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Based on the current domestic academic works on paper cutting, this paper summarized the research situation and fruits of Nanjing paper cutting from the perspectives of status quo, theme and craft, artistic characteristics, cultural connotations and inheritance and innovation, so as to explore the research approaches for the diversified development and protection of Nanjing paper cutting. [ABSTRACT FROM AUTHOR]

This visual investigation begins with an image from the photographic album of a border delimitation mission on the Angolan/Congolese (DRC) frontier. The image shows a lunch at the Portuguese camp on October 5, 1914. Sitting at the table are six white men - three commanding officers for, each colonial ppwer, Portugal and Belgium. Standing at the the back of the construction that serves as a dining room, is a black servant. His head, merged into the background, is invisible. From the original glass negative, it was possible to retrieve this man's features. The image was printed, cut up and reworked in various manners including collage, drawing and photography, originating the short animation O Festim (the Feast, 2021) and a web-based experiment, Daemonicycles. The work intends to reflect upon history and colonialism, considering power dynamics, cosmology and culture and the enduring phantoms that haunt us still today. [ABSTRACT FROM AUTHOR]

In the past few decades, there has been a growing amount of interest toward alternative research methods within consumer culture research. The goal of such approaches is to engage understanding in a more multisensory, bodily, and experiential manner. While aiming to transgress traditions of research, alternative approaches often end up inadvertently repeating existing structures of knowledge. To provide a perspective on how alternative methods could utilise the full power of the tools they propose to use in research, this paper introduces art-based research (ABR), a process-oriented methodology that involves taking on artistic practice as part of research. ABR is bodily, interactive, and contextualised, employing a different approach to what knowledge is, how and when knowledge is created, and who is a part of knowledge-creation. The paper suggests that ABR can become an important political tool for critiquing traditions of and discussing power structures within academia. [ABSTRACT FROM AUTHOR]

This paper discusses dramaturgy and artistic research's evolving role in theatre education, focusing on the Master's programin Theatre at Oslo National Academy of the Arts as a case study. Drawing inspiration from Richard Jochum's ideas in "After Artistic Research," the paper highlights the shift towards incorporating artistic research into the curriculum of art universities. However, it acknowledges the challenges in establishing a clear framework for artistic research within these institutions. The author argues that teaching and practising dramaturgy and artistic research in theatre academies have significant implications, marking a departure from traditional theatre education paradigms. The paper aims to contribute valuable insights and practical strategies to educators and practitioners involved in theatre education and artistic research, emphasising the importance of understanding and navigating the complexities of this evolving field. [ABSTRACT FROM AUTHOR]

The tunnel method is a technique employed in the design of wallpaper patterns to facilitate the hanging process while maintaining the integrity of the pattern. It can be utilised in both the reconstruction of historical patterns and the creation of new ones. I have explored the potential of this method since 2006, and in my latest project, I had the opportunity to document its application in Swedish wallpaper studios and endeavour to understand its historical background regarding cultural and printing conditions. By testing the effect of applying the method to wallpaper patterns, I explored its possibility of generating distinctive effects within the pattern when the wallpaper is installed. In this way, the user can actively participate in determining the degree of variation in the pattern during the installation process, either by embracing serendipity or by making deliberate choices. The purpose is to promote wallpaper patterns with greater variation and wallpapers made from sustainable materials. Although this investigation led to several different ways of utilising the tunnel method, there is still much to be explored in this field. By sharing my work, I aim to motivate more people to explore the potential of the tunnel method. Notably, the communication of its functionality to customers and its integration within the cultural context remain limited. [ABSTRACT FROM AUTHOR]

From genre to interdisciplinary and trans-medial artistic practice, "autotheory" has attracted great attention for formally distilling a troublesome contradiction of dualistic opposition between theory and practice in arts and attempting to solve it. In this paper, autotheory is understood as the joining of reflective thinking through the "collective self" and the reflective thinking of "theory". Based on Lauren Fournier's research, this paper investigates two kinds of art practices in contemporary Chinese art. The first developed from the art movements of the late 1970s to the late 1980s, when there was a rethinking of collective selfhood in Chinese art circles. This "collective self" in Chinese culture expands the parameters of autotheory's individualized, autobiographical "self", as described by Fournier. The second example of autotheory discussed in this paper explores contemporary Chinese feminist art. Due to its cultural background and historical trajectory, different dimensions of individualized autotheoretical practices have developed in feminist contemporary art in China in the new era. The case studies presented in this paper show the flexibility of autotheory as a methodology, the complex conditions it applies to, and the potential to generate theory from expanded notions of "self" in art practice. [ABSTRACT FROM AUTHOR]

In machine learning literature, the concept of expression is seldom addressed as a general term in relation to information construction and data. The term more often carries a narrower meaning and refers to human bodily, emotional, or artistic dimensions that are recorded to train a model. However, this paper discusses a view in which expression is understood as any human sensory realm that can bring incidents explicit through the act of "pressing out," as the early etymology of expression indicates. Also, all the sensory data that are used to train a machine learning model and the data the trained model gives as an output are considered meaningful through their expressive mediality—a form that is actively produced and can therefore be subjected to critical phenomenological analysis. This paper contrasts nonverbal expressions with categorical or linguistic expressions and asks, "What do eye movements express when they are used in training a machine learning model? What kind of expression arises in linguistic models? What could be considered aesthetic data (and what would it express)?" For philosopher John Dewey, instinctive reactions in human behavior that for example exhibit mere discharge of an emotion should be separated from purposeful expressions. However, in machine learning, the two Deweyan positions (instinctive and intentional) collapse, as artificial expressions are purely simulations of learned logic. Therefore, the phenomenological question of this paper is traced back to the original stimulus and its human annotators. In this paper, philosopher Don Ihde's experimental phenomenology explains how appearances can be attended to without subsuming them under any assumptions, whereas art theory—arising especially from philosopher Dieter Mersch's thinking—provides an understanding of the mediality of expression. This paper introduces examples from machine learning that are not generally considered expressive but are used for regular tasks, such as object detection, and provides an alternative approach from aesthetics and artistic research that understands these modalities as expressive. If data are understood as expressive, it can be critically assessed how current machine learning models constitute knowledge. [ABSTRACT FROM AUTHOR]

Copyright of Immaterial is the property of BAU, Centro Universitario de Diseno de Barcelona and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In their controversial study, Yilun Wang and Michal Kosinski claimed to have trained an artificial neural network to determine a person’s sexual orientation based on their facial features. This kind of research can be strongly criticized for relying on outdated theories and potentially fueling surveillance capitalism. However, by focusing on textual information, criticisms of this study overlook the importance of the images used in such a scientific project. In this article I propose that the use of artistic research-creation can be valuable in questioning scientific images and the ideological assumptions they reinforce. My own project Sexual Data, for example, is a research-creation work that uses Wang and Kosinski’s algorithmic images in a way that diverges from their original scientific context. The artistic operation allows us to appreciate that image beyond its scientific illustrative function, amplifying the possible meanings of the image. [ABSTRACT FROM AUTHOR]

This paper focuses on the construction of a methodology for artistic researchers, in particular practising musicians. Artistic research is a steadily growing field, gaining increasing relevance in academic discourse and flourishing in universities and music academies. Due to its relatively recent history there is still a lack of standardized widespread research methods, and the advice to be creative and borrow from other disciplines, though reasonable, can be confusing for young researchers. The adaptation process can be problematic, with the need to mediate between the rigour of academic research and the openness and creativity of the artistic side. How can methods from different disciplines be adapted to the needs of artistic research, without hindering creative practice? In this paper I will present, in meta-research terms, the personal adaptation of three qualitative methods: autobiographical design, borrowed from human computer interaction; thematic analysis, borrowed from psychology; and autoethnography, borrowed from social sciences. These were used to design an accountable research process to investigate differences and similarities in the musical affordances of the 13-keyed period clarinet and the modern clarinet. The three methods intertwine to form a complete methodology that could be applied by other researchers investigating similar topics. Adapting methods proved to be a fruitful process, bearing in mind that the goal is not objectivity, unreachable in the arts, but accountability and organization. [ABSTRACT FROM AUTHOR]

This article is based on three performance papers, which started as a cocreated performance project based on a Greek myth in the autumn of 2021 and continued in 2022. A transdisciplinary artistic collective consisting of an oral storyteller, a choreographer/ director, and a textile artist take a closer look at our experiences and what we named as "the extended artistic dialogue". With the research question: what can recognize an extended artistic dialogue? the article discusses what is needed in an extended artistic dialogue. The collaboration created a togetherness at the same time embracing the specialty from each artform. The artistic process was vibrant and dynamic as it continuously changed along the way, developing the scenarios in the performance and one's own poetic. Listening opens the participatory process and was an experiencing for new knowledge and interpreting the experience. Our experience is that the extended artistic dialogue through the artistic processes creates relational places where the artforms flourish through respectful, inclusive, and equitable treatment of others sharing professional information, knowledge, and ideas. [ABSTRACT FROM AUTHOR]

Copyright of Art-E is the property of Suleyman Demirel University, Faculty of Fine Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Artnodes is the property of Universitat Oberta de Catalunya and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper explores the iterative process of striving for artistic expressivity and developing crafting techniques in a porcelain-making project. The paper is about mitigating the tensions and flaws in porcelain bodies by trying out technical solutions while searching for genuine porcelaneous expressivity in artmaking. The paper presents examples of a working process of material-based art, from the first samples of material collapse to an exhibition of finished works in an art gallery, allowing the reader to see how faults and failures contribute to this development. The paper advocates that craft science and artistic research are closely integrated and intertwined. [ABSTRACT FROM AUTHOR]

This paper argues for ethnomusicologists to begin using performance not just as a tool to understand the social and cultural field, but to use music and dance as methods in 'translational' ethnomusicology that focuses upon the translation and communication of artistic performance aesthetics and to theorise a space for research outcomes that are sited in original performative knowledge, explored, produced and delivered through performance itself. The paper briefly surveys some of the key historical discussions of musical performance in/as research and the epistemological challenges that surround a methodologically defined field such as ethnomusicology where there is no central musical canon. The paper introduces the concept of 'emic resistance' where the researcher–performer resists translating their non-verbal, somatic aesthetic musical knowledge into text. The paper concludes by drawing on some of the most recent developments in both ethnomusicological and closely related performance-analytical scholarship to propose a translational model for practice research in ethnomusicology. [ABSTRACT FROM AUTHOR]

Scientific publications in the field of art creation have sparked considerable debate within the academic community in Indonesia. Issues such as the validity of artworks, assessment criteria, publication formats, and the alignment of academic standards with artistic practice have generated discussions regarding the format of publication writing. This article aims to offer alternative guidance on techniques for writing scientific publication articles in the field of art creation, particularly tailored for academic artists in Indonesia. The guidance encompasses a literature review, the selection of an appropriate methodology, the provision of relevant examples and illustrations, the application of a reflective analytical approach, the clear presentation of data and results from art creation research, as well as the development of an appropriate writing structure and language. Through this study, academic artists in Indonesia stand to benefit significantly. First, they can enhance the quality of their publications by adhering to the provided writing technique guidelines. These guidelines will aid in fortifying the substance of their articles, organizing data in a structured manner, and conveying thoughts and ideas more clearly and effectively. Second, by employing this guide, academic artists can improve their ability to disseminate their thoughts, ideas, and artistic knowledge more widely. This will enable them to contribute to the global arts community through high-quality scientific publications. By enhancing the quality of publications and fostering more effective dissemination of ideas, this research will contribute to the development and recognition of Indonesian academic artists on the global stage. Through the enhancement of publication quality and the improved dissemination of artworks, Indonesian academic artists will be better positioned to make significant contributions. [ABSTRACT FROM AUTHOR]

This paper investigates research quality criteria in the Creative Arts (CA). The CA has been introduced into the higher education and research sector over the last three decades. It is thus a relatively new research field and there is little empirical knowledge on how outputs in this field should be evaluated. Our study applies a mixed-method approach to assess the relevance of quality criteria used in performance-based research funding systems (PRFSs) in 10 countries. The results of a qualitative analysis of interviews with artists-academics (N = 67) and Joint Correspondence Analysis show that when art is evaluated in the context of academic research, both the traditional indicators of artistic quality as well as the cognitive and research-related aspects of the arts are believed to be significant. The JCA analysis also showed that the majority of our respondents found both extrinsic quality criteria (related to reputation and prestige) and intrinsic criteria (related to cognition and development) relevant. [ABSTRACT FROM AUTHOR]

This conceptual paper focuses on understanding the interactions between art, science, and technology as forms of wide interdisciplinary or transdisciplinary collaboration. There is scarce knowledge about how the wide interdisciplinary interaction between artists, scientists, and technologists can be conceptualized through a shared framework for collaboration. The ecology of collaboration involves a complex set of social structures varying between autonomous individually organized teams and institutional programmes. By using a social ecological approach, integrating social, organizational, and cultural factors, art, science, and technology (AST) collaborations can be characterized by a sequence of antecedent, process, and outcome conditions. These elements are organized to form a conceptual framework for art-science collaborations, elaborating on AST in its relationship to knowledge, aesthetics, interdependence, and experimentalism as antecedent conditions, while outlining the process elements and possible outcomes of the collaborations. The framework can be a vehicle for evaluation and reflection for practitioners, researchers, educators, and policymakers. [ABSTRACT FROM AUTHOR]

Tracing the development of texture in Latvian piano music from the performer's point of view, including historical and stylistic aspects, it becomes apparent that figuration is one of its most prominent specific elements which demonstrates the uniqueness of texture as well as reflects stylistic transformations. The aim of this paper is to highlight the different types of interpretation of the instrument -- colourful illusionary and real motoric pianism as well as their synthesis in the context of several compositional techniques of the musical language of Latvian composers. All of these aspects are particularly important for the performer. [ABSTRACT FROM AUTHOR]

INTRODUCTION: The subject of this paper is a phenomenological study of cognitively plausiblerelationships between gesture and sound mediated by technologies. In this discussion, the term 'gesture' indicates a movement of the body consciously performed and able to express or communicate something. The expression 'cognitively plausible' refers to an interactive sound response that is immediate, continuously varying and enactively coherent with the generating (sonified) gesture. OBJECTIVES: The objectives of this paper are two. The first is an artistic exploration of gesture sonifications in various contexts. The second is rather methodological, i.e., to provide a possible general paradigm for Artistic Research (AR). METHODS: More in detail, the AR phenomenological approach is modeled according to an Interaction Design (IxD) research paradigm. RESULTS: A number of case studies of gesture sonification are presented and discussed according to the above methodological framework. CONCLUSION: We claim that the introduction of such methodological framework was successful in terms of providing robust guidelines for our research and for a clear and structured presentation of its results. [ABSTRACT FROM AUTHOR]

This paper introduces and contextualises Climate Futures, an experiment in which AI was repurposed as a 'co-author' of climate stories and a co-designer of climate-related images that facilitate reflections on present and future(s) of living with climate change. It converses with histories of writing and computation, including surrealistic 'algorithmic writing', recombinatory poems and 'electronic literature'. At the core lies a reflection about how machine learning's associative, predictive and regenerative capacities can be employed in playful, critical and contemplative goals. Our goal is not automating writing (as in product-oriented applications of AI). Instead, as poet Charles Hartman argues, 'the question isn't exactly whether a poet or a computer writes the poem, but what kinds of collaboration might be interesting' (1996, p. 5). STS scholars critique labs as future-making sites and machine learning modelling practices and, for example, describe them also as fictions. Building on these critiques and in line with 'critical technical practice' (Agre, 1997), we embed our critique of 'making the future' in how we employ machine learning to design a tool for looking ahead and telling stories on life with climate change. This has involved engaging with climate narratives and machine learning from the critical and practical perspectives of artistic research. We trained machine learning algorithms (i.e. GPT-2 and AttnGAN) using climate fiction novels (as a dataset of cultural imaginaries of the future). We prompted them to produce new climate fiction stories and images, which we edited to create a tarot-like deck and a story-book, thus also playfully engaging with machine learning's predictive associations. The tarot deck is designed to facilitate conversations about climate change. How to imagine the future beyond scenarios of resilience and the dystopian? How to aid our transition into different ways of caring for the planet and each other? [ABSTRACT FROM AUTHOR]

Gertrude Stein and, consequently, Adam Frank's Radio Free Stein project underscore the potentiality of enjoyment as a mode of analysis and knowledge. This paper considers the complex nature of enjoyment – regarding it a generative form of struggle, appreciation and, in Stein's words, 'making a fuss' – and positions it as a radical challenge to the current data-driven mode of flattening aesthetic judgment to 'like' or 'dislike'. The Radio Free Stein project also functions as a case study for the value of artistic research and how artistic research either might align with or provide an alternative to the model of 'scientific research' in the university. Finally, this paper employs theoretical descriptions of listening from Roland Barthes, Pauline Oliveros and Charles Bernstein to propose varying methods of enjoying (and understanding) Radio Free Stein's two recordings of Stein's 1917 play 'An Exercise in Analysis', composed by Dan Warner. [ABSTRACT FROM AUTHOR]

This paper discusses Korean artist Nam Hwayeon's corpus of works based on her artistic research into Choi Seung-hee's choreography since 2012, focusing on her four-channel video installation Dancer from the Peninsula (2019) and a collection of archival, essayistic, and documentation videos included in her solo exhibition Mind Stream (2020). In so doing, it argues that Nam's approach to Choi's idea and practice of choreography since her return in 1941 after performances in Europe and North America labels them as "inter-Asian Dance," an unfinished project aimed to reinvent East Asian dance through the multilayered negotiation and amalgamation of its different regional (Chinese, Japanese, and Korean) traditions. Nam's intermedial exploration into the heterogeneous body of Choi's writings, dance films, and documentation photos, then, is her method of revealing and reactivating the geopolitical and epistemological, and aesthetic contradictions of Choi's method. [ABSTRACT FROM AUTHOR]

"Somnifera" explores interactions between the opium poppy and humans. In their exploration of new habitats, human tribes curiously tested out plants that could help them transcend their "normal" state into expanded experiences, possibly communicating with their ancestors or gods, as part of their experimental quest for knowledge. Since the dawn of time, we have milked the benefits of the opium plant, while politics, religion, and a cynical multinational drug and pharmaceutical industry have assigned the plant a controversial role on the world stage. The plant's power to both save life and take life is the essence of this artwork with the intention to contribute to a holistic debate about the opium poppy's potential: To lift it out of the shadow of condemnation and give it its rightful bright place among us. This narrative dips in and out between trance-states and every-day-states-of-mind, while the author's alter ego Sigma Woman enters love and grief - transitioning from emotional breakdown to possible healing. The figurative language of this text, and its accompanying images, are from visions emerging from ecstatic trance - described as the primaeval technique of a safe, natural physiological transition to direct experience of the eternal now and ancestral wisdom. In one of the trance-sessions we concentrated on the three-thousand-year-old figurine "The Poppy Goddess and Patron of Healing." This inner journey gave rise to the idea of exploring reenactment, inspired by experimental archaeology. Approaching the goddess figure, the author anoints her body with Caput Mortuum-colored oxidized magnetite, adorns herself with poppy capsules, and mimics the statue's apparent hibernation. In the attempts to find "surfaces of contact" between today's imaginary world and prehistoric times - through speculation whether we and our ancestors can "meet" in some way - the methods used to develop the artwork range from knowledge acquisition through scientific papers to techniques for embodying knowledge. As part of the artistic research project Matter, Gesture and Soul (MGS), which seeks encounters and alignments between art and archaeology, my artistic contribution seeks to question how multispecies storytelling may connect us emotionally to our ancient distant past. [ABSTRACT FROM AUTHOR]

Copyright of Artnodes is the property of Universitat Oberta de Catalunya and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this paper, we explore how artistic research and its methodologies can create new modes of thinking and research on computational issues. We draw on experiences with the research project 'Reconfiguring Computing Through Cyberfeminism and New Materialism' (CF+), during which we collaboratively investigated modes and methods of knowledge production in computing. Cyberfeminist legacies and new materialism provided a historically informed and theoretically rigorous set of concerns around which artistic research and computing were brought together. We discuss collaborative experiments and three hybrid methodologies – creating situations for intra-action, diffractive reading/making and material speculation – that we employed and suggest that what emerged is a kind of 'doing thinking' as a material-speculative practice that re-positions research as a critical open-ended space for non-standard ways of knowing. The paper explores implications of this for ethics and responsibility in computing, materiality of knowledge production and modes of interdisciplinary collaborations. [ABSTRACT FROM AUTHOR]

Bringing together an assemblage of archival materials, photo documents, literature and found objects, Pechblende investigates concepts of scale, proximity and distance in relation to radioactivity and the body. Centred on the highly radioactive and uranium-rich mineral pitchblende (German: Pechblende), the work traces a history of scientific and photographic processes narrated through the interconnected sites of laboratory, archive, museum and mine. Pitchblende was mined in the Ore Mountains of the former German Democratic Republic between 1946 and 1989. Today, the former mining sites are under way to being transformed into a tranquil mountain vista, with few recognizable traces of the still-radiating industrial worksites. Concerned with both the literal and the political invisibility of radioactivity, Kriemann produced 'autoradiographs' – a unique type of photograph that is the result of directly exposing light-sensitive paper to the pitchblende specimens. Aiming to visualize what is invisible and yet acutely present: radioactivity. [ABSTRACT FROM AUTHOR]

This paper reports experiences from an art-science project set up in an educational context as well as in the tradition of placing artists in labs. It documents artists' and scientists' imaginations of their encounter and analyses them drawing on the concepts of 'boundary object' and 'boundary work'. Conceptually, the paper argues to broaden the idea of boundary objects to include inhibitory boundary objects that hinder rather than facilitate communication across boundaries. This focus on failures to link social worlds brings the boundary object concept closer to Gieryn's boundary work and allows for a co-application of the two concepts in the analysis of cross-boundary communication. Empirically, the paper provides an in-depth ethnographic description of an art-science project as a resource for future practice. In conclusion, the art-science encounter included meeting points as well as multiple levels of boundary work which engaged the artists in a different way than as illustrators of scientific representations of climate change. The closer they got to the research practice the more the public and policy construct of climate change disappeared. Rather than political activism, the approach triggered explorations of the scientific context, including affirmative as well as critical re-imaginations of research practices. Artists and scientists acted as publics for one another, as resources to draw on for reflection and self-identification. But instead of cutting back or renegotiating standards of one's own practice, especially the artists engaged in boundary work creating space to produce a piece of art according to their own criteria of quality and relevance. [ABSTRACT FROM AUTHOR]

This paper looks at the conceptual boundaries of dance-as-art in the Nordics and discusses strategies towards coeval dancefutures away from contemporaneity as a colonial idea(l) of time. The future of dance-as-art in the Nordics needs to be pluralised for the artform to be representative of the regional demography and, as such, stay relevant. This paper proposes two research strands that can contribute to this pluralisation. The first investigates how the conceptual boundaries of dance-as-art shape the leading dance education courses in the Nordics in terms of curricula and student mass, and how these could be expanded. The second strand focuses on diversifying the professional field through artistic research in choreography as a format of speculative future fiction that can suggest new, coeval dancefutures. Dance-as-art is frequently equated with the genre referred to as Contemporary Dance, a highly contradictory term. Rather than denoting all dance forms of the present, it commonly implies a specific set of formalized dance techniques and choreographic formats derived from Western- European and North American modern dance of the twentieth century. Contemporary Dance holds a somewhat exclusive access to formal dance education, art funding as well as networks of dissemination and distribution in the Nordics. Other dance forms are often met with a denial of coeavalness by the Contemporary Dance field, hence largely excluded from the realm of art. This paper argues for the creation of structures for a large variety of coeval dancefutures through revising professional and ethical standards in the Nordic dance field. Instead of continuing to claim the defining power of what constitutes dance-as-art, those of us who currently do have access to education, funding, and dissemination need to take responsibility for challenging and expanding these systems to create a diverse, cultural sustainability within dance-as-art. [ABSTRACT FROM AUTHOR]

The phenomenon of artistic research attracts considerable attention because of the growing integration between art, design and science. At the same time, it remains a challenging research subject that is interpreted differently by various scientists, designers and artists. This paper presents an attempt to investigate the relationship between artistic research and artistic practice, and the role of artistic research in artists' books. It aims to present a brief history of artists' books and show how various artists have captured the complex creative and artistic processes, results or stories behind the works of art. The article also discusses the problem and potential of representation in artists' books and examines them as an effective mechanism for disseminating findings of artistic research. To present the multifaceted action behind a work of art implies challenges. The author's own attempt to capture knowledge from artistic research was challenged while working on a book project and will be part of the discussion. Finally, the study will illustrate how artists' books contribute to the process of capturing reflections of artistic research and make the manifestations accessible to people outside of the formal context of the lecture halls. [ABSTRACT FROM AUTHOR]

Copyright of Index: Revista de Arte Contemporaneo is the property of Pontificia Universidad Catolica del Ecuador and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper analytically responds to the collaborative performance work Writing the Feminist Internet as a motif of fourth wave feminism. It probes at the edge of Internet dark spaces that are often occupied by those who point to complacency in engagement with networking systems, by drawing auxiliary attention to the apparatus. Further examination sheds light on the valences and anarchy of technopolitics that transpired and reflects on the call for 'hybrid of feminist activist efforts' noted by Emma A. Jane. Positing towards 'a recalibrated approach to collectivism' (2015, 285) Jane continues to give rise to a vast communal realm for the expression of alternative behaviours. In building upon the feminist 'wave' metaphor there is acknowledgement that the undercurrents of nautical lineages come to endure through 'debt, or inheritance' more often than a confluence of flows. The findings reveal that the potency of a chthonic feminist internet theory lies in its indeterminate stance. In conclusion, it is proposed that ambivalence and prominence in obscurity in such expansive 'dark social spaces' is where new meanings and enunciations can brew and be read as a source of critical and aesthetic ambiguity, amongst the highly revered principles of disarray, pandemonium and incompleteness. [ABSTRACT FROM AUTHOR]

This paper contextualizes three iterations of contemporary art practice performed in Delhi, September 2014, and explores the notion that artistic activity occurs first of all in the field of distribution. In this paper, I speculate on the insistence of a procedure that uncovers the spaces of potential and allows new voices to emerge through a dispersed practice. These new works are part of a broader practice highlighting the creative potential of the fragment to restore an embodied relationship with the world. These new works are a direct result of my speculative proposal included in the exhibition curated by Raqs Media Collective as part of INSERT2014, titled "New Models on Common Ground," held at the Indira Gandhi National Centre for the Arts in Delhi, February 2014. The paper explores creative work that attempts, as Marcel Duchamp once put it, to be not of art, but outside the usual parameters of art and which sidesteps or at least delays being co-opted by the institutions that define art as "art" and that have traditionally distributed it. [ABSTRACT FROM AUTHOR]

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The integration of contemporary artists' interventions into museum exhibitions and the artistic interpretation of heritage have become increasingly common practices over the last three decades of the 20th century. These creative perspectives often raise questions about dissonant, overlooked, or insufficiently researched heritage, making artistic research projects crucial when exploring the past. Simultaneously, museums, having long-established categories dictating how objects are collected, which reflect once-dominant value systems and attitudes towards knowledge, and with now traditional ways of presenting them to the public - although sometimes too sluggishly, have gradually shifted their focus from solely emphasizing the object to considering its broader context, from a concern for the material aspect to an interest in the immaterial aspect, from preservation for the sake of preservation to the interpretation and representation of heritage in response to social changes. This paper follows the life history of a specific museum object, tracing its journey from the usable to the museum context through the acquisition carried out by the Museum of the History of Yugoslavia in 2010. The paper explores the potential of artistic interpretation in revealing multiple layers of meaning and diverse narratives associated with a single object. By analyzing the video material created by artist Aleksandra Domanović, which presents this object within the museum exhibit, the study also delves into the broader scope of her work, essential for comprehending the entire process of interpretation. Considering that the subject in this case is a non-object, specifically a digital record, the paper addresses the challenges of modernizing the museum's approach to collection practices and the (im) possibility of exhibiting digital objects in the physical space of the museum.

Landscape Quartet was an AHRC-funded project carrying out artistic and philosopical research into environmental sound art. In contrast to a 'field recording' approach to the environment, Landscape Quartet devised participative and improvisatory approaches to making sound art in and with the landscape. The paper analyses the author's work related to the group from a predominantly phenomenological perspective, and draws on authors from geography, philosophy and anthropology to interrogate the experiences of working in this way. That landscapes are dynamic and temporal phenomena is congruent with the forms of musical activity, but this congruency is not without its problems. The history of landscape study is highly visually oriented, and there is a danger of transposing assumptions from visual approaches onto the sonic. However, the paper also refuses a phonocentric approach, arguing that Ingold's insistence on the intersensorial nature of landscape experience is essential to fully account for environmental sound art. [ABSTRACT FROM AUTHOR]

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In this paper, we recognize the need to diversify knowledge systems in freshwater quality monitoring. We acknowledge the importance of Canadian-Indigenous reconciliation and build on two recommendations from past work: (1) to recognize different forms of knowledge (including Indigenous and non-Indigenous community knowledge) and (2) to facilitate action by managers and decision-makers. Using a co-creative process, an artistic (i.e., art-based) research method was used to engage Indigenous youth in conversations about their relationships with the Grand River watershed (Ontario, Canada). We present six lessons learned from co-creating our process and six recommendations for those who hope to implement a similar approach. A list of 10 principles and values to guide water quality monitoring demonstrates how the collective perspectives of Indigenous youth and current water monitoring and management practitioners may be applied. Finally, we highlight three important factors for implementing such an approach as: relationship-building, capacity building, and reciprocation. [ABSTRACT FROM AUTHOR]

This paper was written to help address the tenuous status of research-creation at the University of Toronto, where I am a Doctor of Musical Arts candidate. There, I devised a "feedback saxophone" system in which I combine the tenor saxophone with various microphones and speakers to encourage and control acoustic feedback. The DMA program at U of T is classified as professional, so the premise of centering my thesis around my feedback saxophone practice was met with some healthy skepticism. This was not because it was viewed as uninteresting, but because creative practice is not typically considered a justifiable form of research in thesis writing. To therefore bolster research-creation as a legitimate form of scholarly inquiry and to build a model for my own research in music, I aim to answer two questions, insofar as they pertain to my research-creation project: (1) "How is creative practice research?" and (2) "What methods are appropriate for carrying out my creative practice as research?" In answering the first, I draw from the literature to demonstrate how research-creation is a form of knowledge generation that complements conventional modes of investigation. Following this, I examine different categories of research-creation and illustrate them on a music research "compass" to facilitate comparison and understanding. To answer the second question, I discuss two relevant research-creation methodologies and combine them to construct my own "problem-practice-exegesis" approach. I conclude by detailing how I carry out my research using this methodology. Through this work, I endeavor to provide a practical model for graduate artist-researchers who are interested in integrating their creative practices with thesis writing and to contribute to the validation of research-creation within Canadian graduate music programs and beyond. [ABSTRACT FROM AUTHOR]

Fictocritical writing has been defined as an interdisciplinary practice that seeks to "blur the boundaries between the fictional, the factual and the theoretical." As a mode of experimental writing, it holds a great potential to reinvigorate the current state of critical art writing - specifically, artistic research. The present paper sets out to investigate the usefulness of venturing beyond the constative function of the text and discusses the performative nature of writing employed at the service of artistic enquiry. To that end, I examine three key case studies that shed light on the intricacies of fictocritical writing: Bert Danckaert's The Extras, Barbara Browning's The Gift, and Katrina Palmer's The Dark Object. They all constitute artistic research projects written as novels (two of them are also PhD theses) that, at the same time, are inscribed in an art project. Furthermore, I offer a practice-based example, an excerpt from my novel The Fantasy of the Novel (also part of my PhD thesis), with the hope that the reader will be able to apprehend the effects of fictocritical writing directly, rather than just their description. [ABSTRACT FROM AUTHOR]

The last 20 years have seen numerous claims and suggestions to overcome purely text-based research. In this article I will describe the RESEARCH VIDEO project, that dedicated itself to the exploration of annotated videos as a new form of publication in artistic research. (1) Software development: One part of our team developed a software tool that was optimized for artistic research and allows for a publication as an annotated video. I will describe the features of the software and explain the design decisions that were made throughout the project. I will also point out future demands for this tool. (2) Research standards: Our team continually reflected on the questions of how to meet both academic and artistic needs, trying to shape the research process accordingly. We decided to minimize academic claims to two basic claims – "sharability" and "challengeability" and explored how the research process changes, when these claims are informing each step of the research process. Finally I will discuss suggestions to make a publication as a Research Video comparable to a research paper. [ABSTRACT FROM AUTHOR]

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