The Society for Artistic Research (SAR) was established in March 2010 as an independent, non-profit organisation for the purpose of publishing the Journal for Artistic Research (JAR). It is a dynamic, international group that is encouraging discussion and activity dedicated to artistic research. SAR is comprised of both individual and institutional members from around the globe, who support SAR through the payment of a membership fee, sponsorship, and the gifting of their time and expertise.
At its Annual Meeting, SAR elects members to the Executive Board for a two-year term of office. A function of the Executive Board is to appoint the Editor-in-Chief of JAR for a five-year term.
In this way, SAR 'owns' and is responsible for the Journal of Artistic Research.
Here you can find the legal documents:
Articles of Association
Minutes of the Foundation 2010
The Journal for Artistic Research (JAR) is an inter-national, online, Open Access and peer-reviewed journal for the identification, publication and dissemination of artistic research and its methodologies, from all arts disciplines. With the aim of displaying practice in a manner that respects artists'
modes of presentation, JAR abandons the traditional journal article format and offers its contributors a dynamic online canvas where text can be woven together with image, audio and video. These research documents called ‘expositions’ provide a unique reading experience while
fulfilling the expectations of scholarly dissemination.
The Journal is underpinned by the Research Catalogue (RC) a searchable, documentary database of artistic research. Anyone can compose an exposition and add it to the RC using the online editor and suitable expositions can be
An exposition concerning my collaborative webcam performance projects, focussing on / trying to determine the special aspects of machine mediated communication and collaboration.
I wanted to use this opportunity to organise the material from three of my webcam performance projects (Huis Clos / No Exit, Duet Satz 1, 2, 3,4 and Angry Women) in a way that would reveal their essence in a few short lines. This, as I should have known, is impossible. It is about performance, it is about processes and human beings being transformed. I formulated motives, described means and I managed to give this research a succint philosophical and political background. Relevant experiences and reactions are clustered and a short text and conclusion distilled.
Voice (a retracing) is a video/sound work which seeks to capture and articulate the dancer's inner experience of movement improvisation. In doing so, this work layers and distorts video images and uses the dancer's spoken voice as the basis for an acousmatic composition.
In this exposition Tom Williams (composer) and Vida L Midgelow (dancer and videographer) discuss a creative lexicon emerging from their collaborative processes making this work. Through these conversations they reveal conceptual, contextual and methodological ideas, illuminating their creative practices.
This project focuses on the learning process in the oral tradition of fado. A common Portuguese saying 'O fado não se aprende' (one cannot learn to sing fado) forms the departure point of this artistic investigation. As a singer I dived into the practices of the oral transmission in Lisbon in order to discover if I could in fact learn the skills of singing fado. The project discusses several methods one can use as a singer in order to enrich one’s artistic practice with new genres that are not taught in music academies. It is concerned with the question of what knowledge can be produced through artistic research. What can we learn from an artistic researcher that we cannot learn from an ethnomusicologist? What is the extra dimension of artistic research?
This work combines the results of an online survey about the experience of acting with interviews of many of the respondents to explore how actors describe the relationship between the character they portray in performance and their non-character selves. It also explores the role of emotion in this relationship.
In this exposition we describe and theorize the evolution of an artistic enquiry entitled Playing the Spiral Jetty. This is accomplished in four parts. In part one we present our understanding of play as research methodology. Then, in part two we narrate and contextualize our encounter of the exhibition Contemporary Masters, an installation of an 18-hole, artist-designed, miniature golf course. In part three we elaborate our improvisations and conceptualizations of Playing the Spiral Jetty. Finally, in part four, we conclude with a theorization of play enacted in our performance. Play, as action and reaction, becomes a non-deterministic tactic or strategy for rethinking and redirecting understandings of and engagements with art. As a research enquiry, play is integrally linked to art making and as such, a way of knowing. The medial space in which play and subsequently art occupy create opportunities for novel ontological understandings.
Between 2009 and 2012 I made several visits to Italy to study at the Royal Dutch Institute in Rome, as well as to carry out historical field research in Pompeii, Herculaneum, Rome and Cerveteri. These trips were designed to provide material for writing several essays and developing an installation based on the classical atrium house.
Based on historical study and by way of the ancient Roman concept of genius loci, the spirit of place, my reflections on the quality and characteristics of place has led me to the tombs of Rome and Cerveteri and the dwellings of Pompeii. The various differences and interconnections between these two ancient sites of life and death as two extremes have been essential to my research. In this exposition I report on my artistic research.
This exposition takes the form of a series of experimental and philosophical attempts to represent place through film, photography and drawing. The research is devised through the frame of the self-reflexive auto-ethnographer. I have identified three methodological approaches that question fixed notions of self. The argument is whether it is possible to represent a place without its representation becoming a ‘fixed’ view; and the evasion and determination of a definition of 'place' becomes apparent throughout the body of this research.
The taste of a tree; the connection of [the] senses, the transference of sensations to smell a colour or hear a drawing…
Walking around a tree, observing the colour, texture and outline, sitting to draw, to document the actualities of the object … this presents no interest … Walking around [the tree] observing the colour, texture, outline, breathing, mind and body absorbing tree, drawing through sensation the memory of the encounter … that presents the interest.
The exposition considers whether the senses are connected and transferable in memory sufficiently to draw the taste of tree through the association of recalled sensations. Adopting Merleau-Ponty’s (2004, p.61) suggestion in The World of Perception, that, ‘[…] every quality is related to qualities associated with other senses. Honey is sugary. Yet sugariness in the realm of taste […] constitutes the same sticky presence as honey in the realm of touch.” humhyphenhum seek to uncover whether it is possible to draw the taste of tree through the association of recalled sensations; are the senses sufficiently connected to be transferable?
The Research Catalogue (RC) is a searchable, documentary database of artistic research work and its exposition. The RC is an inclusive, open-ended, bottom-up research tool that supports the journal's academic contributions.