Key note speakers

Bruce Brown

Making transparent the methods of artistic research
Bruce Brown will discuss the growing prominence of research across all disciplines of the arts and humanities along with its significant impacts in a wide range of settings both cultural and social. This will be set in the context of increasing interest from governments around the world in the public funding of universities to undertake research and innovation. Accordingly, this brings new forms of research assessment intended to ensure that public money is directed to high quality research that has impact with a focus on the life and physical sciences. Amidst concerns that new quality assessment regimes are changing, or distorting, research practices in art and humanities, Bruce Brown will discuss the most appropriate methodologies and approaches to both ensure the integrity of artistic research and its effective translation to wide and varied audiences.


Bruce Brown was born in Scotland and educated at the Royal College of Art in London. For over thirty years he was a Professor of Design, Pro-Vice-Chancellor for Research, and Dean of the Faculty of Arts and Architecture at the University of Brighton in England. Recently he was appointed by the funding councils for England, Scotland, Northern Ireland and Wales to chair the Main Panel responsible for assessing the quality of all arts and humanities research produced by UK universities for the 2014 Research Excellence Framework [REF 2014]. He has also undertaken work with international organizations, including service as: Chair of the Portuguese Government’s Research Grants Panel for the Arts; Specialist Advisor to the Hong Kong Council for Academic Accreditation and the Qatar National Research Fund; and, UK representative on the Scientific Committee for Arts and Humanities of Science Europe. He is an Honorary Fellow of the Royal College of Art, an elected member of Academia Europaea, and was elected a Life Fellow of the Royal Society of Arts in 2015 after serving as FRSA since 1974.

Julian Klein

The Mode is the Method - How Research can become Artistic
How can we define Artistic Research? First of all, it can be defined as research as such, that is, as a systematic quest for new knowledge. To be qualified as artistic, this quest should be undertaken in or with employing the artistic mode. As the aesthetic mode of our perception can be diagnosed as the mode of opaque, felt perception, the artistic mode of our perception can be described as the perceptive state of opaque, present, and felt frames. The artistic mode is active in our perception, whenever we become aware of the framing of our actual perception. This kind of a perceptive mode accompanies our perception entirely and defines our way of dealing with the outer world. The awareness about the actual framing can be called the artistic experience. This mode of perception bares also an opportunity for the gain of new knowledge, which could be called an artistic (way of) knowledge. Therefore, the gained knowledge through artistic ways of researching is grounded in artistic experience. Because the artistic kind of research is characterized by a perceptive mode, it is open to various methodologies and approaches. This talk gives some examples of projects, methods and different utilisations of the artistic mode in research from the portfolio of the Institute for Artistic Research Berlin.


Julian Klein, composer and theatre director, is director of the Institute for Artistic Research Berlin, and teaches directing at University of Arts Berlin. He studied composition, music theory, mathematics and physics and worked during his studies as directing assistant, stage composer and theatre director. He became founding member and artistic director of the interdisciplinary performance art group "a rose is". From 2003 he was member of the Young Academy at the Berlin-Brandenburg Academy of Sciences and Humanities and the German National Academy of Natural Scientists Leopoldina. The focus of his research includes neuroaesthetics, artistic experience, emotionology, sonification and human taxomania. Currently he is visiting researcher at Concordia University Montréal and research fellow at Free University Berlin. Julian Klein is member of the Editorial Board of the Journal for Artistic Research (

Teemu Mäki

Not only for Knowledge – A few remarks about the purpose and potential of artistic research
What's the definition of artistic research? What are the goals of it? Is knowledge the only goal – if not, what are the other goals? Why are some artists doing it? What's special about artistic research, what makes it different from other types of research – or other types of art? What is it good for? How to name and categorize different types of artistic research? The first part of this keynote tries to answer these questions.

My answers and argument is based on the notion that knowledge is not necessarily the only goal of artistic research – often not even the main goal of it. Especially for practicing artists the actual goal is better artworks. Knowledge can be handy when we try to create better artworks, but knowledge is a tool in this process, not an end in itself. The same could of course be said of many other types of research too, but art and artistic research differ from them because in art the knowledge and the method cannot be cleanly separated from the (artistic) results that the knowledge and method is aiming at.

If 'better artworks' is very often then the real goal, what does that actually mean? Many would also say that artworks are not the the actual goal either, that the real goal is a more rewarding art experience – and in that experience knowledge and conscious understanding have a major role, but there too there's certainly room for more as well.

The second part of my keynote is a direct response to the questions listed in the conference call ("Artistic Research: Is There Some Method?"):

1) What is the appropriate methodological approach that succumbs to neither reductive “universalism” nor purely personal confession in artistic research? What shouldn’t be lost and what can be ignored by the method?
2) Is the artistic research an art of its kind? Or shall it be?
3) If art claims to produce knowledge, are there methods that scrutinize this knowledge?
4) To what extent are methodological approaches in artistic research hostile to the creative process?
5) How shall existing methodology of humanities and natural sciences (phenomenology, enactive theory, qualitative research, ethnomethodology, cognitive science) be used in artistic research?
6) What is the added value of artistic research methods for art?
7) What are the consequences of the artistic research and how can they advance our understanding of the personal, political and social context of our lives?

The keynote is a monologue, accompanied by a bunch audiovisual examples, followed by an open discussion."


Teemu Mäki (1967–, born in Lapua, Finland) is an artist, director, writer and researcher. He is a Doctor of Fine Arts (Finnish Academy of Fine arts 2005). Since 1990 he has been an independent, freelancing artist, except for the years 2008–2013, when he was the Professor of Fine Arts in Aalto University. Mäki describes his activities in the following way: I work in the fields of art, philosophy and politics by whatever means necessary. The results are usually some kind of visual art, literature, theatre, film or theory. For me art is the most flexible, versatile and holistic form of philosophy and politics. Mäki has had 51 solo exhibitions and participated in more than 200 group shows. He has written six books. He has also written six and directed seven plays for theatre. His most recent theatre work is Transformations – Rewriting Masculinity

Kent Sjöström

Perspective-taking in artistic research

In any discussion about artistic research methods, the relation between distance, closeness and subjectivity in connection to the research object – be it the artist herself or the artwork - is crucial. I will present examples from ongoing artistic research, and discuss how the research process is signified by the artist being involved in an oscillating movement, thus establishing different perspectives on a phenomenon. In her search for a wealth of perspectives, and in the unique overview involved in this process, the artistic researcher finds a methodological approach avoiding the Scylla and Charybdis of claiming objectivity – or transparent subjectivity - on one side, and the insider’s intuitivism and relativism on the other. This reasoning could be strengthened and exemplified through Bertolt Brecht’s practical and theoretical work, including his approach towards making artistic work open to scrutiny. In the process of understanding and communicating the practitioner’s body of knowledge and personal experience, I will finally argue that the metaphor House of Lore (North 1987) will show itself to be useful.


Kent Sjöström has worked as an instructor at the Malmö Theatre Academy, Sweden, since 1984, but has also been teaching regularly at theatre academies in the Nordic countries, as well as at the Shanghai Theatre Academy. He is currently the head of artistic research at Malmö Theatre Academy and of The Theory and Practice of Theatre, a new educational programme combining approaches from Theatre Studies with artistic work. He is the author of The Actor in Action – Strategies for Body and Mind and other publications on actor’s training in connection to performance theory. He has also been giving workshops in Artistic Research in different countries in Europe and South America.


Lecture presenters

Methodology is content: Australian Indigenous Approaches to research through practice

Professor Brian Martin
Affiliation: Deakin University Australia

Evolving cultural dynamics and research paradigms shift our thinking and doing through modes of different methodologies. Indigenous Australian methodological approaches operate in their own right, and at the same time they accept existing binaries and ambiguities, as they are not linear in their worldview and epistemology. This is an exciting space for research, where the methodological approaches to research are the content of the research and vice versa. These are inseparable in an Indigenous world-view. It is through an examination of this space and a critique of western notions of ideology, particularly those based on representationalist ways of thinking, that my research proposes an alternative way of thinking about ideology and ontology in relation to art practices in order to reveal a materialist understanding of the real. My argument relates specifically to art and culture and demonstrates through theoretical argument and practice led research, how Indigenous art and culture allow us to conceive of an alternative understanding of ideology and materiality. My argument is underpinned by the crucial premise that an Indigenous ideology is grounded upon the notion of “Country” (Land) and its inextricable relation to culture.


Brian Martin is of Bundjalung and Muruwari descent. He completed a Bachelor of Visual Arts (Hons) degree at Sydney University. He has been a practising artist for twenty-three years and has exhibited both nationally and internationally specifically in the media of painting and drawing. He completed his PhD by research at Deakin University, which focused on refiguring Australian art and culture from an Indigenous ideological perspective based on a reciprocal relationship to “Country”. Brian is currently Professor and Deputy Director of the Institute of Koorie Education at Deakin University where he leads research specifically pertaining Indigenous knowledges, validity and methodological approaches to a research paradigm.

Performativity as Praxis, Medium, and Method

Tawny Andersen
Department of Art History and Communication Studies at McGill University

This paper takes as its object of study a ubiquitous, yet little understood, concept: performativity. It traces performativity’s intellectual history from its genesis in the work of British philosopher of language J.L Austin, to its deconstructive reformulation by Jacques Derrida, to its transposition from the realm of linguistics to the realm of corporeality in the queer theory of Judith Butler. I argue that each of the above theorists enacted their theories about performativity in a performative manner. In other words, I propose that theoretical conceptualizations of performativity are in fact modes of performative praxis. Taking this a step further, I consider how a concept—in this case, one that is distinct from, yet converges with, performance—might be considered a medium. Lastly, by evoking performativity’s role within performance theory as a theoretical partner to the aesthetic form of performance art, I question how performativity might be viewed as a method. In conclusion, I ask: might considering performativity as praxis, medium, and method serve to transcend the ontological division between philosophy and performance art, thereby making the boarders between these rhetorical forms more porous?


Tawny Andersen is a Ph.D. candidate in the Department of Art History and Communication Studies at McGill University working under the supervision of Prof. Amelia Jones. Her dissertation provides a rigorous theorization and historicization of the concept of ‘performativity’ in order to examine how a group of contemporary female philosophers perform their thought. Tawny holds an MA degree in Performance Studies (summa cum laude) from the Université Libre de Bruxelles. As a contemporary dancer, Tawny has worked with directors such as Jan Fabre, Meg Stuart, and Kris Verdonck. Her research is funded by SSHRC Canada, the McGill AHCS Department, Media@McGill, the Canada Council for the Arts, and the Flemish Minister of Culture.

A Pair of Red Shoes is not a Pair of Red Shoes

Barbara Bolt
Faculty of the Victorian College of the Arts and Melbourne Conservatorium of Music, University of Melbourne, Australia

This presentation investigates the vexed relationship between conceptual framework, method and methodology in artistic research. It addresses the question of how different methodological approaches within artistic research produce very different “experiences” of “an object” of research: some focus on and magnify the aesthetic experience, some reveal the conceptual richness that emerges from this engagement, whilst other methodologies take our attention elsewhere—to the socio-cultural and/or political realm so that the shoes in themselves disappear altogether. Through the interrogation of a pair of red patent leather high heel shoes, the presentation will tease out how different conceptual frameworks open up alternative perspectives on an “object” of investigation by asking very different questions of that object. It will unpack the dynamic relationship between the conceptual framework selected for the research and the method to demonstrate how the conceptual framing affects the questions asked of an “object” of research and tease out some of the implications this has for the methodology adopted in the emergence of a research design. Through this very practical example the presentation identifies how the choice of conceptual framing impacts on the method and methodological framework of the research design in artistic research.


Barbara Bolt is a practicing artist and art theorist who has a written extensively on
artistic research and the ethics in art as research. She is currently the lead researcher
on an Australian Office of Learning and Teaching (OLT) project, “Developing new
approaches to ethics and research integrity training through challenges posed by
creative practice research.” She is author of Art Beyond Representation: The
Performative Power of the Image (I.B. Tauris, 2004) and Heidegger Reframed:
Interpreting Key Thinkers for the Arts (I.B. Tauris, 2011) and has co-edited four
books. Her website is:

Discordant Methodologies: Prioritising Performance in Artistic Research in Music

Robert Burke
Monash University, Australia

Selecting a methodology in artistic research not only functions as a conceptual framework for the researcher but also guides the reader of the research. Both these functions are particularly important when the research focuses on an improvised musical performance where the performer is the researcher and the aim of the research is explication. Because the creative process necessarily includes idiosyncratically subjective decision-making, the mainstay of scientific method of research, objectivity, refers to the analysis of the artistic product rather than the artistic process per se. As such, artistic research into an improvised musical performance is at times met with confusion, contestation and even hostility in the academy

Methodological approaches of practice-based artistic research in improvised music are required to accommodate composition as well performance. Whereas the scientific method highlights the singular, exclusiveness of dispassionate reproduction for verification, the artistic method foregrounds the artistry, by way of analysis of the performance in which the observation from the ‘insider’s’ perspective can be seen as complimentary to the creative process.

This paper argues that any methodology that functions appropriately in research that falls within the parameters of performed art, has an self-referencing legitimacy in the academy on a par with scientific research.  


Robert Burke is the Co-ordinator of Jazz and Popular Studies at Monash University - Australia. (Head of the School of Music from 2011 – 2014.) A practice-based artistic researcher (jazz, improvisation, pedagogy), He has performed and composed on over 200 CDs and has toured extensively throughout Australia, Asia, Europe, and USA and  with many international jazz artists including George Lewis, Kenny Werner, Mark Helias, Enrico Rava, Dave Douglas, and Hermeto Pascoal, and Paul Grabowsky, (Aus). He has written a chapter for the Oxford Handbook of Music Education and is currently co-writing a book on artistic research in music practice with a focus on improvisation.

Staging Trauma – Methodologies and Aesthetics

Natasha Davis
University of Warwick, UK

Drawing on existing theoretical research and my own practice as research, I propose to discuss how I have used body and memory in my interdisciplinary performance and visual practice to create politically engaged material about the trauma related to exile and migration, based on auto/biography, mythology, historical facts and fiction. I will specifically focus on my recent practice as research: the trilogy of works Rupture, Asphyxia  and Suspended, as well as performances Internal Terrains and Teeth Show. The paper, images, clips and sounds will look into the ways I have used traumatic experience to create work dealing with the political categories of crossing borders and embodied memories. As part of my talk I will illustrate how I have combined various disciplines such as performance, social studies and medicine to explore the politics, as well as poetry, of the trauma of displacement as rooted in loss and liberation. I will also look into specific media and methodologies used in the research process, such as repetitive returns to the original source of trauma, placing my body out of balance and fragmented structuring. My presentation will be concerned with the spatial and the temporal in relation to staging trauma and how practice can explore journeys in place and time, alternating between forgetting and remembering, vanishing and rematerialising.


Natasha Davis is a performance and visual artist creating work that explores body, memory, identity and migration. Her performances, films and installations have been presented at theatres, galleries and festivals in the UK (National Theatre Studio, Chelsea Theatre London, Birmingham Rep Door, Barbican Plymouth, Playhouse Derry, Capstone Liverpool and many others) and internationally (Project Arts Centre Dublin, Point Centre for Contemporary Art Cyprus, El Patio Madrid, Art School Hyderabad, DDL Toronto, The Box Grahamstown in South Africa etc). Her research has been funded by Arts Council England, British Council, HRF and numerous commissions and residencies. Natasha is a practice-as-research doctoral candidate at the University of Warwick where she also co-lectures on the MA in International Performance Research. She has delivered talks and workshops across the world, from Buffalo to Tokyo, Grenoble and New Delhi.

Empathy as a Method for Artistic Research

Janhavi Dhamankar
College of Engineering, Pune, India

Building on Edith Stein’s approach to empathy as a special kind of imagining and my MPhil thesis on “The Empathic Performer”, I wish to explore whether empathy can become a method for artistic research rather than only a (by)product of a few art practices. Importing a methodology from the humanities, I thus propose a phenomenology of Imagination by shifting the focus from importance of empathy as a capacity, especially for artists, to treating/discovering empathy as a method or tool, and from why (using) empathy (as a methodology) is important, to how empathy can/may be practiced as a method. My paper will shed light on some existing phenomenological methods (e.g. Goethean observation), which can be adopted and adapted for artistic research. I will also attempt to outline a few new tools or processes of empathy that can serve as a method, for e.g. in Indian classical dance. I would like to call such a process empathy-in-practice or empathy praxis. Further trajectories might include extending such empathy praxes to various disciplines and professions.


Dhamankar has undergone Odissi dance training for over 15 years under Smt. Parwati Dutta in the Gurukul tradition. Inducted into the world of solo performances in 2001, She has since performed on national and international platforms. Dhamankar completed her MPhil from Katholieke Universiteit Leuven, Belgium. During a Research Residency at the Social Sculpture Research Unit, Oxford she explored the philosophical underpinnings of social sculpture. Owing to her expertise in dance and philosophy, she is invited as a guest lecturer in Aesthetics by many leading colleges in Pune. She has presented papers at various international conferences on theosophy, arts and philosophy.

Zeitraum: Making an Argument with Sound and Movement

Gerhard Eckel
University of Music and Performing Arts Graz

Zeitraum is a sound environment created in the context of the artistic research project The Choreography of Sound (Austrian Science Fund FWF, PEEK, AR41). As one of the central results of the project, Zeitraum exposes the interrelation of time and space in acoustic communication. It has been created explicitly with the intention to function as an artwork communicating research results through aesthetic experience. Instead of words, Zeitraum uses sounds and the movements of the listeners to make the argument. It creates a situation in which the audience is provoked to combine their aesthetic and epistemic strategies in making sense of the work. Confronting the audience with a puzzle about what they hear as a function of their listening position also provokes communication among the listeners – a feature specifically afforded by the sonic properties of the work. Zeitraum offers the possibility of making a key experience conceivably pertinent for anyone pursuing a sound based artistic practice. The work is a distillate from several case studies performed in the context of the project. In its enigmatic sonic appearance, an aesthetic formulation of some of the essential constraints shaping the composition of spatially distributed sound textures has been found, touching upon fundamental conceptual and artistic conditions of possibility in electroacoustic music composition and sound art.


Gerhard Eckel is an artist using sound to explore ways of world making. He aims at articulating the aesthetic and epistemic dimensions of art, understanding artistic experience as a compound of action, perception and reflection. His works are the result of research processes drawing on the practice and theory of music composition, sound art, choreography and dance, installation art, interaction design and digital instrument making. Gerhard is professor of Computer Music and Multimedia at the University of Music and Performing Arts Graz. He also serves as affiliate professor at the KTH Royal Institute of Technology and as visiting professor at the Royal College of Music in Stockholm.

Performing Knowledge: Between Praxis & Theory

Michele Feder-Nadoff
El Colegio de Michoacán, Zamora, Mexico

Artisan practice and artistic practice intersect through the world of making. But what about artistic research? I propose that as artists, artisans and possibly researchers generally, it is through the laboratory and tools of the making, creating, interacting body-mind that we come to understand our universe: people and concepts. It is between the contingencies of intention and realization— theory and praxis— that artistic research takes place. This session draws upon experiences and analysis of long-term ethnography and “artistic” research with/in the mestizo “traditional” copper-smithing community of Santa Clara del Cobre, in Michoacán, Mexico, begun in 1997. The interactive presentation shares, compares, and contrasts activities framed between formal and informal scholarly and artistic research.
I will reflect upon how participation in learning to “make” and “making” in the context of a traditional live-in apprenticeship, with an extended artisanal family, offers a profoundly complex understanding of local knowledge, beliefs, values, and craft practices, as well as, insights into learning, cognition and perception. This session focuses on the performance of the artisan’s crafting and the development of skilled bodies-of-knowledge, as well as a corpus of knowledge, via these creative, performative, and cognitive processes.


Michele Feder-Nadoff is an artist and PhD candidate in anthropology at El Colegio de Michoacán, funded by a CONACYT fellowship (2012-17). Her thesis, "Body of Knowledge— Between Praxis & Theory— the Agency of the Artisan and their Craft, Santa Santa Clara del Cobre,” analyzes her apprenticeship experience to coppersmith artisan, Maestro Jesús Pérez Ornelas (1926-2014) in his family forge. Feder-Nadoff’s doctoral project integrates extensive ethnography and inter-collaborations with(in) this community since 1997, reinforced by her related editing, writing, and photography for Rhythm of Fire (2004), and a Fulbright Scholar Research Fellowship (2010-11).

Read. Move. Implicated.

Silent lecture
Emilie Gallier (C-DaRE Coventry University), with Astarti Athanasiadou and Fazle Shairmahomed

Read. Move. Implicated. is a lecture for which no one will ever speak, but only read. 
This silent lecture proposes to experience the implication that the reading movement allows. Unified as readers, performers and spectators have the opportunity to be implicated, in other words, they can contribute to the event with a little bit of themselves or more. This lecture advocates the practice of thinking together with spectators, giving importance to every kind of knowledge. In its transfer of codes (playing with academic codes: the research poster, in performative ways) the lecture suggests ways of doing research in the moment of presentation.
Finding support in theories of Adalaide Morris (New Media Poetics, 2006), Jacques Rancière (The Emancipated Spectator, 2004), Claire Bishop (Artificial Hells, 2012), and in the case studies of ‘sync’ (2012, a book that becomes choreography when it is being read) and ‘Twist in the body of the big spectator’ (2014, a performance that involves a Kit for reading choreography), the lecture presents and researches the impact of reading on the roles of performers and spectators, gathered in the act of research.
More information:


Emilie Gallier is a choreographer ( and a researcher (PhD Candidate, C-DaRE Coventry University). Her work explores the writing and the reading of movement together with questions of spectatorship. She develops projects that expand the format of choreography and probe exchanges of knowledge between spectators. Her dance performances, installations, scores, books, lectures, and workshops have been presented in The Netherlands and Europe. Today PhD Candidate at Coventry, she graduated from the Master of Choreography at ArtEZ (NL) in 2012. Before that she explored choreography at the PRCC (Myriam Gourfink, FR) and learned Laban notation at the Conservatoire de Paris.

Astarti Athanasiadou is a choreographer, performer and teacher. She studied dance and choreography at Ecole de Dance de l’Avant-Scene in Lausanne, Switzerland, Performance Studies at the University of Malta and currently Fine Arts at the Dutch Art Institute, in Artez, Netherlands. She is co-founder of the performance company Achaperformance together with Achilleas Chariskos. Her work focuses on the transformation of words, images and objects into functional performative constructs that deal with the making of differences and the materialization of individualism.

Fazle Shairmahomed is an interdisciplinary artist-researcher, performer, performance maker, and anthropologist. His work challenges understandings of inter-sensoriality, the relation between environment, performance, spectatorship, and society, and the ability to learn and train particularly in dance. Fazle studied (MA) Cultural and Social Anthropology (2012) and (BA) Arabic/Middle Eastern Studies (2010) at the Universities of Amsterdam and Leiden. Currently applying for a PhD position in ethnographic practice as artistic-research on inter-sensoriality in dance among children and spectators. And organizer of a research platform for movement and performance art CLOUD/Danslab in The Hague, the Netherlands.

A Polyphonic Approach to Artistic Research

Nirav Christophe, Henny Dörr, Joris Weijdom, Falk Hübner
University of the Arts Utrecht

The art of performance and theatre has three discriminating qualities – liveness, ephemerality and co-creation: When the core of the performing arts is liveness, can we think of a methodology of artistic research that is “in the moment” as well: a research attitude of “not knowing”, of suspending judgment? When art is radically ephemeral, can our research be time-based, focussing on the creative process rather than its product? When co-creation is crucial, could the research methodology be co-creative too: could the methods enhance multiple perspectives, a polyphony of disciplines, media and making strategies?  

At the Research Centre Performative Processes of the University of the Arts Utrecht (HKU), a group of four artistic researchers from different backgrounds (performance writing, mixed reality, music composition, and scenography) have joined in the transdisciplinary research project Absence; Where are you when you are not there? with Dutch neurologists and epileptic patients. The aim is to imagine, visualize and design the state young patients are in while having a moment of “absence”, called temporal lobe epilepsy.

As just one example of the utilised methods, video-essays will be developed as a basis for an interdisciplinary dialogue on presence, representation, experience and absence. This research will be presented in an interactive “live” fashion, as a case study for an artistic research methodology that takes liveness, ephemerality and co-creation into account as its defining characteristics.


Nirav Christophe MA is a playwright for the stage, for radio and television. His radioplays have been broadcasted in 12 countries. He took Masters in Theatre Studies and Dutch literature. He is an internationally renowned writing lecturer and educationalist. Currently he is professor in Performative Processes at the Utrecht University of the Arts (HKU).

Henny Dörr MA is teacher in dramaturgy for scenographers and responsible for the artistic profile and curriculum of both BA and MA-courses Scenography at HKU Utrecht University of the Arts. Henny Dörr grown into an internationally acknowledged expert on the practice of innovative scenographic work and its curation. As artistic researcher at the HKU Research Centre Performative Processes her interest lies in parallel processes of learning and creating, designing and making and its effect on workspace and worktime. Recently with the artists Thomas Verstraeten and Mark Luyten she worked on the project Staging the studio, a deconstruction of classical notions of workspace. 

Joris Weijdom MA is initiator of the HKU Media and Performance Laboratory, a practice led research environment of the HKU University of the Arts Utrecht, where he researches and develops the creative potential of mixed reality technology in a performative context. He has a background in 3D computer animation and got his master degree in interactive multi-media. Joris is researcher at the HKU Research Centre Performative Processes.

Falk Hübner, PhD, is a composer, theatre maker and researcher. He creates experimental stage works between concert, installation and performance as conceptualist, composer and director. His present research focuses on the musician as theatrical performer, and the pedagogy of artistic research. Falk is core teacher for research at HKU Utrechts Conservatory and researcher at the HKU Research Centre Performative Processes.

Research Video – Annotated Videos as a Tool for Artistic Research

Gunter Lösel
Zurich University of the Arts

Some kinds of knowledge are tied to the process, in which they emerge and you cannot extract and abstract this knowledge without considerably damaging it, i.e. through translating the experience into language and text. This holds especially true for artistic research in the performing arts like dance, theater and performance. Can we make knowledge about performative practices sharable and challengeable if we use video-taping? Why not publish our research in the form of an annotated video?
Looking for a way to make process-tied knowledge sharable and challengeable we, the Zurich University for the Arts, started to develop a video-software that is designed to meet the demands of academic conventions – at least in most parts - and still transport the experience of the artistic process. The result is the proposal of a web-based, interactive video-software that allows annotations. I will tell the story of this project up to this point and present some of our ideas. I will present a first prototypical version, if it is ready by then. We´d like to start a discussion about the usefulness of this kind of software in artistic research and in various academic contexts.


Works as the Head of the research focus Performative Practice at the Zurich University of the Arts. He received PhD in Theater Studies University of Hildesheim, Gemany with a thesis: „Playing with Chaos – on the performativity of improvisational theater“. In 2009/10 he was a visiting lecturer at the University of Hildesheim, Department for Cultural Studies and Aesthetic Communication. Since 2007 he was a head of the Institute for Theativity, Bremen and worked as a director of the Improtheater Bremen - a venue for long-form theatrical improvisation. He organised the Fliegende Funken Festival Bremen 2010 – 2015.

I Set My Foot Upon the Air and It Carried Me
Contemporary Performance Art Practice as an instrument in Artistic Research

Elke Mark
University of Flensburg

Artistic research encourages us to let go of the handrail of known concepts and enter the field of a yet unfamiliar, dynamic, relational and sensuous knowledge. Performance Art practice in particular can offer alternative approaches, which do not avoid the conflict with ideals that persistently strive for perfection and the assimilation of difference. Performance Art will oppose a use-oriented reduction and instrumentalisation of sensuousness that leads to superficial and rudimentary modes of reception and allows us to experience the body in its resistance, its difference and its mysterious elusiveness, not least in order to win (back) the trust in its dignity and reliability.

Starting by introducing and giving insight into processes within an Open Session, a work format which is practiced, researched and continuously developed by the international performance art network PAErsche, the paper emphasizes concepts in Performance Art which challenge one´s own attitude and investigates further in the field of encounter.

Revisiting parameters of phenomenology, ethnomethodology and pedagogy I would like to suggest a self-confident Performance Art research practice to complement our conventional academic methods of knowledge production.


Elke Mark works as an artist and researcher - mainly in Performance Art and textile objects focusing on Sensuous Knowledge, movement and dialogue. She received a Diploma in audiovisual media from the Academy of Media Arts in Cologne in 2008 after studying in Kassel, Madrid and Amsterdam. In 2005 she has been master student of Professor Dorothee von Windheim at the Art Academy of Kassel. As part of the PAErsche Performance Art Network she is interested in the continually development of the Open Session group format. She received various artist residencies and grants and has exhibitions and Solo-Performances within Europe. Elke Mark teaches Performance Art at the University of Flensburg and organizes the annual German-Danish BRISE° Performance Art Festival.

Artistic Research and the Kantian Imagination: Reimagining Theory and Practice

David Matcham
Kent University, Canterbury

In this paper, I set out to argue that the debates surrounding theory and practice in the discourse surrounding artistic research are founded upon a misunderstanding of their relationship.  Drawing on Immanuel Kant’s argument in the Critique of Pure Reason that it is the imagination which lies at the basis of conceptual and sensory experience, I will argue that it is the imagination which likewise provides the basis for theory and practice in the development of knowledge.  In this sense, it is to the imagination as that which constructs our conceptual and experiential reality that the researcher must turn to establish the legitimacy of his or her scholarly activity, rather than methodological buttresses borrowed from the social sciences.  Primarily, this involves the Enlightenment injunction to think for oneself.  All other research marshals this injunction with the aim of knowledge creation.  Artistic research, by contrast, has the potential to become the instantiation of this injunction, not in the service (primarily) of utility or epistemological enrichment, but as the disciplined and rigorous development of our creative human potential.


After completing a degree in history and philosophy at Bath Spa University, David moved to East Anglia to study for a Master's degree at the UEA in 2008. Whilst there, he was offered the chance to conduct doctoral research at York St John University. His thesis concentrated upon the burgeoning field of artistic research, with particular emphasis on the potential role that the Kantian imagination may play in understanding this new phenomena. He graduated in 2014, with a PhD. During his research program, he taught and led seminars within his home institution, and has also taught at Kent University. David currently lives with his wife and son in the market town of Diss, Norfolk.

In the Clouds: the Workshop as a Method of Exploring the Relationship Between Rules and Pattern design

Tonje Kristensen Johnstone, Swedish School of Textiles, University of Borås
David NG McCallum, Valand Academy, University of Gothenburg

Surface pattern is a fundamental component of human expression, especially in textile design. It is often influenced by patterning in nature, structures that are also often easily described by mathematical principles. We would like to present a series of workshops that explored the relationship between rules and pattern, and to discuss the method of the workshop in general. Several workshops were conducted with textile- and fashion design students to test two assumptions: Design guided by rules would create a recognisable pattern, and, Visual patterns would easily be reducible to rules. The aim was to explore the relationship between pattern and rules in design processes, and to provide a foundation for reflection and critical discussion of this relationship. The results of the workshop could not reliably prove either assumption because, as was discovered through the workshop, the concepts of pattern and rules are neither universal nor obvious, and as such cannot be so simply tested. Pattern and rules are varied and nuanced phenomena and their relationship equally so.


Tonje Kristensen Johnstone is a senior lecturer in textile design and a PhD candidate at The Swedish School of Textiles, University of Borås, Sweden. She has an MFA in Textile Art from the School of Design and Crafts, Gothenburg, Sweden. Kristensen Johnstone’s lectures in textile design with a specialisation in textile print, pattern design and colour theory. Her PhD research investigates the relationships between surface pattern and scale in spatial contexts, and explores pattern relations and expressional appearances. Her research also develops pattern theory and methods of designing patterns.
David NG McCallum is a new-media artist currently completing a PhD in Digital Representation at the Valand Academy at the University of Gothenburg. His work has explored improvised performance, DIY electronics, bicycles and digging through systems, and is currently investigating relationships between patterns in textile structures and software.

Artistic Research: Method and the Remainder

Tom McGuirk
University of Chester, UK

This paper will address the question; “to what extent are methodological approaches in artistic research hostile to the creative process? It will do so with reference to the thought of Martin Heidegger and to a lesser extent that of Paul Feyerabend. It will initially reference Heidegger’s essays: “The Age of The World Picture" and “Modern Science, Metaphysics and Mathematics”. In the latter Heidegger argues that reality – the ‘real' – responds and reveals according to how we question it. Method is for Heidegger merely one way of questioning reality, amongst others. Moreover in Cartesian method "the mathematical … sets itself up as the principle of all knowledge", thereby other forms of knowledge "whether tenable or not" are brought into question. As Steiner points it: Cartesian method is an attempt to “leap through or across the world”. This leap passes over the kind of revealing that artistic practice and research affords. Artistic research – it will be argued here – has the power to address those disregarded aspects of the ‘real’ that Safranski describes as, “the experience-remainder in the blind spot of the theoretical attitude”.  The paper will also reference Feyerabend’s Against Method, with its call for an “epistemological anarchism” that would encompass artistic research.


Tom McGuirk is Senior Lecturer in Art Theory/Critical Theory at the University of Chester. He has worked in higher and further education in Ireland, Denmark and latterly Britain. He was Research Fellow in Fine Art at Nottingham Trent University, UK (2008-2009) and Lecturer in Painting at the National College of Art and Design, Dublin, Ireland (1997-2002). He lectured at KEA – Copenhagen School of Design and Technology – Formerly BEC Design – (2005-2008). He holds a PhD in Art and Design Education from the National University of Ireland (NUI) (2003). He recently co-edited the anthology, Artistic Research: Strategies for Embodiment, NSU Press (2015).

Knowing Interaction: The Epistemic Potentialities of Artistic Research

Vincent Meelberg
Radboud University Nijmegen, the Netherlands

Interestingly, one of the main questions related to artistic research is what kind of knowledge it is able to gain, even though quite a lot of artistic research has already been conducted to date. One would suspect that the outcomes of these projects would convincingly show the epistemological value of artistic research. Yet, because of the often idiosyncratic, as well as inherently artistic, character of these projects this value is not always fully recognized and acknowledged.
One area where artistic research may be of great epistemic value is in the field of interaction. Interaction is central to all artistic practices: interaction between people, materials, movements, thoughts, etc. In my presentation I will propose that artistic research may lead to new knowledge regarding interaction. By taking the process of composing an electroacoustic work a case study I will explore what knowledge regarding interaction can be gained and how this can be done, i.e. the method or combination of methods. I will argue that this knowledge, although very subjective because of its first-person perspective, can be potentially very valuable for our understanding of interaction in a more general sense.


Vincent Meelberg is senior lecturer and researcher at Radboud University Nijmegen, the Netherlands, Department of Cultural Studies, and at the Academy for Creative and Performing Arts in Leiden and The Hague. He is founding editor of the online Journal of Sonic Studies. His current research focuses on the relation between musical practices, interaction, and creativity. Beside his academic activities he is active as a double bassist in several jazz groups, as well as a composer.

Exploring Versus Expressing in Body-centered Practice as Research

Nazlihan Eda Ercin
University of Exeter

As an extension of the idea of pre-expressive in movement as it was defined by some key psychophysical theatre makers of the 20th century such as Grotowski, the methodology of my practice-based research on the notion of virginity and female embodiment questions the fine line between “exploring and “expressing.” What are the personal, aesthetic, political and philosophical implications of exploring and expressing in art-making as research? Is there a link between the pre-expressive as Zarilli defines it in terms of relationality and immediacy and the primordial as Merleau-Ponty defines it in terms of subject-object dichotomy? Why is it important to define the possibilities and limitations of “self-exploration” and “self-expression” particularly in body-centered research? Drawing on three performance projects – (1) physical theatre workshops with women, (2) an auto-topographical installation and (3) an auto-ethnographic movement and voice piece, of a practice-based research, this paper interrogates the question: Can exploration and expression ever be mutually exclusive and how does the interaction between these two modes of action in creation challenge the definitions and limitations of practice-as /practice-based research for artist/scholars and audiences?


Nazlihan Eda Ercin is an interdisciplinary performer, researcher and educator. She is a third year PhD candidate in Performance Practice at University of Exeter (UK). She works at the intersection of physical theatre, gender and performance studies. Her current research questions the notion of virginity as a daily female performance, specifically in modern Turkey within its global context. She explores the relationship between the phenomenological and somatic, verbal and non-verbal, and body and things. As a part of her practice-based research project funded by the College of Humanities at University of Exeter, has been working on leading workshops with diversified groups of women in Turkey and the UK, creating multi-media installations and devising movement-based solo performances. Along with her research, she currently teaches a practice module on Auto-biographical Performance at undergraduate level.

Writing Sound. The Wacom Tablet – a Multifaceted Musical Instrument

Michal Rataj
Department of Composition, Faculty of Music and Dance, Academy of Performing Arts, Prague, Czech Republic.

The presentation offers solutions for how composers and performers can utilize the graphical / gestural interface of the Wacom tablet to be able to “write sound in real time”. It opens up an interdisciplinary discourse among current music & technology development, performance theory and intermedia applications.

There are many digital tools in our daily and professional lives being offered to us for different reasons and purposes. We are often introduced to their simplest uses and rarely explore them more deeply. The complexity of their (digital) possibility usually remains untouched.

The Wacom tablet (digital 2D writing sensor) was originally designed to provide designers and visual artists with a physical interface to interact graphically with a computer. My attention was brought to the tool while looking for respectively, new ways of creating sounds digitally, and for new ways of dealing with digital music in a concert situation.

Similarly to how traditional acoustic instruments function, I’ve been seeking strategies which allow for physical interaction of a performer’s hand with virtual musical content using the digital musical complex of controller and computation device. The research questions the position of a performer creating art based on digital material, his / her performance behaviour and relationships between what we (as audience) see and hear.

After eight years of technologically based art research I summarize key points in how the Wacom tablet can be used as an advanced musical instrument and central tool of expression in live music performance. This is an attempt to emphasize not only the multidimensional interactions possible with this graphical tool, but also its requirements of real instrumental virtuosity and performance demands. It’s been an experience of artist / researcher facing an incredible range of available technological methods. How to grasp them in order to allow for a deep conceptual and contextual elaboration?


Michal Rataj graduated from the Faculty of Arts, Charles University Prague (musicology, 1999) and from the Academy of Performing Arts Prague (composition, 2003), where he earned his PhD in electroacoustic music in 2006. He also read music in the UK (Royal Holloway University of London, 1995) and Germany (HU-Berlin 1998, Hoschule für Musik Hans Eisler, Universität der Künste 2002). In the academic year 2007 – 08 he was Fulbright Visiting Scholar at the Centre for New Music And Audio Technologies at the University of California, Berkeley. Currently he is associate professor in the Department of Composition (AMU) and teaches a composition class for the NYU Prague Music Program.

Grotowski’s Performance as Research: Modes of Knowledge in “Art as Vehicle”

Kris Salata
School of Theatre at Florida State University

For the last two decades I have been studying the legacy of Jerzy Grotowski, focusing on his last period of artistic research, “Art as Vehicle,” undertaken at the Workcenter in Pontedera, Italy, and continued by his artistic heir, Thomas Richards. Simultaneously, I have been asking the Grotowski-inspired questions on behalf of performance practice as a laboratory for interdisciplinary research and pedagogy. As a theatre practitioner and a scholar with a broad interest in humanities, I have been investigating the notions of aliveness, sincerity, and encounter, searching for new ways of engaging theatre in academia as a laboratory in humanities.

In my presentation, I will discuss current artistic research at the Workcenter, focusing on its methodology that involves performance practice both as the means of generating and disseminating knowledge. I will analyze the work from the phenomenological perspective and link my findings to the pressing question about the future role of theatre in higher education.


Kris Salata is an artist-scholar and Associate Professor of Performance in the School of Theatre at Florida State University, where he teaches performance, directing, devised theatre, and critical theory courses in the BA, MA, MFA, and PhD programs. He grew up in Poland, where he became a writer, performer, and director, before emigrating to California in 1980s. He earned his PhD in Drama and Humanities at Stanford University. He focuses his research on avant-garde theatre, and on phenomenological, ontological, and epistemological aspects of theatre practice with emphasis on Performance as Research. For the last two decades he has closely studied the legacy of Jerzy Grotowski. In his recent book, The Unwritten Grotowski: Theory and Practice of the Encounter (Routledge, 2013), he proposes an interdisciplinary field of study of the encounter.

Via Negativa

Pavel Štourač
Academy of Performing Arts in Prague

My short contribution to the debate on methods of artistic research is based mainly on my twenty years of practice as a theatre director of international theatre company Continuo Theatre and as a teacher of Master program of physical theatre at Theatre Academy in Verscio, Switzerland. Even after twenty years of theatre experiences I do not dare to answer the question if there can exist anything like a method in my artistic, and pedagogical work. Upon closer reflection, however, I must admit that there is something what can be described as a principle. I definitely would not call it "method". I would rather call it "way". And it is not the way of good advices and guaranteed techniques leading to certain goal. It is rather the opposite path, the path of negation, "via negativa". It is a way that is more asking than determining. It is a way that, through doubts and negations, removes unnecessary and false, and attempts to touch important and significant. Like medieval stonemasons who did not consider themselves as artists, but craftsmen who only have to remove of stone what hinders, in order we all can see the sculpture in stone that existed there long time before the first hammer blow.


Theatre director, stage designer and teacher, artistic director of Continuo Theatre

He graduated in 1993 from the Academy of Performing Arts in Prague, where he studied stage design, device theatre, and theatre anthropology. In 2011 he finished his PhD studies at the same academy. During his university studies he took part on the trainee-ship in the Odin Teatret, Denmark (1989), and in the Theatre Derevo, Russia (1990). In 1992 together with his wife Helena Štouračová he founded independent theatre company Theatre Continuo. He is co-author and director of more then 30 theatre pieces and more then 15 site-specific theatre projects. Since 2005 he is regularly teaching in various universities, and theatre schools in Europe. From 2011 he is regular teacher of Master program of Physical Theatre at Theatre Academy in Verscio, Switzerland.


Poster presenters

Artistic Research as a Snowball

Lukáš Brychta
Theatre Faculty, Academy of Performing Arts in Prague

In this poster, I will present my ongoing research-practice on immersive theatre to show how I combine the two perspectives of research as well as practice of theatre in one homogenous process. Exactly such a kind of combination I regard as an ideal model of artistic research. Julian Klein's concept of artistic research as artistic experience, a kind of embodied knowledge, inspired me to reflect on my own experience. I consider the reflection on the artist's embodied knowledge as a method of artistic research. By using a metaphor of snowball I will graphically depict my embodied knowledge as the process of accumulating and developing different impulses and outcomes of both scientific and artistic nature in their mutual interaction.


Lukáš Brychta focuses mainly on the game aspects of contemporary theatre and performance practice. He graduated from the Theatre Faculty of the Academy of Performing Arts in Prague (DAMU), majoring in theatre theory and criticism. He is proceeding with his PhD studies at the same department, being concerned with different forms of spectators' engagement, such as interactivity and participation. During his MA studies he took part in the pilot programme Theatre Practice in Non-Traditional Spaces (Department of Alternative and Puppet Theatre, DAMU) and is now pursuing a second MA in directing there, simultaneously with his theoretical doctoral studies. Lately, his main topic of interest has been the so-called immersive theatre.

A Diagrammatic Methodology: Insights into the process of research in the Rudolf Laban Archive

Paola Crespi
Goldsmiths College, University of London

This poster presents a first step towards a diagrammatic methodology for archival research in the performing arts. The poster is the expression of a methodology in-action and derives from a reflection on how the material might be kept ‘alive’ in archive-based artistic research. The development of this methodology was influenced by theoretical approaches to the visual diagram, such as those of Gilles Deleuze, C.S. Peirce and Gilles Chatelet. The dynamic, heuristic and kinaesthetic aspects of the diagram and of the act of diagramming were taken as the starting point for the development of a diagrammatic methodology aimed at tracing a collection of research paths (or lines of flight) through the content of the archive. The assemblage of the traces and connections drawn between documents and thematic areas gave birth to a unique understanding of the elusive nature of the archive.


Dr Paola Crespi completed her PhD funded by the Arts and Humanities Research Council in the department of Media&Communications at Goldsmiths College (University of London). Her PhD research explored the unpublished material of the Rudolf Laban archive, part of the National Resource Centre for Dance archive (Surrey, UK), under the light of contemporary media theory. Paola has a BA in Philosophy and an MRes in Humanities and Cultural Studies and she published in the Body&Society (2014) and Theory, Culture&Society (2015) journals. She currently teaches Cultural Studies as an Associate Lecturer at Goldsmiths College.

Artistic & Biomolecular Structure Research – a Method?

Tanja Gesell
University of Vienna, Austria

Barnett Newman’s “zips” define the spatial structure of a painting while simultaneously dividing and uniting the composition. In dividing and unifying academic fields simultaneously, in particular art and science, I am pointing to fundamental questions such as what is a structure?

For the scientific community, structure is correlated with function. For artists on the other hand, structure is correlated with interpretation and points to a different conceptual space. At this intersection my presentations will unfold, gesturing towards a shared point of interest that lies beyond art and science. Kazimir Malevich concerned the origins of an artistic structure’s unfolding searching for a kind of art that would correspond to technical reality. According to Baudrillard structure is only a simulacrum of the object in reality. Oswald Wiener offers a more specific definition of structure: the structure is a sequence of a Turing Machine, which in turn generates or accepts this sequence. He introduced a productive metaphor for the field of art. I define a phylogenetic structure based on a simulation framework for (molecular) sequence evolution as both a scientific tool and an additional metaphor. In addition, I will show different answers from different fields and different perspectives to the question: what is a structure?


Tanja Gesell is a postdoctoral research scientist from the University of Vienna and a free artist. She holds master’s degrees in Biology and Fine Arts from the University and the Academy of Fine Arts in Düsseldorf, awarded there as “Meisterschüler” of Rosemarie Trockel. In 2009, she obtained her Ph.D. in Molecular Biology at the University of Vienna. Before her maternity leave, Tanja also did research as a mobility fellow at Harvard University and at the Broad Institute in Cambridge, (USA) and as a Marie-Curie fellow at the European Bioinformatics Institute in Cambridge (UK).  

Opera Caotica: Poetics of Chaos

Vilém Hakl
Film Academy Of Performing Arts, Prague

The subject of my research is extremely complex narrative films. Film theorists often perceive such films as unanalysable, anti-normative or simply chaotic. I analyse these works to learn how and why their structure is chaotic. My thesis is that chaotic films get viewers into a state of generalized agnosticism, i.e. liberation from limiting norms of perception of reality. Consequently, chaotic films can be seen as subversive to the power of images, most importantly images used in propaganda.

My research focuses on complexities of film noir, which I explore in the context of ancient dark creativity, e.g. medieval Danse Macabre (Dance of Death) and revenant stories. My ambition is to create a manual of poetics of chaos, describing techniques used to create films analogous to chaos. This manual should be helpful to both artists and critics dealing with complex narrative structures. I also explore the chaotizing techniques through a screenplay depicting the complex events of murders committed by Gesualdo da Venosa, a Renaissance musical genius. This gives me freedom to experiment with the techniques to provide deeper understanding of their implementation.


Studied at FAMU, the Department of Screenwriting and Script-editing (a bachelor's degree in 2009 – a master's degree in 2012). He has been writing about film theory (for Kino-Ikon, Namu, Film a doba and Revolver Revue). He worked as a TV screenwriter and scripteditor (thrillers and docudramas for Czech Television and NOVA). Currently he is a PhD student and lecturer at Film Academy, Prague with the research project Opera Caotica: Poetics of Chaos.

The ‘Research Score’: A Practice, a Medium, a Method, or a Fake?

Joa Hug
Performing Arts Research Centre, University of the Arts Helsinki Theatre Academy

In my artistic research I investigate the epistemic potential of a particular Body Weather performance training practice: the Manipulations. The Manipulations, I claim, are not a movement technique, but a material-discursive practice with the potential to alter the conditions of movement by changing the practitioner’s process of perception and by enhancing the body’s affectability. The research score is a translation of the original duo-practice of the Manipulations into a solo practice. It enacts the Manipulations by memory and imagination in order to investigate the epistemic potential that is embedded in the process of alteration and to attend to a dimension of experience that is traditionally backgrounded in the practice of the Manipulations: the process of thinking. I suggest to consider the research score as an embodied approach to reflection that combines, first, a perceptual inquiry into the process of translating an artistic practice into a research practice with, second, an exploration of the process of thinking under altered conditions of perception induced by a temporary suspension of volition, deep relaxation, distributed attention, heightened affectability, and an extra-normal intensity of memory, imagination and observation. Or is it a fake?


Joa Hug is an artist and doctoral researcher at the Performing Arts Research Centre of the University of the Arts Helsinki. He studied History, Political Science and Sociology at the Universities of Freiburg and Oregon/Eugene (US), Dance/Choreography at the School for New Dance Development, trained and collaborated with Body Weather Amsterdam, and com­pleted his M. A. in Artistic Research at the University of Amsterdam. His doctoral research investigates the impact of Body Weather performance training on the performer and has been pre­sented internationally. He co-founded AREAL (Artistic Research Lab) Berlin and lives with his partner and two children in Berlin.

Creating ‘New Map’ Using Drawing as Method
How Drawing Can Generate a Process and Thoughts

Jina Lee
University of Arts London

How can we draw a ‘new map’ that deconstructs and re-evaluates the notion of territorial borders (e.g. ‘borderless world’, Ohmae 1999)? How, in practice, can drawing be applied as a methodology for practice-based research? This research is premised on the assertion that drawing is a particular type of practice that can generate process and product knowledge, which seeks to reveal the relationship between art and critical cartography. It is to explore how drawing can be a way of collecting, representing and analyzing tool in creative research.
My collaborative map-drawing project aims to examine how movements of people, especially ‘joseonjok (Korean in China or Chinese Korean, are an ethnic group mostly living in the northeastern provinces of China)’ immigrants living in London, can be referenced in order to analyse the borders that are reproduced at different times and in places in relation to social movements. The notion of employing autoethnography with joseonjok immigrants deciphers how one’s own personal and political context can be co-interpreted and influence the production of knowledge within art-practice. Drawing as method produced mental constructions of what is miss represented in hegemonic accounts of those in power: a way for speaking about personal journeys and stories.


Jina Lee is an artist and researcher studying MPhil/PhD at University of Arts London. Lee's artwork and research is concerned with the collapse of territorial boundaries between social, political and geographical space. These are elements which, she believes, are increasingly in a state of fluidity and a perpetually simultaneous movement of emigration. Lee’s work asks, exactly how do people experience this movement, and how can this invisible collapsing boundary be visualized? Lee’s observations and findings, made through various modes of drawing, seek to open the possibility for unsuspected interactions of experience and knowledge in relation to geopolitical and cultural boundary issues.

Systematics: A Double-Edge Sword of a Popular Theory-Forming Technique

Iva Oplištilová, Viktor Hruška
Academy of Performing Arts in Prague, Music and Dance Faculty, Department of Theory and History of Music
Academy of Performing Arts in Prague, Music and Dance Faculty, Musical Acoustics Research Centre (MARC Prague)

One of the most common techniques, on which theoretical constructions in the Arts are often based, lies in outlining a set of abstract compartments into which issues are distributed following the theorist´s rules. Whether this procedure is „reasonable“ (functional, apt, applicable) or misleading will be the essence of the poster. Linearity and orthogonality (i. e. problematics of dependency and uniformity) in thus created systems will be discussed. The abstract considerations will be exemplified by some issues of pitch class set theory (Forte et al.). „Musicality“ of similar theories (that might actually happen to degenerate to rudimental group algebra) will be assessed.

Philosophical Theories of Expression and Creativity

Jan Puc
Department of Contemporary Continental Philosophy, Institute of Philosophy, Czech Academy of Sciences
Department of Philosophy and Religious Studies, Faculty of Arts, Charles University in Prague

The poster presents a map of basic terms of theory of creativity. On this conceptual map, the specific creativity of expression, on which the artistic research is based, will be localized and put into the context of the existing theories of creativity.

The 20th century cast doubt on the independence of ideas on their expression. Whereas the traditional esthetical model, following Aristotle, conceded unexpressed thoughts to exist mentally (Croce, Souriau), later phenomenological model insisted on inseparability of thoughts from expressions (Husserl), or even on their mutual intertwining and blending (Merleau-Ponty). The expression ceased to be unproductive envelope of thinking and gained the power to influence it.
The same century brought also a renewed wave of interest in creativity as such, i.e. the ability to produce new meaning. The proposed map presents some classic and contemporary classifications and forms of creativity, incl. the four stage theory of creative process (Wallas), and differences in localisation of creativity in different authors. It expounds discussions concerning the definition of creativity, esp. the insufficiency of the definition based solely on novelty. (Osborne, Hausman, Runco) Further, the map classifies some contemporary approaches to creativity: the process model (Gendlin) and the flow-theory (Csikszentmihalyi).


Jan Puc is a Ph.D. candidate at the Faculty of Arts, Charles University in Prague. His specialization is phenomenology of corporeality and expression, questions concerning human individuality and self-understanding and nature of creativity. He defended his Master thesis “To be oneself. A critique of Heidegger’s concept of authenticity” in 2009. He is also a co-editor of a book on Nietzsche, published 2011, and a co-editor of Phenomenological Writings of Jan Patočka, vol. III/1. Recently, he focuses his research on the creative dimension of human expressivity and mutual overlapping of philosophy and art.

Dramaturgy-Driven Methodologies of Work in Artistic Research

Danae Theodoridou
University of Groningen

The aim of this presentation is to share the results of the three-year research project Dramaturgy at Work (2013-16) and discuss dramaturgy-driven methodologies of work in artistic creation and research. Pil Hansen recently argued that dramaturgy relates to a heightened mode of awareness of the systems that generate interaction in a work and expand the perceptual capacity of those involved in it. She has aptly described such work as ‘dramaturgy-driven’ (2015). Departing from such ideas, the suggestion here is for a catalytic function of dramaturgy able to activate processes and actions in the frame of artistic research. Following the etymology of the term (drama=action + ergon=work), dramaturgy will be defined as ‘working on actions’ and will be discussed via three principles that introduce concrete dramaturgical working directions: mobilising questions, alienating, commoning. These are presented as the basis for a dramaturgy that produces (re)actions that open up, destabilise and problematise what happens in the encounters between bodies, materials, and ideas that produce performance works, moving them further without interfering or controlling them. At the same time, these methodologies will also be suggested as indirect, inefficient or negatively efficient, in a way that potentially resists today’s social and political neoliberal context.


Danae Theodoridou is a performance maker and researcher based in Brussels. She completed her practice-led PhD on dramaturgy and performance making at Roehampton University (London) and works as an Assistant Professor of Theatre and Performance in the University of Groningen (NL). She teaches in various university departments and art conservatoires, publishes internationally and presents her artistic and research work in different contexts in Europe. She was a co-curator of the PSi regional research cluster Encounters In Synchronous Time (Athens, 2011) and a co-creator of the three-year research project Dramaturgy at Work (2013-16).