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NEW-MEDIA-CURATING  October 2018

NEW-MEDIA-CURATING October 2018

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Subject:

JAR 16 is here!

From:

Phoebe Stubbs <[log in to unmask]>

Reply-To:

Phoebe Stubbs <[log in to unmask]>

Date:

Wed, 3 Oct 2018 09:35:29 +0200

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text/plain

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*JAR16** is here*



*Journal for Artistic Research (JAR)*



The online, peer-reviewed journal for the publication and discussion of
artistic research.



*http://jar-online.net <http://jar-online.net>*



JAR is open-access, free to read, and to contribute.





We are very proud to announce our sixteenth issue with the following
contributions:



Christopher Williams, ‘Anarchiving (in) Ben Patterson's Variations for
Double-Bass’
<http://jar-online.net/anarchiving-in-ben-pattersons-variations-for-double-bass/>



Eric Souther, Laura McGough, and Jason Bernagozzi, ‘Responsive Aesthetics:
Remediating Digital-to-Analog Television Converters as Artist Tools’
<http://jar-online.net/responsive-aesthetics-remediating-digital-to-analog-television-converters-as-artist-tools/>



Barbara Macek, ‘Between Agony and Ecstasy: Investigations into the Meaning
of Pain’
<http://jar-online.net/between-agony-and-ecstasy-investigations-into-the-meaning-of-pain/>



Heidi Marika Fast, ‘Vocal Nest – non-verbal atmospheres that matter’
<http://jar-online.net/vocal-nest-non-verbal-atmospheres-that-matter/>



Lise Hovik, ‘The Red Shoes Project Revisited’
<http://jar-online.net/the-red-shoes-project-revisited/>



Keywords include: anarchive, datamoshing, experimental music, fluxus,
medicine, non-verbal, pain, performing arts for children, psychology,
reanimation, sensate knowledge, signal processing, sound art.





Michael Schwab’s editorial for JAR 16 addresses the issue of achieving
quality in artistic research. He writes: *In art […] both form and content
are crucial; hence, the notion of quality must apply to more aspects of a
project and in particular to the relations between them. This creates a
much more complex situation for the makers of research as well as for
reviewers and readers, since particular choices will only make sense if
they are understood in the context of other choices – presenting research
is not only a production but also an often open-ended calibration process.
…*



Take a look at JAR16 and read the full editorial here
<http://jar-online.net/journal/>.





In the ‘Network’ pages of JAR’s website a further three reflections have
been published. In ‘Building a Culture for Dissemination of Artistic
Research
<http://jar-online.net/building-a-culture-for-dissemination-of-artistic-research/>’,
Cecilie Broch Knudsen reflects on an investigation on publishing and
dissemination of artistic research completed on request from the Norwegian
Council for Artistic Research. Jessyca Hutchens, Anita Paz, Naomi Vogt, and
Nina Wakeford, in ‘New Validities’ <http://jar-online.net/new-validities/>,
accompany their presentation of OAR, The Oxford Artistic and Practice Based
Research Platform, with a broader reflection on how practice-based research
‘can offer new ways of conceptualising the legitimacy, sufficiency and
adequacy of research’. Finally, in ‘Curating for Research
<http://jar-online.net/curating-for-research/>’ Joey Orr describes his own
curatorial work on the exhibition *Terra Anima* as a way to create spaces
of open encounters between diverse disciplines observing the transformative
potentials that they have, in particular for the site at which they take
place.



The ‘Network <http://jar-online.net/network-2/>’ is a non-peer-reviewed
space on the JAR website for discussion, reviews and opinion pieces
relevant to artistic research and JAR’s community. It carries no
restrictions in terms of language, length, topic or theme. Read all
contributions here <http://www.jar-online.net/network/>.





The Journal for Artistic Research (JAR) is an international, online, Open
Access and peer-reviewed journal that disseminates artistic research from
all disciplines. JAR invites the ever-increasing number of artistic
researchers to develop what for the sciences and humanities are standard
academic publication procedures. It serves as a meeting point of diverse
practices and methodologies in a field that has become a worldwide movement
with many local activities.



JAR provides a digital platform where multiple methods, media and
articulations can function together to generate insights in artistic
research endeavours. It seeks to promote ‘expositions’ of practice as
research. In JAR artistic research is viewed as an evolving field where
research and art are positioned as mutually influential. Recognising that
the field is ever developing and expanding, JAR remains open to continued
re-evaluation of its publishing criteria.



If you are considering submitting something to the journal be sure to look
at our guidelines <http://www.jar-online.net/submissions/>.



JAR works with an international editorial board and a large panel of
peer-reviewers.



Editor in Chief: Michael Schwab

Peer Review Editor: Julian Klein



Editorial Board: Annette Arlander, Alex Arteaga, Lucia D’Errico, Barnaby
Drabble, Mika Elo, Azadeh Fatehrad, Yara Guasque, and Mareli Stolp.



JAR is published by the Society for Artistic Research
<http://www.societyforartisticresearch.org/society-for-artistic-research/>
(SAR), an independent, non-profit association. You can support JAR by
becoming an individual or institutional member of SAR
<http://www.societyforartisticresearch.org/membership/membership-schemes/>.
For updates on our activities, join our mailing list
<http://www.societyforartisticresearch.org/membership/subscribe-newsletter/>
.



If you want to reach us, please use our contact form
<http://jar-online.net/#eluid2cda18e9>.

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