ARTISTIC RESEARCH- SPRING 1

Artistic Research Week KHIO- 24.01- see full transcript here


TIRIL SCHRØDER

  • Taking the drawing and turning it into time-based media: she’s interested in the grey area, is there a still drawing that isn’t completely still. Is there an in-between field? 

  • Using digital tools: it’s the same tool that can be used in still drawing and the moving drawing. 

  • Related to making a collage (on working with both analog drawing and digital drawing). 

  • A moving drawing is not an animation

  • The ethics of AI - she lets the tool take more control and then she takes over - like a dialogue b/w tool and art, so the tool sort of influences her art. BUT they don’t work very well with drawings that are not ‘realistic’ images from flickr’ (shows the bias of AI). 


SASA

  • Aesthetics of access and politics of memory 

  • Walter Benjamin’s concept of history - changing the present as a legacy for the future

  • DIS- prefix ethics and aesthetics; points to absence of disability in dance and performance art; play on word dis and this to emphasize that work in the filed of art



  • Importance of reconstruction as an act of resistance to cultural oppression and indoctrination

  • Dis-project.info


OLIVER

  • Material Memory

  • Gathering of paratextual information of printmaking process

  • Memory as imprint metaphor- looking at metaphors for memory (roland barthes wrote about memory like photography)

  • Link between memory and printmaking:
    Matrix _____ blackbox_____ print
    Event _____memory encoding_____ recall

  • Paratext: all the things around the print (movement, touch, sound, matter), extend the print outside the blackbox and incorporate the paratext is the print

  • Working with words to describe and working with diagrams to make his own language that can be read like a dance score.
methods/exercices he gave himself:
  • Triangle method as a way to map where the different directions of the research takes him (printmaking on top, memory bottom left and material bottom right) 

  • Making a map of his movements when printing= like a choreography (see picture) 

  • Using crib diagrams from scottish dancing as a way to write down the movement

  • Exercise: he wrote down all the steps then removed the object and subject to only end up with the verbs (only the action then). (see picture)

  • Using post-it notes to keep a record of what the matrix looks like (see picture)


ELIOT MOLEBA

  •  What’s the public memory of immigrants in Norway today? Context of the immigrant, who is the immigrant? 

  • (his definition of immigrant: a norwegian who had a background from elsewhere.) this helped him to narrow down the topic, to clarify. 

  • (HOW CAN I NARRATE A WE, HOW CAN I AS A RESEARCHER/ARTIST/PERSON COMING FROM ABROAD CREATE A NARRATIVE VOICE FOR THE PEOPLE)
  • Seeing the Timeline of his thought process from beginning to where he is now, to see what his context, was, is what he wants it to be

  • TO FIND CONTEXT START WITH DEFINING ALL YOUR WORDS (words from your one-liner sentence)

  • Main reflection: context changes all the time over time, based on you perspective.