als avenços científics de les humanitats? És evident que no, perquè, des dels temps de Winckelmann (1717-1768), la forma en què els historiadors de l'art s'han aproximat i enfrontat al seu objecte d'estudi ha patit importants canvis, evolucions i millores. El que no ha variat tant és l'essència d'aquesta aproximació, ja que continuem basant la nostra tasca en el doble punt de vista que va ser definit al seu dia per Kleinbauer, l'intrínsec i l'extrínsec. 1 Si optem per * Eduardo Carrero (Madrid, 1967) és professor titular de d'història de l'art medieval a la Universitat Autònoma de Barcelona. Entre les seves publicacions es pot destacar: La catedral habitada. Historia viva de un espacio arquitectónico (Barcelona, 2019) o Las catedrales de Galicia. Claustros y entorno urbano (La Coruña, 2005). Alberto velasCo (Lleida, 1976) és professor associat d'història de l'art a la Universitat de Lleida. Entre les seves obres es troben

What can be found when searching for nothing in particular? The lack of preconceived targets enables more attentive exploration of affordances, but findings, if any, may not necessarily be useful. Conversely, how can we find useful things whose existence has not yet been imagined? So, is there a case for open-ended research? The answer depends on how one assesses human optimisation ability in an unfathomably complex world.

This creative practice research project goes against the grain of goal-oriented culture, exploring the possibility of ateleological knowledge production. The latter is envisioned not as a substitute but as a complement that may counterbalance overconfidence in human rationality and singular truths.

Having deferred the content, the researching artist is left with a frame — a placeholder for emerging meanings. Focusing on the frame reveals framing as a negotiation of what things are and what can be done to or with them. Tweaking the frame opens gaps between preconceptions and new perceptions, creating space for new knowledge.

This dissertation develops an art lens ontology and, drawing on actor-network theory, conceptualises artmaking as a resource mobilisation to activate the art lens. It recasts art as a more flexible and far-reaching
process of material and conceptual translations involving more actors and broader consequences than the traditional model of the artist presenting
a resolved artwork to the audience.

The media mix of the underlying conceptual art practice includes photography, video, sound, printmaking, sculpture, installation, public interventions, lecture-performances, texts, digital media, participatory situations, and superfictions.

Sound-shape associations, a subset of cross-modal associations between the auditory and visual domain, have been studied mainly in the context of matching a set of purposefully crafted shapes to sounds. Recent studies have explored how humans represent sound through free-form sketching and how a graphical sketch input could be used for sound production. In this paper, the potential of communicating sound characteristics through these free-form sketches is investigated in a gamified study that was conducted with eighty-two participants at two online exhibition events. The results show that participants managed to recognise sounds at a higher rate than the random baseline would suggest, however it appeared difficult to visually encode nuanced timbral differences.

This bookchapter investigates the forms of cooperation and the various interpretations of transdisciplinarity in Art&Science collaborations relying on the experience of the Art Residency Program, Budapest University of Technology and Ecnomics, as well as international examples.

“Descent into deep time” is a phrase that emerged during the work process of four artists – Pavle Heidler, Ana Horvat, Silvija Marchig, and Sonja Pregrad – who came together for the Glacier project. It highlights a focus on the performative moment, exploring the sense of duration, the differences between stage presence and representation, reality and fiction, while emphasizing that the bare minimum for live performance is the physical presence of the performers. Glacier is characterized by its focus on bodies within a given space and time, and the support of improvisation as the skill of decision-making in the moment of performing a particular stage action, without a previously planned next move. Each situation is significant, rich with potential meanings, affirming atmosphere, emotions, and moods on a micro level of performance. Based on tracking the process of creating Glacier, this article will provide insight into the project’s working method and offer a framework for understanding the performativity of four artists. Additionally, it will outline the author’s approach to archiving the creative processes of performances she witnessed over a five-year period.
Keywords: Glacier; performative moment; sense of duration; stage presence; archiving performance

This publication originated in the context of my solo exhibition “No Final Version,” hosted by Vienna’s Entre art gallery (09.09–21.10.2022). It is a remix of an existing text, the text component of a PhD-in-Practice project that I defended in the summer of 2020 at the Academy of Fine Arts Vienna. The project’s agenda is laid out in its lengthy title, “Remixing Polish Film History: Self-Contaminations, Queer Interventions, Affective Conjurings.” In short, I promised to “remix,” i.e. to bring together and alter footage samples from the vast field of “Polish film history,” and to mix them with other footage, which, in the case of this project, includes fragments and snippets of academic text, films, comic books, anecdotes, songs, techno beats, and situations, be it autobiographical, fictional, and source-based.

Il saggio risponde a un duplice deficit negli studi giordaneschi: 1. Decostruzione sistematica delle agiografie elaborate da De Dominici (1742-45) e acriticamente riprese dalla critica moderna (Ferrari-Scavizzi 1992), dimostrandone l'incompatibilità con le fonti coeve e la documentazione d'archivio; 2. Valorizzazione metodologica di un episodio marginale: gli affreschi con putti nella cappella di Sant'Onofrio (1640), citati solo en passant da Celano (1692), diventano qui un caso-test per convalidare le acquisizioni cronologiche di De Vito (1991) e ridefinire i modelli formativi del Barocco napoletano. METODO E FONTI • Analisi sinottica delle narrazioni contrastanti (Celano 1692 vs De Dominici 1742-45), con identificazione dei topoi letterari (puer senex); • Verifica documentale attraverso: • Registri corporativi ASN (voll. 319-321): assenza di contratti d'apprendistato presso Ribera e status giuridico di Antonio Giordano (pictor et restaurator autonomo);

el sonido de las letras | las letras del sonido Accede a la versión en línea de este artículo para audiovisionar videos y listas de reproducción: López-Cano, Rubén. 2024. «La investigación artística formativa en música: preguntas frecuentes». Sonus Litterarum 10. https://sonuslitterarum.mx/la-investigacion-artisticaformativa-en-musica-preguntas-frecuentes/.

María Rosa Fernández escribe este artículo, que constituye una valoración de la obra compositiva de Joan Guinjoan desarrollada a lo largo de cincuenta años, como homenaje al 75 aniversario del músico creador. El texto contiene un extenso perfil biográfico y un estudio sobre su capacidad de comunicación con el público y con los intérpretes. La autora dedica un apartado a los procedimientos compositivos, así como diversas reflexiones en torno a la trayectoria de Guinjoan; finaliza el estudio señalando extensamente los aspectos fundamentales de los rasgos compositivos de la poética guinjoaniana: humanización instrumental, símbolo, metáfora y movimiento. Como colofón, ofrece una bien documentada bibliografía. En hommage au 75 e anniversaire du musicien créateur Joan Guinjoan, Rosa María Fernández évalue dans cet article l'oeuvre du compositeur tout au long d'un demi-siècle. Cet article comprend un profil biographique étoffé et une étude sur sa capacité de communication avec le public et les interprètes. L'auteur consacre un paragraphe aux procédés de composition et propose diverses réflexions au sujet de la trajectoire de J. Guinjoan. L'étude s'achève sur un large développement des aspects fondamentaux des traits de composition de la poétique de Guinjoan : humanisation instrumentale, symbole, métaphore et mouvement. Couronnement de l'article : une bibliographie très bien documentée.

En 2012, como parte de los proyectos financiados con el Fondo de Iniciativas Interdisciplinarias del Centro de Investigación, Docencia y Extensión Artística (CIDEA) de la Universidad Nacional (UNA) de Costa Rica, se realiza el montaje escénico denominado “Río Pirro”, dirigido por la artista Elia Arce, junto con la Compañía de Cámara de la Escuela de Danza (CCDUNA).  Esta obra, centrada en el contaminado Río Pirro que surca el centro de Heredia y el campus central de la Universidad Nacional, fue realizada bajo una visión interdisciplinaria que integraba elementos no solo de la danza, sino también de l performance y de las intervenciones del paisaje urbano.  Como parte del proyecto, se realizó un extensivo registro audiovisual del proceso de creación del espectáculo, que finalmente se tradujo en un documental homónimo estrenado en 2016. Habiéndose reunido mucha más información de la que se pudo incluir en dicha obra audiovisual, se decidió aplicar la metodología de investigación basada en la práctica de las artes y los medios audiovisuales, que propone acompañar el producto audiovisual sobre un proceso artístico, con un ensayo que profundice en antecedentes, eventos, y aspectos metodológicos de la experiencia creativa, que el formato audiovisual no logra abarcar. Este es dicho ensayo.

El documental compañero de este ensayo, se puede ver acá:
https://www.youtube.com/watch?v=dWO-l680zXo&t=741s

The article describes the theoretical and methodological assumptions of the author's creative work (artistic and research). At the same time, the cognitive importance of the image and the knowledge-building role of art using the image are emphasised.
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W artykule opisano założenia teoretyczne i metodologiczne pracy twórczej (artystycznej i badawczej) autora. Jednocześnie podkreślono znaczenie poznawcze obrazu i wiedzotwórczą rolę sztuki posługującej się obrazem.

Artikeln utgar fran den kritik av kritiken som Bjorn Klarqvist presenterade i Nordisk Arkitekturforskning 1994:2. Objektsfixeringen ses som en problematisk, oskriven kod, inte bara for tidskriften Arkitektur . Bristen pa goda skribenter ar ett annat problem och artikeln diskuterar nagra organiserade forsok i Sverige att forbattra arkitekturkritiken. Slutsatsen ar en utmaning till arkitekturforskarna att skriva arkitekturkritik.

In March 2023 at ASU's Grant Street Studios, artists Camila de Andrade Bianchi and Liza Stout hosted a performance—Chew on It—that extended their wider collaborative inquiry into The Pedagogy of Compost. The event centered one of Stout's glazed ceramic vessels filled with compost, placed within a constellation of microphones, speakers, and de Andrade Bianchi's intermedia praxis of intra-active engagement. Audience members were invited to chew gum into four microphones, their rhythms amplified through a mixer and multichannel speaker array that amplified the acoustics of mastication. What emerged was a durational improvisation of metabolic sound—a collective composting of presence, refusal, and resonance. This excerpt, drawn from my contribution to the co-authored essay, foregrounds jazz as a framework for collective improvisation and metabolized resistance. Engaging the work of Ralph Ellison, Fumi Okiji, and sonic studies, it links oral labor to a compost praxis rooted in shared rhythm, delay, and survivance. Published here as a teaser while the artists complete their review process.

Among the institutions that supported photographers after WWII, the Still Photography Division (SPD) of the National Film Board of Canada (NFB) distinguished itself by its inherently intermedial approach. Originally established as a service provider for federal government departments, the Division quickly mutated during the 1960s into a protean institution that simultaneously functioned as image bank, photo laboratory, gallery, publisher, press agency, and multimedia project incubator. The books it published thus functioned alternatively as exhibition catalogues, coffee table books, souvenirs, diplomatic gifts, artists' books, or photobooks. This paper seeks to understand the cultural ramifications of the kind of photographic work that was championed by the SPD from the late 1960s to the early 1970s by asking the question: Why promote a specific medium, photography, based on its intermedial uses? I address this paradox through the case study of three co-temporal photographic SPD books:

transformations throughout history. What kind of forces affect the body? How do historical representations function in their original contexts? And most importantly, how could one activate historical turns and their relevance for the current conditions within topical visual art? In the formalization of the distance inherent in each representation, Pisano specifically notices possibilities to arrive at a temporary, permanently repeating obstruction and liberation of the semiotic triangle of object-representation-subject. From the perspective of art, that could be a temporary claim of space for actualization of the conditions of life. Jeremiah Day's work LA Homicide departs from the website of the same name of the Los Angeles Times. On that site, the newspaper gives an historical account of facts and a statistical survey of the daily victims of street violence in the "global slums" of Los Angeles. Day deploys these historical data as a starting point, as a map and as an epic urban poem. He visits the crime scenes, photographs them, and provides them with handwritten comments. In combination with cinematographic observation, these texts produce a certain connection between brutal, historical reality and the topical Hollywood paradigm, that, resigned in a certain fatal consciousness, no longer believes in the narrative of the problem-solving capacity of human beings. Against this anthropological condition, artists can only place their own body, Day claims: a performative act entirely in line with Hannah Arendt's thought where action is understood as an autonomous activity in public space. Nicoline van Harskamp's project, Yours in Solidarity, demands attention for anarchism as a historical movement. To that end, Van Harskamp analyses and archives correspondences of a late twentieth-century Amsterdam protagonist. Yours in Solidarity consists of an archiving, textual presentation of original quotations articulating various aspects of the once personally experiences and spent moments of micro-politics. In addition, interviews are conducted with actors playing the authors of the letters. From our time dominated by a post-Fordist concept of performance and a neo-liberal context of prioritizing the economic realm, the actors speculate how they would re-think and re-activate an awareness of Hakim Bey's Temporary Autonomous Zone. The convergence of these three different approaches to autonomy (a sanctuary with idiosyncratic laws, an engaged intervention, a disciplining school) enabled the Amsterdam Pavilion to link and match its questions and issues with the knowledgeeconomic and institutional conditions and constituents of art education. It is precisely these three perspectives in their inextricable connection that articulate the institutional preconditions of the academy as a temporary autonomous zone. That is, the academy as an institutional zone no longer comprehending autonomy as an inherent conditio sine qua, but understanding it emphatically as a forced societally constructed possibility leaving space for rejecting the instrumentalizing diktat of efficiency. For example by presenting itself as an experimental, free space for critical research, artistic thinking, and non-conformist production of novel knowledge and alternative perspectives.

This document reflects the actions and strategies of the MAST project consortium that are to safeguard the longevity of the project's positive impacts both on the level of participating institutions, the manifold stakeholder groups involved, and the broader network of (future) partnerships that may evolve and benefit from the project's results. MAST stands for Master Module in Art, Science and Technology . The project has successfully developed and applied a novel study module at the intersections of Art, Science and Technology, combining methodologies and practices that intertwine the academic sphere closely with the industry realms of the Culture and Creative Sectors. Thus this document reflects on both the existing plans as well as the potentials and possibilities of the future developments in and around the MAST-related academic, industry and cultural communities, both on a common consortium level as well as with the individual partners.

В литературе метафора возникает на основе употребления «слова
или выражения в переносном значении, в основе которого лежит сравнение
предмета или явления с каким-либо другим на основании их общего признака»
[9]. Театральная метафора — это мультимодальный образ, возникающий
на пересечении языков разных видов искусства. Это — концентрат смысла,
глубинная суть, обобщение, скрытое за конкретной историей. Метафора не
нуждается в пояснениях. Свободное сопоставление (взаимодействие) несо-
поставимого провоцирует зрителя достраивать связи. В истории сохрани-
лись знаменитые финалы из «Ревизора» Всеволода Мейерхольда, «Месяца в
деревне» Анатолия Эфроса, «Макбета» Эймунтаса Някрошюса. Их принято
называть сценическими метафорами.
Режиссерский театр, который появился на рубеже ХIХ‒ХХ вв. и раз-
вивался как искусство интерпретации, стремился превратить театр в храм
Искусства, втягивая в орбиту сотворчества сценографов, художников по ко-
стюмам, композиторов, художников по свету, балетмейстеров. К концу ХХ
в. наиболее известные литературные произведения стали трактоваться как
миф, который можно пересказать своими словами или даже разыграть на
сцене без слов.
Автор из общего выделяет частное, индивидуальное. Миф за индиви-
дуальным «видит» всеобщее. Авторское искусство принадлежит конкретно-
му времени, повествует о человеке своей эпохи. Миф — о вечном и общезна-
чимом. В последние десятилетия многие спектакли этого направления часто
представляют собой гибридные, межжанровые формы, где на равных вза-
имодействуют разные средства театральной выразительности — драмы,
музыки, зрелища, цирка, пантомимы, ритуала. Событиями рубежа ХХ–ХХI
столетий стали постановки «Улица крокодилов» Саймона Макберни, «Чер-
ным по белому», «Хаширигаки» Хайнера Геббельса, «Генезис» Ромео Ка-
стеллуччи. На отечественной сцене первые образцы такого рода метафо-
рического театра — «Сидур-мистерия» и «Полифония мира» композитора
Александра Бакши в соавторстве с режиссерами Валерием Фокиным и Ка-
мой Гинкасом. В этих спектаклях отсутствует инициирующая роль слова и
меняются принципы драматургии.
В противовес интерпретационному театру в это же время появляется театр слова, где главенствует литературное повествование, а все остальные компоненты малозначимы или вообще отсутствуют. Данная статья посвящена развитию метафорического театра, где рождаются новое художественное мышление, язык, драматургия и принципиально новые модели сценического искусства.

Los casamientos reales en la Edad Media estaban destinados a asegurar el linaje, preservar el poder, ampliar el patrimonio o sellar alianzas.  A las alturas del siglo XV, estas alianzas ya habían desarrollado un ceremonial y un simbolismo que traspasaba con creces su dimensión político-diplomática. La boda real en el siglo XV era una celebración de carácter extraordinario que aunaba el componente litúrgico con el político y el festivo, convirtiéndose en «uno de los acontecimientos político y sociales de mayor trascendencia dentro del complejo mundo cortesano»  y un efectivo vehículo de transmisión de contenido simbólico como vía de afirmación de la monarquía dinástica.

The present research seeks to consolidate visions and gather different ideas and opinions in order to contribute to a sustainable knowledge of underground music scenes and artivism in contemporary Chile. Since the late 1960s, Chilean underground music scenes represent the construction of an artivist ecosystem of resistance, carrying a DIY ethos, opposing the legitimate power systematically held by families with high social, cultural and economic capital, exposing the exclusion of popular voices in decision-making bodies, with the history of the Chilean Carta Magna being a reference that explains one of the many spheres that make up the Chilean authoritarian regime. The analysis took into account Anna Slavina's (2021) non-institutional activism, where resources and social location, individual-level values and contextual-level structure were used as three variables to determine patterns of political participation, combined with categorical content analysis of semi-directive interviews conducted with Chileans who have engaged in DIY practices for over 3 years between 1970 and 2021.
Three profiles of political dynamics and practices based on the DIY ethos were identified as a first approach for further research. The first profile, the institutionally guided DIY, has the older age group, which suggests that their use of DIY practices was framed within the historical context of the dictatorship, as they also manifested Canto Nuevo as their preferred music to listen to on a daily basis. They have become more compliant with institutional practices that reflect their 'duty-based' citizenship value at the individual level. The second type corresponds to a formal knowledge-based DIY, which has the particularity of being composed mainly by women. They have a strong collective engagement, where they use their formal knowledge to gain resources, and as they all belong to different underground collective networks of affinity and affection, they create an exchange of knowledge between institutional and non-institutional spheres. The feminist movement in 2018, together with the large number of single mothers in the region, has also reflected the important role that women play in building alternative spheres through strong affective networks, which have as one of their main motivations other alternatives, not only for themselves but also for their children's children. The third typology follows an artivism-led DIY. These agents use the informal tools acquired from underground scenes to build alternative non-institutional lifestyles and careers. They are the most heterogeneous group and most of them are new listeners to the rock genre. The skills they have acquired have helped them to overcome a new generation of inequalities by fostering flexibility, adaptability and resilience to unknown shocks, and their commitment is always collective.
The results conclude that artistic underground scene networks based on DIY code (Bennet & Guerra, 2019) communicational impact are relevant in Chilean contemporary politics, considering how it addresses both personal and socio-economic issues effectively through the territories, as seen in Chilean underground music scenes that have adapted organically due to contingency, incorporating interdisciplinary art, performance and resistance tools referred to as artivism.

CARVALHO, W; POVOAS, M. B. C. Uma dialética de processos artísticos como modalidade de pesquisa: percursos corporificados em ação pianística. In: Congresso da Associação Nacional de Pesquisa e Pós-Graduação em Música, 34. Música e pessoas que vivem a música: sustentabilidade e práxis. Universidade Federal da Bahia, 16 a 20 de setembro. Anais [...] Salvador: ANPPOM, 2024, v. 34. p. 1-15.

Resumo. A questão da corporeidade refletida em pesquisas brasileiras faz emergir fatores perceptivos e motores envolvidos no ato de tocar piano. Diante dessa complementaridade, atributos de cognição corporificada e atuacionista são estudados no sentido de amarrar os fatores mencionados para criar uma experiência sensório-motora integrada. Em direção à prática, apresenta-se um quadro teórico-conceitual que pretende orientar a realização instrumental em processos artísticos. Enuncia-se um possível mapa que acopla estudos musicais em sentido dialético, tensionando dois percursos entre procedimentos analíticos, interpretativos, estéticos e performativos, de modo a adensar a práxis pianística aqui exemplificada na lida com repertórios e musicalidades brasileiras para piano e suas implicações socioculturais.

The organization of doctoral studies is one of the significant hallmarks of knowledge production, the formation of scientific discourse and the advancement of the creative process. This lecture is about the ethical vulnerabilities of the configuration of these studies from the perspective of the institution, the supervisor and the PhD student. I will consider the ethics of research, the supervisor-student relation and the philosophy evaluating scientific work. The situation of doctoral studies in the field of Performing Arts-Theatre differs from one institution to another, but what should not differ is the conceptual clarity through which the student is encouraged, guided, evaluated so that the final result is meaningful, produces an advance of knowledge and, why not, proposes something applicable in the practical sphere. In this lecture I will examine the ethical vulnerabilities that arise from the effects of legislation or from the imperfect, incorrect way in which doctoral studies are conducted.

This book features works by Auerbach, Bloch, Dodo, Frankfurther, Feibusch, Liebermann, Lomnitz, Meidner, Oppenheimer. Between 1933 and 1945 whether for religious, political, or artistic reasons, over 300 painters, sculptors, and graphic artists fled into exile or immigrated to Great Britain from Nazi Germany. This followed the appointment of Adolf Hitler as German Chancellor in January 1933, the introduction of anti-Semitic legislation, and the foundation of the Reichskulturkammer (the Reich Chamber of Culture) to which all professional artists and designers had to belong and which effectively banned all Jews, Communists, Social Democrats, and ‘avant-garde’ artists from working in Germany. This exhibition brings together paintings, drawings, and graphics by a number of primarily German-Jewish artists who made such ‘forced journeys’ during this era, mostly to Great Britain, but also beyond to destinations including Australia, China, Jerusalem, and the United States.

Dokumen, memori, arsip yang dideklasifikasi, rekaman cerita para penyintas kekerasan-subyek karya Tintin Wulia dalam Pameran bertajuk Disclosures begitu dekat dengan sejarah. Hasil perkawinan seni dan sejarah memang banyak menjamur dalam ranah seni kontemporer. Terma-terma speculative history, critical fabulation, reexamining history muncul sana-sini dalam berbagai artist statement dan proposal hibah seni. Namun, dalam banyak kalangan sejarawan Indonesia, terma-terma ini membawa keringat dingin, penyebab bergidik ngeri. Jejak historiografi Indonesia telah membawa berbagai institusi sejarah dalam negeri berpegang erat pada akurasi. Ini tak mengherankan. Puluhan tahun akademisi telah dibungkam negara, penyintas direnggut suaranya, dan masyarakat dijejali propaganda. Kini, banyak pihak menggaungkan pentingnya 'pelurusan sejarah'. Metode dan metodologi yang ketat terus ditekankan agar masa lalu dapat direkonstruksi dengan seakurat dan seobjektif mungkin. Di sisi lain, seniman mengutak-atik kronologi atau meleburkan fakta dan fiksi untuk mengundang refleksi. Ketika seni acapkali bermain-main dengan batas dan pengandaian serta menantang status-quo untuk memunculkan perspektif baru, sedangkan ilmu sejarah mementingkan kesetiaan terhadap sumber dan akurasi, tidakkah sejatinya mereka menantang satu sama lain? Bagaimana posisi 'seni' dan 'sejarah' dalam pencampuran 'seni dan sejarah'? Di Galeri Baik Art, Tintin Wulia dengan pamerannya yang bertajuk "Disclosures" mengundang refleksi atas persoalan ini. Jumat, 17 Januari 2025 -12:45 WIB Powered by () "Seniman Sementara, Buku Abadi" "Artist Brevis, Library Longa" () () Rumah Produksi dan Agensi untuk Dokumentasi, Pengarsipan dan Distribusi Wacana Seni Rupa.

This chapter is part of the publication, 'A Book for Research that is Art,' co-created by seven practice-based researchers working in the AHRC Northumbria-Sunderland Centre for Doctoral Training. My contribution is a series of photographs as practice-based research outputs and an accompanying text from research in partnership with Kielder Observatory, Northumberland.

A Book for Research that is Art brings together seven researchers and makers whose practices sit at the intersection of art and craft thinking and digital making. The volume connects makers whose practices are finding new ways to work within their discipline. Concerned with new forms of materiality and processes of making, their work is defining a new language that reinvents art and craft skills, techniques, patterns, and materials primarily through the augmentation and integration of digital technology. Their work demonstrates the creative expression that can be derived from an exchange of knowledge between the new and the traditional. The works no longer solely exist in the role of the hand or in physical activity but also lie in the realm of human impetus and intent. A Book for Research that is Art shows how through the digital shifts in society, artists and makers are redefining the conceptual core of their practice as they create forms, motion, and spatial emulations that are directly informed by technology.

The concept of nature and how humans relate to nature provide the framework for this philosophical discussion on challenges facing the evolving field of early childhood environmental education. Posthumanistic thinking is proposed as an alternative to what is perpetuated through a more typical Western approach to education. This Western approach tends to reinforce and widen the human-nature separation. A common theme emerging from interdisciplinary thinking about the nature-human connection centers around kinship versus domination. This theme is presented as central to posthumanistic thinking. Suggestions are offered on how to apply post-humanism to pedagogy, especially at the early childhood level. Adopting a post-humanistic approach in working with children is considered to be critical to the very survival of the planet while also nurturing the holistic development of children. Posthumanism is also presented as a catalyst for ushering in a community of life that's inclusive of multispecies beings sharing one common world. Provocations for the future include addressing five areas of concern: (1) how nature is presented to children; (2) the meaning and practice of nature play; (3) the capabilities of children; (4) a pedagogy of discomfort; and (5) deeper dimensions of wonder. The essay concludes with a call to take up the challenge of thinking with nature and finding more entangled ways of being in the world.