Methodologies for Artistic Research

The idea of 'art as research' and 'research as art' have risen over the past two decades as important critical focuses for the philosophy of media, aesthetics, and art. Of particular interest is how the methodologies of art and science might be merged to create better conceptual understanding of art-based research. The book deconstructs and displaces the terminology that typically accompanies the question of the relationship between art and scientific truth. Identifying artistic practices as modes of thought that do no make use of language in a way that can easily be translated into scientific discourse, the text advocates for a genuine aesthetic mode of thought beyond 'linguistic turn', a way of thinking that cannot be substituted by any other disciplinary system.

This essay is written to accompany the Panel I convened for APARN Symposium, online, 3-7 November 2020, entitled Out to the Islands: Four Tangents in which I presented four artists Ginoe (Silay City/Philippines), Tamarra (Yogyakarta/Indonesia), Irawano Yedija Petrus Awom (Manokwari/Yogyakarta, Indonesia) and Mark Teh (Kuala Lumpur/Malaysia).

As of End July 2021, the article is in the process of being published with the transcripts of the Panel I convened consisting of presentations by artists Mark Teh (Kuala Lumpur), Tamarra (Yogyakarta), Ginoe Ojoy (Bacolod City) and Irawano Yedija Petrus Awom (Merauke/Yogyakarta).

People are witnesses ‘living in a convergence culture’, with meetings between old and new media creating new possibilities' in the contemporary culture. One of the cultures that emerged since late nineteenth century is comics. The amusement of comics seems to invite more people – young or adult – to be immersed into the world of comics. Studying visual art is an intriguing task, especially if taking underrated
subject matter from a popular visual culture media such as comics. Articulating the
expression of contemporary Malaysian comics is not a lucid task. The understanding
of the art of comics can help public awareness to go beyond the initial appreciation
of drawings and stories it contains. There is somewhat a contradiction in public
awareness of comics or cartoon. While most of Malaysians would agree that cartoons
are a valuable reflection of society, but taking it as a subject matter of a study is an arduous task since generally it was not counted as a truly significant scholarship. The lack of appreciation made the richness of local comics unseen, and as an important cultural heritage its values remains undiscovered. The researcher works pace by pace in this study; beginning with documenting to perform an initial reading/viewing of all sources and to take notes about the general ways the visually appeared in the contents of four limited, established and eligible comics’ magazines, for the time being such as Gila Gila, Ujang, Gempak, and G3, and considers to study its visual subject matter and form. The researcher then makes a categorization through the analysis of visual form by using semiotics. Finally, based on the contents of formal visual structure and semiotics visual analysis, describes the findings with some suggestion to gain insight from the point of view of the phenomenology of the arts. It is important yet meaningful to understand how comics invite its readers into its world which researcher should involve and take part as a reader by experience the reading moments as first-person perspective pre-reflectively.

With Entheogenic Intent (Burn the Witch) 4 5 W e live in the multilayered dimension of technomaya. Digital technology has given power to the media that is directly acting on the mind, so that the spell of the media-sphere has wrapped itself around the psychosphere. Technomaya captures the flows that proceed from the activity of the mind, and returns them to mental receptors as a mirror would, in the form of a template for future forms of life. In the digital sphere, people are spending more and more time with electronic ghosts. However the techno-media spell (technomaya) is sometimes broken down when barred windows are all of a sudden opened by the winds of joy, or by the stoms of despair. letting the dazzling light of uncanny dimensions burst onto the scene of the social imagination, and allowing forgotten fragments of the unconscious to surface. What I would like to describe here are the ways in which the spell of semiocapitalism (financial abstraction, specters of the mediascape) captures the social body and delivers it over to the economic code, where experience is subjected to the power of simulation and standardization. But I also wish to search for and to imagine possible lines of escape. T hese can only be found in those places of the unconscious where the multilayered spell of semiocapital is ripped apart in order for a creative unconscious to resurface.

La investigación artística en música es un campo lleno de interrogantes en los que este libro penetra para ofrecer un panorama organizado sobre sus límites y posibilidades así como de sus discusiones más recientes. A partir de experiencias en centros de educación musical superior europeos e iberoamericanos en los que los estudiantes de primer, segundo o tercer ciclo desarrollan trabajos finales orientados a la práctica artística, los autores detectan algunas tendencias en los temas y métodos usados y proponen nuevas estrategias para el desarrollo de esta modalidad de investigación.

El libro está destinado a estudiantes, profesores y gestores de educación musical superior. No pretende descifrar todos los dilemas de la investigación artística en música. Simplemente ofrece una interpretación propia y señala caminos posibles para su desarrollo en nuestro entorno. Todo ello fundado en prácticas actuales y reales.

El libro y el trabajo de investigación en que se basa, ha sido co-financiado por la Escola Superior de Música de Catalunya y el Fondo Nacional para la Cultura y las Artes de México a través del Programa de Fomento a Proyectos y Coinversiones Culturales, emisión 2013, SC/PFPCC/E29/078/13. Forma parte de las actividades del Grup de recerca Interpretació i Creació Musicals (2014 SGR 1382).

In seinem 1935 in der surrealistischen Zeitschrift Minotaure veröffentlichten Aufsatz »Mimese und legendäre Psychasthenie« führt Caillois den exzessiven Nachahmungstrieb bestimmter Lebewesen auf eine »regelrechte Versuchung durch den Raum« zurück, mit der nicht nur die Grenze zwischen Mensch und Tier, sondern auch diejenige zwischen Organismus und Umgebung von Grund auf unterlaufen werde und die damit einer »Angleichung des Belebten an das Unbelebte« gleichkomme. Ausgehend von dieser These begibt sich Caillois in seinen Schriften auf die Suche nach den »transversalen Vorgehensweisen der Natur«, die er mit dem Konzept der »diagonalen Wissenschaften« theoretisch reflektiert und die wiederum auf konkrete Versuchungen durch Natur, Kultur und Imagination zurückzuführen sind.

Mit Beiträgen von Irene Albers, Karlheinz Barck, Peter Berz, Roger Caillois, Lena Däuker, Rosa Eidelpes, Anne von der Heiden, Eva Johach, Sarah Kolb, Stéphane Massonet, Stephan Moebius, Hans-Ulrich Treichel und drei Zeittafeln von Peter Geble.

Artistic Research Methodology argues for artistic research as a context-aware and historical process that works inside-in, beginning and ending with acts committed within an artistic practice. An artistic researcher has three intertwined tasks. First, she needs to develop and perfect her own artistic skills, vision and conceptual thinking. This happens by developing a vocabulary for not only making but also writing and speaking about art. Second, an artistic researcher has to contribute to academia and the "invisible colleges" around the world by proposing an argument in the form of a thesis, a narrative; and in so doing helping to build a community of artistic research and the bodies of knowledge these communities rely on.

This paper presents and examines my research/work How to open my eyes? as a case study attempting to highlight the tactic of the performance-lecture as an important critical method within artistic research. As a brief definition, the performance-lecture is a hybrid and heterodox form what contains performative and discursive components. Since the 1990s the performance-lecture is gaining prominence within contemporary artistic practices and the number of visual and performance artists that use this format is growing. However, David Ladnar noted that despite its ubiquity, the notion of the performance-lecture is still contested and the bibliography on it is short. Within this context, and focusing on artistic research, the aim of this paper is to analyse how the performance-lecture operates as a method that generates new knowledge, drawing on the interrogation of the research/work How to open my eyes? produced practice-led PhD enquiry, on some of the bibliography on the format of the performance-lecture and on my experience as a part of the audience of several performance-lectures.

Writing has never been more exicting than before, although the asemic writing that emerges has to be understood as the amorphous form of any common alphabetical writings. Asemic writing intends to explore the field that has not yet been distinguished, when the practice has not yet separated by definition between anulis (writing) and anglukis (painting). Nevertheless, it may be assumed that it was being written in a language we are not yet familiar with. Unaware of those asemic movement, two of Indonesian prominent artist has been practicing the mode of mark making verisimilitude asemic writings. Made Wianta (1949-2020), Balinese Indonesian master of painting, poet and calligrapher, turned his painting into realm of calligraphy and vice versa. another prominent Chinese Calligrapher in 2020, Tjuju Widaja 79 year old from Bandung, get her doctoral degree from local public university by releasing the strokes of chinese characters from its origin meaning into experimenting layers in surfaces calligraphic painting. This article here intends to convey a number of concepts that are expected to be related in the effort to cultivate the asemic writing as language as well as images. The interplay between visible and invisible give much more mistery than it may seems. The truthful of meaningful world seem hiding behind the visible, it awaitings in ways that are more drawn out be recognized, yet once it occurs to surface, all of sudden it shades away back to the edge, challenging us to figure out what was it anyway. Asemic is becoming of a system without structure, a meaningful with no grounded semantical meaning.

Art research lies at the vertex of several critical points of contemporary culture. 1 Among these are:
 Systemic education reform, ranging from emerging educational technologies to privatization and commercialization of education at all levels.
 Discussions on the role of education, from the simple practice of teaching for work paid or as a broad, holistic process that aims for an integral education of individuals who are free, critical thinkers, capable of transforming society.
 The role of art in society as a factor in existential enhancement, like leisure activities or as an economic input of tourism and cultural industries.
 The role of artists in proposing new concepts for the problems of contemporary society and their ability to offer alternative solutions, or at least to propose new questions, based on non-exclusive rational modes of thought.

Duas escritas tecem este texto: a primeira é colorida, narra as fraquezas e as inseguranças do processo de escrita; a segunda é um artigo, nos moldes acadêmicos, que discorre sobre duas práticas de pesquisa em arte – a perfografia e a escrita situada a partir da relação com o Modo Operativo AND. Ambas têm a atitude cartográfica – o acompanhar dos processos e o acolhimento dos acontecimentos – como um princípio de ação.

Two writings constitute this text. The first one is colorful, narrates the weaknesses and insecurities of the writing process. The second one is an academic paper that discusses two research practices in art– perfography (perfografia) and situated writing in relation with the Modus Operandi AND. Both have the cartographic attitude – careful perception of processes and openness to embrace events – as a principle of action.

How can the teaching and learning of culturally and theoretically diverse art
histories allow for constructive interaction between the global and the local,
which is not just an example of one dominating the other? Do the issues of
cultural hybridity and diasporas represent an opportunity for art history to rethink
traditional assumptions about cultural identity and interactions between
cultures? Is it possible for there to be a globally aware, yet locally grounded art
history, where the methods and approaches of one kind of art history can enrich
the other? How are issues of art history and modernity mediated in global and
local contexts?
At the outset, then, the

Resumen
Existen demasiados discursos, actividades y especialistas que afirman dedicarse que hacen investigación artística. Como se aprecia en la abundante bibliografía sobre el tema, no existe una única definición estable de la actividad. Por ello hemos optado por distinguir distintas escenas de trabajo que se autodenominan «investigación artística» y que se distinguen por sus metas, objetivos, modos de trabajo, producción y discursos. Dentro de muchas otras posibles, se estudian cuatro escenas fundamentales: investigación artística profesional, artistas que investigan, artistas universitarios e investigación artística formativa. La primera parte de este trabajo presenta las principales características de cada escena. Posteriormente, describiremos nuestro modelo de trabajo para la investigación artística formativa. Por último, expondremos dos casos que lo ejemplifican. Con ello queremos contribuir a concebir los trabajos finales, tesis o tesinas de los diferentes ciclos de formación musical superior, como procesos de producción de conocimientos conceptuales, procedimentales, teóricos, prácticos, verbalizables o embebidos en habilidades corporales o en decisiones artísticas, que el estudiantado recorre de manera autónoma, si bien tutorizada, a partir de un estudio meticuloso y a profundidad. Este último sigue uno o varios métodos explícitos provenientes tanto de diferentes tradiciones académicas consolidadas, como de las estrategias emergentes de la investigación artística que están en constante revisión crítica. Se caracteriza también por una conciencia crítica que exige conocer los antecedentes, discusiones y puntos de vista sobre el tema investigado y tiende a la construcción de una opinión propia informada y reflexionada, siempre con conciencia de las potencialidades y limitaciones de cada estudiante. Hay que resaltar que este proceso de producción autónomo de saberes, tiene como función principal el desarrollo artístico de cada estudiante.

Palabras clave
Investigación artística en música, investigación artística formativa, tesis y trabajos finales en música, escenas de investigación.

Abstract
There are too many discourses, activities, and specialist who claim that they do artistic research. Given the impossibility to state a single definition of the activity, we have chosen to distinguish different scenes that call themselves “artistic research” and that are characterized by their goals, objectives, working models, and discourses. Among many other possibilities, four fundamental scenes are studied: professional artistic research, artists doing research, university artists, and formative artistic research. The first part of this paper presents the main characteristics of each scene. Later, we describe our working model for formative artistic research. Finally, we offer two cases that illustrate it. In doing so, we propose to conceive the theses, dissertations of final research papers of the different higher musical education cycles, as a knowledge production process of many kind: conceptual, procedural, theoretical, practical, embedded in bodily skills or in artistic decisions, that each student conducts autonomously (even if it is under supervision), from a meticulous and in-depth study. The latter follows one or more explicit methods originating both from different consolidated academic traditions, and from emerging strategies of artistic research that are in critical review constantly. It is also characterized by a critical awareness that requires knowing the antecedents, discussions, and points of view on the subject under investigation and tends to build an informed and reflected opinion, always aware of the potentialities, and limitations of each student. It should be noted that the main goal of this autonomous process of knowledge production is the artistic development of each student.

Key words
Artistic research in music, formative artistic research, thesis and final submissions in music, research scenes.

Art educators have already responded to eco-social challenges for decades by seeking to advance environmental awareness, sensitivity, eco-social justice, democracy, and cultural sustainability. These various approaches and conceptualisations are discussed in this doctoral dissertation as environmental art education (EAE).

The dissertation investigates EAE with a focus on its philosophical-theoretical groundings. A comprehensive mapping of EAE literature highlights that despite EAE aims at challenging modern Western dualistic thinking, the applied humanist theories problematically reassert the separateness of the categories of human and nature. The dissertation discusses the limitations of traditional EAE as it does not seem to offer a means for questioning human exceptionalism (anthropocentrism). Particularly when living through ecological crises, EAE, which furthermore runs the risk of romanticising human-nature relations, appears inadequate.

The research reorients EAE by engaging with posthumanist theories. It draws from the threads of environmental, critical, feminist, and educational posthumanist theories that decentre the human, unpack categorical divides through materialist and process-oriented ontologies, and intersect with decolonial, race and other critical theories. The methodology of the research is informed by the recent developments in post-qualitative inquiry, including multispecies and walking methodologies.

The research puts posthumanist theories to work by developing and employing an experiment called becoming-with the forest. Through focusing on artistic thinking, and embodied, sensory, movement-based ways of knowing, the experiment aims at groping towards multispecies and material forest entanglements, provoking thinking-with others, and queering habitual responses and conceptions of subjectivity. Different aspects unfolding in the experiment are introduced through visual-textual stories. The experiment activated considerations concerning the recognising of vulnerabilities, difficulties of disturbing anthropocentrism, and complex responses to the enmeshment of nature and culture. These topics are discussed further with posthumanist theories, and their implications for EAE pedagogies are speculated upon.

The research proposes generative potentials in art educational strategies for queering normative human-nature relations, acknowledging more-than-human agencies, and creating new stories of shared worlds beyond human mastery. It encourages focusing on complex material and multispecies entanglements and attending to their ethics and politics in arts and their education, and proposes practices that are critical-creative, experimental, open-ended, transdisciplinary, and engage with multiple ways of knowing. These suggestions pave the way for exploring further the profound implications of posthumanist ontologies for subjectivities, pedagogies, learning, and the arts.

A fabulous collection of interviews with artists, designers, art critics, academics, and curators from the Netherlands, Norway, France, Lithuania, and the UK on the future of art schools, arts education, artistic research, research-as-praxis, and radical pedagogies. Published by Vilnius Academy of Arts Press to mark the 225th anniversary of the Academy, contributors include: André Klein, Dag Erik Elgin, Gunther Ludwig, Henrik Oxvig, Jean Baptiste Levée, Liam Gillick, Suhail Malik, Will Holder, Academy alumni, and yours truly.

Abstract. This article explores the innovative field of ‘re- search-creation’, on the threshold of multiple disciplines, between the arts and humanities. It focuses in on the artistic laboratory, as an evolving concept, format, space and processual zone dedicated to trans-disciplinary artistic, micro-political and social experimen- tation. In this time-space a group engages in a philosophy in ac- tion, shifting beyond the dualistic paradigms that persist both in relation to the body and in relation to thought, language, knowle- dge and culture. This article zooms into and offers a theoretical foundation for a practice-based nomadic performing arts laboratory that we have been developing, where we investigate dance, perfor- mance and physical theatre as complementary tools for activating collective practices and open artistic processes. The intention is to activate a field of exchange where subjectivity and corporeality is co-produced, in their singularity, during the artistic process. Artis- tic laboratories are part a larger phenomenon of the engagement of experimental artistic languages in social, collaborative and collec- tive practices in the contemporary art world. These tendencies are in resonance with the broadening notions of (co) authorship, the politics of perception and spectatorship, which all work towards cultivating the creative agency of a new protagonist-participant, shifting away from traditional notions of the passive spectator.
Keywords: artistic laboratory, corporeality, subjectivity, move- ment research, research-creation

Son varios los modelos de investigación artística planteados desde la academia con el propósito de situar la disciplina como un campo validado a la par de otras áreas de conocimiento. Los fundamentos comunes a estos caracterizan los métodos desde las artes por tres aspectos principales: la transdisciplinaridad, el carácter interpretativo, y la contextua-lización de prácticas y conocimientos. Sin embargo, la no concreción de metodologías propias de las artes propicia la adopción de mecanismos validados por otras disciplinas para responder al panorama de difusión académica y científica. A partir de una revisión bibliográfica de 60 materiales sobre este tema, se presenta en el artículo un desarrollo sobre modos de investigación en artes y algunas de sus estrategias.  Como técnicas y recursos para la evidencia de procesos de investigación en artes, en este artículo se destacan varios que serían útiles para el posicionamiento dentro de la comu-nidad académico-científica.

Thomas Gartmann and Michaela Schäuble have drawn together a diverse group of authors who, if they had not been connected through their common engagement with the University of Bern and the Bern University of the Arts doctoral programme for artists and designers, might have otherwise looked very diverse indeed. Their expertise is spread across several disciplines, several media, and, from a theoretical perspective, across several intellectual and artistic contexts. Topics include the 11 th century, remix culture, Wagner, and the title sequences of Hitchcock's films. The thirteen texts reflect upon issues that have characterised the proliferation of what in some places is named Artistic Research, in other places is named Practice as Research, and, in Bern and in this volume, is named

Digital technologies have converged with digital forms and integrally affected developments in art, music, design, film and literature. Visual communication is undergoing a profound transformation as new technologies continually challenge the way images and things are produced. The problem issued in this study is on the inadequacy of learning visual communication design with the traditional method because of the democratization of desktop digital technology in recent learning environment. While this research combines the qualitative and quantitative approach, the quantitative part is less than qualitative ; this qualitative study used visual data collection, particularly sketches drawn by participants. Quantitative approach was used in compiling and categorizing data Primary data gathering technique is through participant observation, which means researcher took place during data gathering. Nevertheless, it is a challenge to explore and to discover whether the increase in music and graphics in contemporary era of digitalization, can enhance the essentials of creative design through the analogy between music expressions and graphics elements. This study tends to offer an alternative learning environment and approach in graphic design fundamental study by using music for stimulation. This research will lead to provide morphology of visual language of music and visual expression, particularly in the study of lines and its composition.

Theater-, Performance- und Tanzproduktionen, insbesondere der Freien Szene, haben sich in den letzten Jahren vermehrt mit der Existenzweise und Handlungsmacht von Nichtmenschen befasst. Die Akteure sind heterogener geworden und der Kreis der Figuren breiter: Ins- trumente und Maschinen, Pflanzen und Tiere, mehr oder weniger materielle Objekte und Prozesse stehen hier im Fokus des ästhetischen Interesses. Welche Formen von Dramaturgie, welche dramaturgischen Methoden und Praktiken verlangen diese nichtmenschlichen Akteure? Und welche bringen sie mit?
Zur Beantwortung dieser Frage gehe ich zunächst von einem zentralen Anspruch im zeitgenössischen Theater aus, dem der Kritik, der in seinem klassischen Verständnis einer Dramaturgie der nichtmenschlichen Anderen entgegenzustehen scheint. Mit Haraways Begriff der Diffraktion, den sie als einen Gegenbegriff zur Reflexion in die Debatten um die Politiken epistemischer Praktiken eingeführt hat, skizziere ich dann ein anderes Verständnis von Kritik, das weniger auf subjektiven Urteilen denn auf Krisen und Kontrasten im Zusammenhang des Materials beruht und sich daher mit einer Dramaturgie der nichtmenschlichen Anderen verbindet. Abschließend wird dieser Kritikbegriff zu einigen Entwicklungen im dramaturgischen Diskurs seit den 1990er Jahren, insbesondere im Feld des zeitgenössischen Tanzes, in Beziehung gesetzt.

The future of the arts in higher education--writ large--requires the examination, analysis, and synthesization of many central and peripheral issues if arts education is to be successfully sustained. Present-day and future leadership must not rely upon traditional and legacy-grounded knowledge in order to grow and improve our creative disciplines. This report is just the first of many that outlines certain issues in axiomatic and easily digestible form. Vol.1 focuses on the visual arts.

With reference to Made Flesh, the artist-author’s graphic-novel-in-progress, this illustrated paper outlines the author’s methodological explorations using the möbius as an image of the art-research dynamic, and collage as a conceptualization of a method of practice. The author proposes the ‘uncanny’ as the aesthetic and affective modalities of both the möbius and collage, and also as an essential quality of a dynamically charged artistic practice.
The möbius is geometry's paradoxical looped form that appears to have two sides, but in fact has just one – which the author suggests is a productive way of construing the entwining of art and research. Playing with this notion of the strangeness-of-two-that-are-one, the author further suggests how concepts of the uncanny (associated with artistic practice) and cognitive rigor (aligned with qualitative practice) must both figure into the development of an artistic research practice that is methodologically robust and personally/culturally resonant.
With respect to collage, the paper notes that the generativity of its juxtapositions may facilitate productive engagement with fundamental questions of method in artistic research: how to inflect the intuitive choices of artmaking with research-oriented rigor, and how to make transparent and useful to others the hands-on stages of creation ­– specifically, how to find appropriate equivalents to qualitative research's 'data collection and analysis.' In demonstration, the author juxtaposes her own work Made Flesh (digital collage) with the conceptually and formally aligned creative work of two contemporary artists, Eija-Liisa Ahtila (expanded cinema) and Susan Rothenberg (painting).

Published in the Conference Proceedings of the 2nd International Conference on Arts-based Research and Artistic Research, 2014, with the full document available for download at http://hdl.handle.net/10481/34215

L'interesse nei confronti del patrimonio culturale ha da sempre mosso grandi studiosi verso la ricerca di criteri e metodologie che aiutassero a stabilirne la natura e a fornirne una definizione esaustiva. È opportuno ricordare i notevoli progressi raggiunti sul piano normativo in quanto, già dal secolo scorso, le leggi nazionali e internazionali in materia di beni culturali hanno disciplinato gli aspetti riguardanti la conservazione e la valorizzazione del patrimonio storico-artistico. In un tema così vasto e complesso si inserisce la problematica dell'attribuzione delle opere d'arte, che si presenta come una questione piuttosto delicata soprattutto in considerazione dei noti interessi economici che possono costituire un rischio di forte condizionamento. Ad ogni modo, a prescindere dalle ragioni commerciali, il dibattito sull'autenticazione e sull'attribuzione di un manufatto assume un particolare significato per ciò che riguarda l'interesse, per alcuni forse più " nobile " , nei confronti della conoscenza e dello studio. In passato " attribuire " un dipinto in assenza di firme autentiche o di documenti accertati significava basare la proposta di un nome esclusivamente sulla preparazione e sensibilità dello studioso e sui raffronti stilistici con opere analoghe, ovvero su criteri in massima parte qualitativi. Oggi l'evoluzione degli studi storico-artistici ha portato ad una maggiore cautela nelle ipotesi attributive e soprattutto alla definizione di alcuni parametri essenziali che ne aumentano l'attendibilità: tipologia del manufatto, datazione, soggetto, significato simbolico ed iconografico, stile, committenza, prove-nienza, formato e dimensioni, unicità, stato di conservazione, vicende storiche, ecc. Nonostante ciò, si riscontra ancora una certa difficoltà o quantomeno una mancanza di unicità nei criteri di identificazione delle opere, soprattutto a causa del rilevante numero di similitudini tra i principali maestri ed i loro seguaci, dell'esistenza di copie, repliche o persino di falsi, dell'inevitabile indeterminatezza delle fonti e dei documenti d'archivio. A tale proposito si vuole ricordare la terminologia di maggiore utilizzo nella classificazione dei manufatti artistici sulla base del criterio di attribuzione. Appare subito evidente che le interpretazioni soggettive, per definizione opinabili seppur autorevoli, hanno ancora ampio spazio. Per una migliore standardizzazione della terminologia, incentrata anche su metodologie scientifiche, un peso assolutamente determinante deve allora avere lo studio dei materiali costitutivi e delle tecniche esecutive, ovvero di parametri quantitativi. Questo tipo di analisi, infatti, focalizza l'attenzione su certi aspetti tecnici che talvolta sono caratteristici di un'epoca specifica e di un determinato autore o di una scuola, per cui possono essere distintivi ai fini di un'attribuzione. In questo senso lo svolgimento di un restauro e soprattutto gli studi ad esso correlati offrono l'occasione unica di indagare il manufatto con osservazioni ravvicinate, caratterizzarne i materiali costitutivi e riconoscerne le modalità di impiego, distinguere eventuali manomissioni, aggiunte o altre tipologie di interventi successivi. In questo contesto non meno importante è la valutazione dello stato di conservazione dal momento che anche il degrado può contribuire all'identificazione di un'opera. Nella maggior parte dei casi, infatti, le forme di alterazione sono connesse non solo all'ambiente e alle cause scatenanti il deterioramento ma anche ai materiali costitutivi e alle tecniche esecutive.

TransCoding – From `Highbrow Art' to Participatory Culture
Social Media – Art – Research

Between 2014 and 2017, the artistic research project "TransCoding – From `Highbrow Art' to Participatory Culture" encouraged creative participation in multimedia art via social media. Based on the artworks that emerged from the project, Barbara Lüneburg investigates authorship, authority, motivational factors, and aesthetics in participatory art created with the help of web 2.0 technology. The interdisciplinary approach includes perspectives from sociology, cultural and media studies, and offers an exclusive view and analysis from the inside through the method of artistic research. In addition, the study documents selected community projects and the creation processes of the artworks "Slices of Life" and "Read me".

Publisher: [transcript], Bielefeld,  (release date May 2018):
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Which aspects of cultural and personal identity most influence current theatrical creation? How are certain signs of identity configured in a mise-en-scène and how does the audience perceive them? How can artistic research inform a doctoral study on identity? The thesis project "Identity Configurations in the Contemporary Experimental Basque Theatre Scene" is developed based on these questions with a cross-disciplinary framework that encompasses the historical, sociological, psychological and anthropological approach to the object of study plus comparative case studies and, among them, the PhD candidate's own artistic research. The article focuses on comparing two examples that highlight certain identity aspects relevant to the subject and the methodological approach of the doctoral thesis project. I will compare the experimental work of two women: Rakel Mazón and her durational performance Raketa Brokobitx on the rocks and Rakel Ezpeleta, the writer, and her contemporary cabaret Er-beste. Although very formally different, these two pieces share some characteristics: a questioning of the identity of their creators, the use of an alter ego to overcome traumatic experiences related to their experience as women, and the empowerment of the actresses-now authors-through the direct interaction with the audience. These cases will be used to reflect on cultural identity and the personal, related to a certain feminist and de-colonialising criticism. Moreover, these ideas are linked to the pertinence of Performance as Research (PaR) as the ideal methodological focus to confront the conceptual challenges of an open project like this.

Wolf-Georg Zaddach »Groove is the essence of my music«. Wayne Krantz' guitar playing from a practice-based perspective Abstract (English) Wayne Krantz, an US-American fusion jazz guitar player, developed a very personal style. Besides conscious reflection on his career and development, he came up with individual exercises. In the article, the stylistic development and the processes behind will be investigated and reflected from a practice-based artistic perspective. By doing so, the approach of practice-based and artistic research is realized with an autoethnographic approach, which appears to be a fruitful method, and presented with two individual but intervowen streams of narration. Abstract (Deutsch) Wayne Krantz ist ein US-amerikanischer Fusion-Gitarrist, der im Verlaufe seiner Karriere einen individuellen Personalstil entwickelt hat. Der Artikel verbindet eine Untersuchung der stilistischen Weiterentwicklung Krantz' mit einer auto-ethnographischen Erprobung seiner Übungsansätze, ein methodischer Ansatz, der vielversprechend für Practice-Based Artistic Research erscheint, und demonstriert zugleich die Vielschichtigkeit und Komplexität individueller Reflexions-sowie musika-lischer Entwicklungsprozesse.

Writing has never been more exicting than before, although the asemic writing that emerges has to be understood as the amorphous form of any common alphabetical writings. Asemic writing intends to explore the field that has not yet been distinguished, when the practice has not yet separated by definition between anulis (writing) and anglukis (painting). Nevertheless, it may be assumed that it was being written in a language we are not yet familiar with. Unaware of those asemic movement, two of Indonesian prominent artist has been practicing the mode of mark making  verisimilitude asemic writings. Made Wianta (1949-2020), Balinese Indonesian master of painting, poet and calligrapher, turned his painting into realm of calligraphy and vice versa. another prominent Chinese Calligrapher in 2020, Tjuju Widaja 79 year old from Bandung, get her doctoral degree from local public university by releasing the strokes of chinese characters from its origin meaning into experimenting layers in surfaces calligraphic painting. This article here intends to convey a number of concepts that are expected to be related in the effort to cultivate the asemic writing as language as well as images. The interplay between visible and invisible give much more mistery than it may seems. The  truthful of meaningful world seem hiding behind the visible, it awaitings in ways that are more drawn out be recognized, yet once it occurs to surface, all of sudden it shades away back to the edge, challenging us to figure out what was it anyway. Asemic is becoming of a system without structure, a meaningful with no grounded semantical meaning.

Данная статья посвящена использованию литературоведческих подходов и методов в исследовании творчества М.Ю. Лермонтова. В работе прослеживается, как в организации исследования феноменологический подход сочетается с культурно-историческим, сравнительно-историческим  и социологическим методами. Отдельное внимание уделяется также рецептивной эстетике. Практическое значение предпринятого в настоящий момент исследования получит соответствующую оценку при составлении материалов спецкурсов филологических факультетов вузов и элективных курсов историко-филологического профиля в общеобразовательных учреждениях. Наряду с этим более широкий круг учёных-литературоведов и историков образования сможет взять за основу предстоящих им научных трудов извлечения из данной работы.

ISBN: 978-84-947938-1-3

UCMM Artistis REsearch and Situated Practices endeavours to get close to the reality of certain practices that propose new ways of weaving and producing social processes. It is the fruit of a process that has been shared between an institution, Intermediae Matadero, six collectives and a variety of networks, communities and agents that propose new ways of bringing caring into the public sphere. /////

Una ciudad muchos mundos (UCMM) trata de acercarse así a la realidad de unas prácticas culturales que proponen nuevas formas de tejer y producir procesos sociales. Su colectivización permite explorar terrenos e imaginarios donde se hibridan los procedimientos, se transforman los protocolos y se desplazan las identidades. Se despiertan asimismo nuevas posibilidades en cuanto a la recuperación de un espacio que progresivamente se ha ido acotando para las industrias culturales. Estas experiencias, de algún modo, amplían los límites de esos márgenes, recuperando nociones en las que son los ciudadanos los que producen los procesos culturales. UCMM trata de desvelar las condiciones de producción de las prácticas que están teniendo lugar en el contexto específico de Madrid en la actualidad, dejarse atravesar por ellas para transformar la institución en una experiencia de transformación mutua.

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The inventor of the positive/negative process for photography, 19th century polymath Henry Fox Talbot, was so enthusiastic about the potential for his discovery that he made a prediction for a future where, 'Every man [would be] his own printer and publisher' (Talbot 1839:HS/17/289). Now, 170 years on, Fox Talbot's prediction is being realised. From the beginning of the process the value of the photographic image as a form of communication was instantly recognised, and photographs became a necessary and popular addition to books. The design and production of these books was usually overseen by the entrepreneurial and editorial control of a publisher. Book publishing required a raft of specialist tasks to be carried out under the control of production teams. This complicated structure usually alienated photographers from engaging in their own publishing ventures. Over time the book, consisting mainly of photographs, became known as the photobook and developed into an inst...

The purpose of the chapter  (text in english and spanish) is to present  'Social A/r/tography' as methodological approach within the context of the most common methodological strategies in research on visual arts and education: quantitative and qualitative methodologies, image based research, arts based research, and a/r/tography.

In a critique of contemporary universities, the philosopher and art theorist Gerald Raunig contends that 'wild and transversal writing is tamed and fed into the creativity-destroying apparatuses of disciplining institutions' wherein researchers are required 'to squeeze the last vestiges of their powers of invention into the straitjacket of the essay industry.' At the heart of this 'taming' lies what he describes as researchers' subjection to the 'fetish of method' and a reduction of the modes of expression, forms and styles of writing, which he claims 'have brought about a crass uniformity in the languages in which academics can publish.' In this situation, Georges Perec's generous creative and critical experiments, and his 'inter-in-disciplinarity' (a term coined by Johnnie Grattan and Michael Sheringham) seem to counter some of the circumscriptions upon method within the contemporary academy. Via attention to the investigation of actual sites, and a series of spatial metaphors-of not staying put and crossing borders, of meandering and getting sidetracked, of oscillating or shimmering between positions-I want to reflect upon Perec's passage through conceptual fields, in order to draw out some potential implications for academic research through practice. Perec's willingness 'just to see what happens' offers an invitation to wander beyond our disciplinary boundaries: using the project and essay forms as methodological tools, along with the role of the 'knowing' amateur, I will argue for alternative, more mobile considerations of the intellectual and affective rigour applied to creative and critical work. .

Artistic research exploits new possibilities by deconstructing the traditional dualities of European thinking, like the duality between science and art, perception and thinking, subjectivity and objectivity, body and mind. It develops its potential in different overlaps, tensions and boundary fields across disciplines. Thanks to this it needs to reflect on specific methodology appropriate to this newly viewed plane of consistency. The article shows different approaches to the methodological question in artistic research.

One of my challenges is not being able to reveal sources
before the work is done. Not being transparent while in phase of
production. Not that research is secret, but opening up working situations while they are active would cancel them out.