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.
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Society for Artistic Research (SAR) and the Journal for Artistic Research (JAR)
The Society for Artistic Research (SAR) was founded on March 6, 2010 in Berne, Switzerland. The Society for Artistic Research is an independent, non-profit association set up for the sole purpose of publishing the Journal for Artistic Research.
The Journal for Artistic Research (JAR) is an international, online, open-access and peer-reviewed journal for the identification, publication, dissemination and discussion of artistic research.
JAR's editorial policy is to feature artistic research outputs from across all fields. By creating a publication and dissemination space for such outputs, it fulfils a crucial role within the developing field of artistic research.
To display and document work in a manner that respects the artist's modes of presentation while fulfilling the expectations of scholarly dissemination
to re-negotiate the relationship of art to academia, and the role and function of research in artistic practice.
The modernist approach to trauma points to an occurrence that demands representation and yet refuses to be represented (Roth 2012: 93); the intensity of the experience makes it difficult to remember and impossible to forget, making any form of recollection inadequate. This exposition explores the repetitive and unresolved notion of trauma using 11 September 2001 as the entry point to navigate a pathway backward into the past and all that was remembered, and uncovers what was forgotten in an effort to lay a traumatic memory to rest. The research began with a journal written on the day of and days following the disaster, which up until a couple of years ago remained closed and unread. Personal remembering is layered upon a well-established collective memory of the event and a vast array of literature, art, and theory written in response to 9/11.
This project investigates the coexistence of and the correlation between the inhabitants within my apartment building, using artistic practices and my own lived experience. These everyday spaces form the primary interface between the individual and the larger social entity of the city. Consciously, or partly unknowingly, one interacts with others through spatial demarcations, using embedded spatial devices (such as squeaking floorboards, peepholes, mailboxes, etc.) that project life and the presence of other people through sound, light, or matter. Most of these devices are partly unintended, often serve other practical functions, and go unnoticed – but nevertheless hold a latent spatial potential for a recalibration of the social dimension of the city and an architecture to come. This exposition features a combination of photography, 3D laser scans, and creative writing, followed by a written account of the practice.
This research exposition investigates how artistic practice is used among British Tamil artists with a Sri Lankan background to explore their multiple belongings and in-between notions of homing and migrating.
It is based on eighteen months of ethnographic fieldwork in London, Belfast, and Jaffna. Through the author’s position in the overlap between art practice and anthropology, the exposition poses questions about the possibilities of an interdisciplinary approach to artistic research.
The additional overlap with the Tamil artists’ profession challenged the relationship between self and other in the research process, and knowledge has consequently been produced in a collaborative form.
In this exposition we present the outlines of the artistic research project Wikiphonium, and discuss how the Bakhtinian concept of dialogue can function as a theoretical, practical and methodological approach in artistic research projects.
The Wikiphonium project was an investigation into new ways of playing the euphonium and creating new music for the instrument, in close dialogue with various composers and musicians. The work contributed to the expansion of the sonic possibilities, expressions, and repertoire for brass instruments in general. Three interrelated parts together constituted the practice as artistic research: thirteen concerts and performances consisting of new works for euphonium based on experimental collaborations with composers and musicians, experimentation with the instrument's possibilities, and development of different tools enabling these developments, including a wiki with a library of sounds and notations.
The exposition contributes to the general methodological discussion in the field of artistic research, illustrated through examples and experiences from the dialogic approach in the Wikiphonium project. A genuine dialogic attitude in artistic research processes enriches critical reflections embedded in the practice. Documentations of process and results together with the multimedia tool wikiphonium.org constitute a transparent and open communication of artistic practice as research.
This exposition introduces and analyses the work of British-based IOU Theatre, a company that has been exploring intermedial theatre and installation since 1976. IOU's work, we suggest, is characterised by their particular strategies for juxtaposing or fusing images, materials, and artistic media. We explore this aspect of IOU's practice through the lens of emergent cognition by drawing on Fauconnier and Turner's (2002) theory of conceptual blending.
While Fauconnier and Turner's work applies broadly to the process underlying many cognitive acts, their model enables us to develop a nuanced understanding of IOU's particular creative 'blends' and to identify a 'resistance to the blend’ that proves essential to the IOU aesthetic.
The authors have included first-person accounts of some of their own cognitive experiences in response to IOU's work as a way to track the application of conceptual blending in the reception and analysis of an artistic artefact or experience.
The exposition both introduces to a wider readership examples of IOU's oeuvre and proposes a reading of conceptual blending as a tool for understanding creative processes, analysing artistic artefacts, and discussing audience reception – in works that particularly exploit creative collisions of imagery or media. In this way, it is our intention to contribute to artistic research a methodology for analysis and a lens through which some key artistic strategies can be illuminated. Our approach may be of interest to those concerned with the making, analysis, or reception of artistic work that is intermedial in the broadest sense.
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.