1,721,009 research outputs found
Musical Improvisation as the Performance of Embodied Knowledge: Embodied Narrativity in Musical Performance
No full textItem does not contain fulltextCARPA3 - Third Colloquium on Artistic Research in Performing Arts, 28 februari 201
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Performing and thinking with trees
No full textHow to collaborate with other beings we share this planet with is a central task for artists today.
The starting point for these texts was the realization that we must find ways of relating to the environment that are meaningful from the perspectives of the ecological crisis and a new-materialist and post-humanist understanding of our place in the world. They suggest that artistic research can contribute by allowing for and generating hybrid forms of performing and thinking.
Performing and Thinking with Trees summarises the various strategies of lens-based work used in two artistic research projects by Annette Arlander, namely Performing with Plants (2017–2019) and Meetings with Remarkable and Unremarkable Trees (2020–2021). The focus of these essays is on artistic practices, enhanced by some philosophical discussions related to vegetal life. They seek to contribute to critical plant studies as well as to demonstrate what the outputs of artistic research beyond doctoral work might look like.I Introduction --
Performing with Plants --
Critical plant studies --
Meetings with Remarkableand Unremarkable Trees --
II Performing with Trees --
Performing for a camera on a tripod --
Framing and distance --
Place and partner --
Action and position --
Costume --
Collaboration --
Temporality and schedule --
Writing --
Video essays --
Media formats --
III Thinking with Trees --
Situated knowledge --
Producers of space --
Breathing with plants --
Growing beings --
Plants performing --
Performing “with” --
Plants thinking --
Thinking as learning --
IV Concluding remarks --
Appendix.Vertaisarvioitu. Peer-reviewed.fi=ei tietoa saavutettavuudesta|sv=okänd tillgänglighet|en=unknown accessibility
Pondering with Örö Pines: Talking with Trees as an Undisciplinary Method
Full text linkThis text presents talking with trees as a method of generating material for artistic and other research purposes based on conversations with pine trees recorded in May 2022 on Örö Island in southwestern Finland. Addressing one pine tree a day for six consecutive days as part of the project Pondering with Pines was an experiment that resulted in video works and podcast episodes. The perspective was human centred and subjective while also subjectifying the trees. In this context, the focus is on talking with trees as an undisciplinary method adaptable to other circumstances
Meetings with Remarkable and Unremarkable Trees in Johannesburg and Environs
No full textArtist Book
As part of the Arts Research Africa (ARA) residency at the University of the Witwatersrand, I developed the artistic project presented in this publication, Meetings
with Remarkable and Unremarkable Trees, in Johannesburg during February and March 2020.
Before I start, I want to thank my colleague Myer Taub, who invited me, and Professor Christo Doherty of ARA, who generously hosted me. I would also like to
thank everybody who assisted me during my stay and contributed to my work and this publication:
Manola Gayatri Kumarswamy, Samuel Ancer,
and the other interviewees;
Moira MacMurray, Donald McCallum, Tina Johnson, Shilongane Nkoana, Busisiwe
Mahlangu;
as well as all the people that helped me in other ways:
Zanele Madiba, Zeno Jacobs, Bettina Malcomess; and my host in Nirox, Benji Liebmann.
Thank you for your generous contributions and your support
Writing with a Pine: Addressing a Tree as Audience
Full text linkWriting letters to trees next to the trees with a camera as witness is a practice connected to the problem of speaking for, with, or to others. Addressing the tree as an audience rather than speaking about the tree, or as the tree, or on behalf of the tree, is here explored as one way of encountering trees. This poses new problems; by treating plants as persons, rather than acknowledging the vegetal in me, do I neglect our joint participation in zoe, and disregard our trans-corporeality? Is addressing the tree in writing actually making our relationship more fictional compared to simply breathing and appearing together? - The text consists of four parts, including a prologue, the letter, a dialogue with critical references and an epilogue. Besides exploring the problem of addressing a tree, the aim is to demonstrate how artistic research can allow seemingly contradictory approaches to coexist on an experiential level.Kirjeiden kirjoittaminen puille niiden luona, kamera todistajana, kytkeytyy kysymykseen puhumisesta toisten puolesta, toisten kanssa tai toisille. Puun puhutteleminen yleisönä, sen sijaan että puhuisi puusta tai puuna tai puun puolesta, näyttäytyy tässä eräänä mahdollisuutena kohdata puu. Näin syntyy puolestaan uusia kysymyksiä: unohdanko jaetun olemassaolomme zoen piirissä ja jätän huomiotta ruumiidenvälisyytemme, kun kohtelen kasveja henkilöinä sen sijaan, että tunnistaisin kasvimaisuuden itsessäni? Verrattuna siihen, että vain hengittäisimme ja esiintyisimme yhdessä, lisääkö puun puhutteleminen kirjoittamalla tosiasiassa suhteemme kuvitteellisuutta? – Teksti koostuu neljästä osasta, sisältäen alkusanat, kirjeen, kriittisillä viitteillä täydennetyn vuoropuhelun ja jälkisanat. Pyrkimyksenä on, paitsi pohtia puun puhuttelemisen ongelmaa, näyttää miten taiteellinen tutkimus voi sallia keskenään vastakkaisilta vaikuttavien lähestymistapojen yhteisolemisen kokemuksen tasolla
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