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swirlingdisobedience · 3 months

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Research - Artistic Research

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What is artistic research?

JULIAN KLEIN, What is artistic research?, Gegenworte 23, Berlin-Brandenburgische Akademie der Wissenschaften 2010

WHAT IS ARTISTIC RESEARCH?

Research

According to the UNESCO definition, research is "any creative systematic activity undertaken in order to increase the stock of knowledge, including knowledge of man, culture and society, and the use of this knowledge to devise new applications." (OECD Glossary of Statistical Terms, 2008).

(...)

Research therefore means not-knowing, rather: not-yet-knowing and desire for knowledge (Rheinberger 1992, Dombois 2006). Research also seems to be no unique selling point of scientists, but to include many activities that have been made by artists, for example.

(...)

"Research about / for / through Art | Art about / for / through Research."

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Even natural scientific research alone is very diverse in its objects, methods and products, as McAllister (2004) notes. How much more this applies to research including the humanities and social sciences, and further industrial, market or opinion research. Not surprisingly, this is also true for artistic research. Among the authors cited here, there is agreement that this diversity has to be preserved against efforts to canonical restrictions.

(...)

The principal diagnosis is, however, "research" in the singular exists not more than "science" or "art" - they all are collective plurals, assembling very different processes, which often are closer related to others over category boundaries, like disciplines, than with some other members of their own faculty, and then assemble much better under common interdisciplinary roofs, such as topics, methods or paradigms. This “urge of singularization” is probably the strongest root of the supposed and stubborn opposition between art and science: Baecker (2009) calls this the "organizing principle of the functional difference", which emerged in the 19th century according to Mersch & Ott (2007).

Art and science are not separate domains, but rather two dimensions in the common cultural space. (...) However, at least not everything, what is considered being art, has therefore to be unscientific and not everything that is regarded as science, inartistic.

Research is not only artistic, if carried out by artists (as helpful as their participation may be), but deserves the attribute “artistic”, when made under the specific quality of an artistic experience.

Artistic Experience

In the mode of aesthetic sensing perception is present to itself, opaque and sensible. Artistic experience can be determined similarly as the perception mode of sensible interfering frames (for details see Klein 2009). (...) The artistic experience as well as the aesthetic sensing are modes of our perception and, as such, constantly available, even outside of art works and art places.

In the experience the subjective perspective is constitutively included, because experience can not be delegated and only be negotiated intersubjectively in second order. This is a major reason for the conception of the singular nature of artistic knowledge (Mersch & Ott, 2007, Nevanlinna 2004, McAllister 2004, Busch 2007, Bippus 2010. Dombois 2006 points to Barthes' proposal of a "mathesis singularis" in 1980). Artistic experience is particularly dependent on and inseparable from the underlying undergoings. Artistic experience is an active, constructive and aesthetic process, in which mode and substance are fused inseparably. This differs from other implicit knowledge, which generally can be considered and described separately from its acquisition (see Dewey 1934, Polanyi 1966, Piccini and Kershaw 2003).

Artistic Research

If "art" is a mode of perception, "artistic research" must be the mode of a process. Therefore, there can be no categorical distinction between "scientific" and "artistic" research - because the attributes independently modulate a common carrier, namely, the aim for knowledge within research. Artistic research can therefore always also be scientific research (Ladd 1979). For this reason, many artistic research projects are genuinely interdisciplinary, specifically: indisciplinary (Rancière in Birrell 2008, Klein & Kolesch 2009).

Against this background the phrase "art as research” seems to be not quite accurate, because it is not the art, which evolves into research somehow. What exists, however, is research that becomes artistic - so it should be rather named "Research as Art", with the central question: When is Research Art?

In the course of a research, artistic experience can occur at different times, be of different durations and different importance. This complicates the categorization of the projects, but allows on the other hand a dynamic taxonomy: At what times, in which phases can be research artistic? First, in the methods (such as search, archive, collection, interpretation and explanation, modeling, experimentation, intervention, petition,...), but also in the motivation, inspiration, in reflection, discussion, in the formulation of research questions, in conception and composition, in the implementation, in the publication, in the evaluation, in the manner of discourse - in order only to begin the list hereby. These phases can be summarized only posthoc and categorize, for example in the usual triple of object, method and product. This sequence is important: for the discussion on artistic research is not to fall into a normative restriction in a canonical system (Lesage 2009).

At what level will the reflection of artistic research take place? In general at the level of artistic experience itself. This does not exclude neither an (subjective or intersubjective) interpretation on a descriptive level, nor a theoretical analysis and modeling on a meta- level. But: "It is a myth that reflection is only possible from the outside." (Arteaga 2010). Artistic experience is a form of reflection.

Artistic knowledge

Who are we? How do we want to live? What are things meaning? What is real? What are we able to know? When does something exist? What is time? What's a cause? What is intelligence? Where is sense? Could it all be otherwise? - These are examples of common artistic and scientific interest. Their treatment does not always lead to secure and universally valid knowledge (with regard to the history of science: only in very few cases, no?). The arts are granted the authority to formulate and address such basal and yet complex issues in their specific ways, which don’t have to be less reflected than those of philosophy or physics, being capable to gain specific knowledge that could not be delivered otherwise.

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Some authors require that artistic knowledge must nevertheless be verbalized and thus be comparable to declarative knowledge (e.g. Jones 1980, 2004 AHRB). Others say it is embodied in the products of art (e.g. Langer 1957, McAllister 2004, Dombois 2006, Lesage, 2009, Bippus, 2010). But ultimately it has to be acquired through sensory and emotional perception, precisely through artistic experience, from which it can not be separated. Whether silent or verbal, declarative or procedural, implicit or explicit - in any case, artistic knowledge is sensual and physical, "embodied knowledge". The knowledge that artistic research strives for, is a felt knowledge.

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Excerpt from:

Text: Angelika Boeck and Peter Tepe | Section: On “Art and Science”, What is Artistic Research? W/K Between Art and Science, A Peer reviewed online journal. February 25, 2021. Taken from: https://between-science-and-art.com/what-is-artistic-research/

1. Angelika Boeck: my understanding of artistic research

Since 1999 I have been carrying out research using the means and methods of my artistic practice. My dissertation, titled De-Colonising the Western Gaze: The Portrait as a Multi-Sensory Cultural Practice (2019), is also committed to this position. Artistic research is a broad field; it encompasses many different concepts. I prefer to use the term art practice-based research, as I consider it to be research founded on a particular art practice: firstly, on the artist’s activity in pursuit of a concrete question or a set of not yet clearly defined questions by employing artistic means and methods, and secondly, on the presentation of the process and/or outcome in the form of an artwork. The proximity to scientific strategies and practices lies in the “not-yet-knowing” (Klein 2011: 1); in the desire to show and understand; and in the fact that artists often use ethnographic, sociological, collecting/archiving or laboratory work practices; that they experiment with processes that produce images or deal with new media and technosciences (for example the Brazilian media artist and theorist Eduardo Kac, who manipulated living organisms according to aesthetic criteria as part of his Bio Art or Transgenic Art in the early 1990s). Thus, artistic research can be considered as a means of approaching human subjects (including oneself), objects and contexts (current or historical) — an examination often combined with an interest in gaining concrete experiences in an endeavour to convey these in a sensorially perceptible form (to incite reflection, amusement, disturbance or provocation). Artistic research is therefore not just a matter of analysing a given circumstance or certain emotions.

Reflection takes place during artistic production. Other forms of knowledge production (particularly in the natural sciences) require the use of approved methods, being part of a theoretical discourse and a verifiable, generalisable and comprehensible depiction of the research process. Artistic research functions differently: methodological and the theoretical aspects can often only be identified retrospectively, through a process of reverse engineering. This means that the creation process of the artistic works is examined and put in relation to the works of other artists, scientists and theorists in order to extract the components of which they are made. A written reflection of the artist (formulating the question, identifying the context and conditions, providing information on the method and theory, self-reflection) is possible, but not absolutely necessary; though I do consider it to be profitable.

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Excerpt from KabK, Lectorate Art Theory and Practice. Taken from: https://www.kabk.nl/en/lectorates/art-theory-and-practice/keywords/artistic-research

Artistic research is distinguishable from other forms of academic research by the central role of artistic practice. The research question derives from the artistic practice of the artist-researcher, the research methods are characterized by the use of artistic practice and materials, and the results of the research project contribute to both artistic practice (on an individual as well as on a more general level) and to artistic academic discourse. Because artistic research is carried out by artist-researchers this produces knowledge, experiences and understanding that cannot be obtained by any other means. They are manifest in the art works and the artistic practices themselves.

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possessedscholar · 1 year

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twitch_live

SRW T Expansion at 7:30 CST! Oh boy it's Nevanlinna, and she knows how to hate things now!

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3standardstoppage · 2 years

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NOW IS NOW Nanna Hänninen @nannahanninen Published by @kodoji_press in 2020 Time is the given in Nanna Hänninen’s conceptual photography practice – as it is in all photography. Photography records an instant and marks too that it has passed and is gone. Furthermore, Hänninen’s book NOW IS NOW and the exhibition it accompanied, ‘How about the Future’ at Serlachius Museums Gösta in the pandemic year of 2020, are marked by her investigation of how we conceive of and comprehend time. NOW IS NOW is composed of images by Hänninen, both her own source images and sculptures and works based on found images, interleaved through a text by Finnish philosopher Tuomas Nevanlinna and bookended by an excerpt from curator Laura Kuurne’s essay on Hänninen’s work. Hänninen is moved by climate change to review how we look at the future; her work expresses the urgency of rejecting the methods we habitually employ to consider history and time passing. Instead, she fashions experimental models of what might be to come. "Paging through the book, which fits neatly into the reader’s hand, one encounters a reflection on how the understanding of time has developed in Western thinking, how it might be otherwise, while looking at images marked by their transience, such as sculptures braced around blocks of ice, historic photographs or further works that illustrate an action in two parts." Come Read @bungee.space #nowisnow #nannahänninen #howaboutthefuture #kodojipress #bungeespace #3standardstoppage #3ssstudios (at Stanton Street) https://www.instagram.com/p/CgxoBkvlFDt/?igshid=NGJjMDIxMWI=

#nowisnow #nannahänninen #howaboutthefuture #kodojipress #bungeespace #3standardstoppage #3ssstudios

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gioithieusachaz · 2 years

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Lí Thuyết Phân Bố Giá Trị Cho Ánh Xạ Phân Hình Và Một Số Vấn Đề Liên Quan

Nội dung gồm có: Chương I. Lý thuyết Nevanlinna cho ánh xạ phân hình vào đa tạp phức compactChương II. Lí thuyết Nevanlinna cho ánh xạ phân hình vào không gian xạ ảnh và các siêu phẳngChương III. Lí thuyết Nevanlinna cho ánh xạ phân hình vào đa tạp xạ ảnh và các siêu mặtChương IV. Vấn đề xác định duy nhất của ánh xạ phân hìnhChương V. Họ chuẩn tắc các ánh xạ phân hìnhChương VI. Thác triển của ánh…

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lworbit · 4 years

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Tuomas Nevanlinna / 24.1.2020

#lworbit #RBT #illustration #portrait #digital painting #digital art #tuomas nevanlinna #tukevasti ilmassa #art

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tastycitrus · 5 years

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VTX gang in the bonus DLC scenario of T:

#super robot wars #srw #apparently the final boss is nevanlinna piloting ende which #uhhhhhhhh #is interesting to say the least

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eklausmeier · 7 years

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Five-Value Theorem of Nevanlinna

In German known as Fünf-Punkte-Satz. This theorem is astounding. It says: If two meromorphic functions share five values ignoring multiplicity, then both functions are equal. Two functions, and , are said to share the value if and have the same solutions (zeros). More precisely, suppose and are meromorphic functions and are five distinct values. If where then . For a generalization see Some…

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#meromorphic #Nevanlinna #theorem

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mazin-empress · 6 years

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Platinum trophy get!!! I feel super accomplished, actually? This is the first game I’ve ever managed to get all the achievements for.

I was making an attempt with Berseria, but that kinda fell through. Oops. xD

#!V Liveblog #The Nevanlinna battle on this route was WAY harder since there were so many #MAP attacks are a fucking lifesaver #That second try took me two facking hours

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pantyhosedcharacters · 7 years

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Adele Nevanlinna - Arc Rise Fantasia

#Adele Nevanlinna #Arc Rise Fantasia #Official Art #Pantyhose #Brown #Game

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leshorriblestravailleurs · 5 years

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Isolated Sounds II - 'Shadow Pulses'

a mix by Les Horribles Travailleurs - 22 sept. 2019

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