Pub Date : 2019-01-17DOI: 10.30965/9783846763339_010
Salomé Voegelin
This text writes a short deliberation on the potential of literary writing and literary study to establish the possible worlds of fiction as an exploratory sphere within which we can tease, from the ambiguity of art, its contribution to research and knowledge without suppressing the sensorial and aesthetic dimension of its material. The literary is presented as a modest collaborator to the artistic investigation: aiding its articulation without erasing its processes and speechlessness. This approchement of work and text is critiqued and augmented through the radical reality of sound and the notion of sonic fictions that breach analytical language to speak its excess.
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Pub Date : 2019-01-17DOI: 10.30965/9783846763339_005
M. Rasker
: Investigating in what way some aspects of Foucault’s work can be fruitful to ‘think’ writing-as-research, a letter to Foucault as academic fiction unravels and valuates the paradoxes that emerge from connecting a dead philosopher’s work with the actuality of writing to him. It becomes clear that the Self cannot not be addressed when relating to a foreign (beautiful and intimidating) corpus of knowledge. Simply appropriating the philosopher’s words was working the wrong way around. In turning to the ‘master’ for clearance, the position of the ‘apprentice,’ the one presently speaking, must also be defined. How to investigate oneself from the position of the Self, while opening up for the work one admires? How to relate to what moves the heart ?
{"title":"A Letter to Foucault","authors":"M. Rasker","doi":"10.30965/9783846763339_005","DOIUrl":"https://doi.org/10.30965/9783846763339_005","url":null,"abstract":": Investigating in what way some aspects of Foucault’s work can be fruitful to ‘think’ writing-as-research, a letter to Foucault as academic fiction unravels and valuates the paradoxes that emerge from connecting a dead philosopher’s work with the actuality of writing to him. It becomes clear that the Self cannot not be addressed when relating to a foreign (beautiful and intimidating) corpus of knowledge. Simply appropriating the philosopher’s words was working the wrong way around. In turning to the ‘master’ for clearance, the position of the ‘apprentice,’ the one presently speaking, must also be defined. How to investigate oneself from the position of the Self, while opening up for the work one admires? How to relate to what moves the heart ?","PeriodicalId":294183,"journal":{"name":"Artistic Research and Literature","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126363239","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-17DOI: 10.30965/9783846763339_003
J. Baetens
: This chapter addresses the topic of the mixte (English: the mixt ), a type of writing that combines very different, sometimes perhaps even incompatible types of writing, such as fiction and non-fiction or, in a more singular manner, fiction and writing on fiction (the term of mixt has been coined by author and theoretician Jean Ricardou). How-ever, the present chapter does not just present or examine Ricardou’s theory and practice of the mixt but takes it as its starting point to reflect on the status of the author’s self-commentary in a research-oriented fictional practice. More precisely, the chapter makes a plea, not for the merger but the articulation (and thus the relative separation) of fiction and writing on fiction in practice-based artistic research.
{"title":"Writing Cannot Tell Everything","authors":"J. Baetens","doi":"10.30965/9783846763339_003","DOIUrl":"https://doi.org/10.30965/9783846763339_003","url":null,"abstract":": This chapter addresses the topic of the mixte (English: the mixt ), a type of writing that combines very different, sometimes perhaps even incompatible types of writing, such as fiction and non-fiction or, in a more singular manner, fiction and writing on fiction (the term of mixt has been coined by author and theoretician Jean Ricardou). How-ever, the present chapter does not just present or examine Ricardou’s theory and practice of the mixt but takes it as its starting point to reflect on the status of the author’s self-commentary in a research-oriented fictional practice. More precisely, the chapter makes a plea, not for the merger but the articulation (and thus the relative separation) of fiction and writing on fiction in practice-based artistic research.","PeriodicalId":294183,"journal":{"name":"Artistic Research and Literature","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121648560","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-17DOI: 10.30965/9783846763339_015
Anneleen Masschelein
: In recent years, the work of Chris Kraus has crossed over from an avant-garde art circuit into mainstream literature. The self-reflexive stance and the strategies that she deploys to relate her own story to a broader intellectual and political context are reminiscent of certain tendencies in the Anglo-Saxon field of creative writing, but they mark her work first and foremost as an artistic research and performance. Kraus at the same time performs writing as an ongoing practice while revealing the writer as a simulacrum. In so doing, she formulates a strong critique of the male-dominated, capitalist worlds of art and theory at the end of the 20th century but also offers a model for an alternative female subjectivity that is complex, fragmented, and fascinating.
{"title":"Who’s Peaked? Chris Kraus’s Writing Performances as a Case Study for Twenty-First Century Writing Culture","authors":"Anneleen Masschelein","doi":"10.30965/9783846763339_015","DOIUrl":"https://doi.org/10.30965/9783846763339_015","url":null,"abstract":": In recent years, the work of Chris Kraus has crossed over from an avant-garde art circuit into mainstream literature. The self-reflexive stance and the strategies that she deploys to relate her own story to a broader intellectual and political context are reminiscent of certain tendencies in the Anglo-Saxon field of creative writing, but they mark her work first and foremost as an artistic research and performance. Kraus at the same time performs writing as an ongoing practice while revealing the writer as a simulacrum. In so doing, she formulates a strong critique of the male-dominated, capitalist worlds of art and theory at the end of the 20th century but also offers a model for an alternative female subjectivity that is complex, fragmented, and fascinating.","PeriodicalId":294183,"journal":{"name":"Artistic Research and Literature","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133472036","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-17DOI: 10.30965/9783846763339_018
T. Wälchli
{"title":"The Vienna Group’s ‘Research for’ the Language Arts: Konrad Bayer, “karl ein karl” (1962)","authors":"T. Wälchli","doi":"10.30965/9783846763339_018","DOIUrl":"https://doi.org/10.30965/9783846763339_018","url":null,"abstract":"","PeriodicalId":294183,"journal":{"name":"Artistic Research and Literature","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133639591","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-17DOI: 10.30965/9783846763339_006
Christa-Maria Lerm hayes
This contribution asks how we can situate literature’s participation in the artistic research field: is there an advantage to its ‘belatedness’? My thoughts go into three directions: institutional affordances; Marcel Duchamp’s effects; and the notion of mi nor literatures. I refer to Aby Warburg, James Joyce, Marcel Duchamp, Gilles Deleuze and Felix Guattari, Dora Garcia, Brian O’Doherty, and others. For literature, I see the artistic research debate as an opportunity to work in and with the ‘minor’: a call for solidarity among those in the margins. Through its ‘belatedness,’ literature can avoid normative elements of the artistic research debate and graduate to describing and valuing the diversity that is being created, recouping the ‘artness’ of this work—and acting on a systemic level.
{"title":"Minor Literature in and of Artistic Research","authors":"Christa-Maria Lerm hayes","doi":"10.30965/9783846763339_006","DOIUrl":"https://doi.org/10.30965/9783846763339_006","url":null,"abstract":"This contribution asks how we can situate literature’s participation in the artistic research field: is there an advantage to its ‘belatedness’? My thoughts go into three directions: institutional affordances; Marcel Duchamp’s effects; and the notion of mi nor literatures. I refer to Aby Warburg, James Joyce, Marcel Duchamp, Gilles Deleuze and Felix Guattari, Dora Garcia, Brian O’Doherty, and others. For literature, I see the artistic research debate as an opportunity to work in and with the ‘minor’: a call for solidarity among those in the margins. Through its ‘belatedness,’ literature can avoid normative elements of the artistic research debate and graduate to describing and valuing the diversity that is being created, recouping the ‘artness’ of this work—and acting on a systemic level.","PeriodicalId":294183,"journal":{"name":"Artistic Research and Literature","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114311066","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-17DOI: 10.30965/9783846763339_002
C. Caduff, T. Wälchli
The discourse of artistic research emerged in anglophone and Scandinavian countries in the 1990s, initially being established in the Visual Arts departments of art schools. In the wake of the Bologna Process, it spread to many other countries and reached the fields of design, theatre, film, music, and dance. The unification of so many different artistic disciplines under the roof of one discourse represents a great achievement. After long debates about procedures, methods and outcomes of artistic research, and after terminological discussions about embodied and tacit knowledge as well as research into art, for art, and through art, the field is well-established, both theoretically1 and institutionally.2 It provides rich ground for countless individual works and methodologies, employing a variety of epistemological models as well as transdisciplinary, collaborative, and participatory practices.3
{"title":"Introducing Literature in the Discourse of Artistic Research","authors":"C. Caduff, T. Wälchli","doi":"10.30965/9783846763339_002","DOIUrl":"https://doi.org/10.30965/9783846763339_002","url":null,"abstract":"The discourse of artistic research emerged in anglophone and Scandinavian countries in the 1990s, initially being established in the Visual Arts departments of art schools. In the wake of the Bologna Process, it spread to many other countries and reached the fields of design, theatre, film, music, and dance. The unification of so many different artistic disciplines under the roof of one discourse represents a great achievement. After long debates about procedures, methods and outcomes of artistic research, and after terminological discussions about embodied and tacit knowledge as well as research into art, for art, and through art, the field is well-established, both theoretically1 and institutionally.2 It provides rich ground for countless individual works and methodologies, employing a variety of epistemological models as well as transdisciplinary, collaborative, and participatory practices.3","PeriodicalId":294183,"journal":{"name":"Artistic Research and Literature","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133988487","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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