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Research Catalogue
an international database for artistic research find out more
Editor-in-Chief, Journal for Artistic Research (JAR)
Germany, United Kingdom (residence) °1966
research interests: post-conceptual art
affiliation: Journal for Artistic Research (JAR)
Michael Schwab is an artist and artistic researcher who interrogates post-conceptual uses of technology in a variety of media including photography, drawing, printmaking and installation art. He holds a PhD in photography from the Royal College of Art, London, that focuses on post-conceptual post-photography and artistic research methodology. He is co-initiator and inaugural Editor-in-Chief of JAR, the Journal for Artistic Research.
Michael Schwab untersucht die post-konzeptionelle Verwendung von Technologie in einer Reihe von Medien. Sein PhD, den er am Royal College of Art in London erworben hat, beschäftigt sich mit post-konzeptioneller Post-Fotografie und Methodologien künstlerischer Forschung. Er ist einer der Initiatoren und Herausgeber von JAR, das Journal for Artistic Research.
website: http://www.seriate.net
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Futures of the Contemporary Contemporaneity, Untimeliness, and Artistic Research (31/08/2019)
Publication: Book, Leuven University Press, artist(s)/author(s): Paulo de Assis, Michael Schwab
Futures of the Contemporary explores different notions and manifestations of "the contemporary" in music, visual arts, art theory, and philosophy. In particular, the authors in this collection of essays scrutinise the role of artistic research in critical and creative expressions of contemporaneity. When distinguished from "the contemporaneous" of a given historical time, "the contemporary" becomes a crucial concept, promoting or excluding objects and practices according to their ability to diagnose previously unnoticed aspects of the present. In this sense, the contemporary gains a critical function, involving particular modes of relating to history and one's own time. Written by major experts from fields such as music performance, composition, art theory, visual arts, art history, critical studies, and philosophy, this book offers challenging perspectives on contemporary art practices, the temporality of artistic works and phenomena, and new modes of problematising the production of art and its public apprehension. Contributors: Andrew Prior (University of Plymouth), Babette Babich (Fordham University), Geoff Cox (Fine Art at Plymouth University / Aarhus University), Heiner Goebbels (Justus Liebig University), Jacob Lund (Aarhus University), Michael Schwab (Orpheus Institute), Pal Capdevila (Autonomous University of Barcelona), Paulo de Assis (Orpheus Institute), Peter Osborne (Kingston University London), Ryan Nolan (University of Plymouth), Zsuzsa Baross (Trent University) This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).
Experimental Systems. Contemporaneity, Untimeliness and Artistic Research (31/08/2019)
Publication: Publication, Leuven University Press, artist(s)/author(s): Michael Schwab
Appropriating Hans-Jörg Rheinberger's work on experimental systems, the chapter establishes links to theories of contemporary art, suggesting a possible departure of artistic research from contemporary art by deploying Nietzsche's notion of the untimely against Barthes's claim that "the contemporary is the untimely." More specifically, this chapter traces the temporality of epistemic things as they emerge from an experimental system and how Rheinberger can—through Derrida's notion of historiality—claim that experimental systems are designed to make history. Aligning this discourse to theories of contemporary art (Peter Osborne, Boris Groys) this chapter highlights differences and overlaps in an attempt to situate both approaches within Nietzsche's problematisation of "history," suggesting that artistic research, rather than a philosophy of contemporary art, is able to deliver a Nietzschean solution to the problem of art in contemporary—that is, globalised—conditions. This entails both a criticism towards "contemporary art" and an opening towards "untimely" research practices.
Transpositions: Aesthetico-Epistemic Operators in Artistic Research (01/01/2018)
Publication: Book, Leuven University Press, artist(s)/author(s): Michael Schwab
New modes of epistemic relationships in artistic research Research leads to new insights rupturing the existent fabric of knowledge. Situated in the still evolving field of artistic research, this book investigates a fundamental quality of this process. Building on the lessons of deconstruction, artistic research invents new modes of epistemic relationships that include aesthetic dimensions. Under the heading transposition, seventeen artists, musicians, and theorists explain how one thing may turn into another in a spatio-temporal play of identity and difference that has the power to expand into the unknown. By connecting materially concrete positions in a way familiar to artists, this book shows how moves can be made between established positions and completely new ground. In doing so, research changes from a process that expands knowledge to one that creatively reinvents it. Contributors: Annette Arlander (University of the Arts Helsinki), Paulo de Assis (Orpheus Institute, Ghent), Rosi Braidotti (Utrecht University), Leif Dahlberg (Royal Institute of Technology Stockholm), Lucia D'Errico (Orpheus Institute, Ghent), Mika Elo (University of the Arts Helsinki), Laura González (Royal Conservatoire of Scotland), Esa Kirkkopelto (University of the Arts Helsinki), Yve Lomax (Royal College of Art, London), Cecile Malaspina (CNRS-Université Paris 1/Université Paris 7), Tor-Finn Malum Fitje (independent artist, Oslo), Dieter Mersch (Zurich University of the Arts), David Pirrò (University of Music and Performing Arts Graz), Hans-Jörg Rheinberger (Max Planck Institute for the History of Science, Berlin), Hanns Holger Rutz (University of Music and Performing Arts Graz), Michael Schwab (Orpheus Institute, Ghent/University of Applied Arts Vienna), Birk Weiberg (Zurich University of the Arts)
Transpositionality and Artistic Research (01/01/2018)
Using examples from Marcel Duchamp and Roland Barthes, Michael Schwab's "Transpositionality and Artistic Research" proposes understanding transpositions as differential constructs that may but need not "decay" into representation, that is, conventional forms of knowledge. In fact, Schwab argues that certain types of art and artistic research tend towards a continuing suspension of representation proposing new and more complex epistemic objects that, while exceeding conceptual understanding, can still be grasped aesthetically through further transpositions. However, while historisation, like representation, may be based on transpositions, he contends that transpositions need neither history nor representation to be of value for artistic research. Thus, the chapter speculates that, as a particular kind of "science," artistic research has a tendency towards the concrete for which it requires transpositional operations. Both Duchamp and Barthes hinted at this direction: the latter by wondering about an "impossible science of the unique being," the former through his involvement with pataphysics.
research expositions
Transpositions [TP] (last edited: 2019) author(s): Gerhard Eckel, Michael Schwab, David Pirrò This exposition is in progress.
The research project investigates the possibility of generating new auditory and visual forms based on the analysis and mathematical transformation of scientific data. In addition, the project studies whether and how these new forms are of scientific significance by asking the collaborating researchers to scientifically analyze the artistic outputs. By remaining true to the data while employing an artistic working method and, thus, by combining scientific and artistic values, the project contributes to the conceptual development of a space for research that is shared between art and science. This, however, implies that during the project both scientists and artists will be challenged to work in ways that are unfamiliar to them, either through confrontation with complex artistic interpretations of data or through exposure to very specific scientific working methods. On a meta-level, the project will report on the types of interactions that are deemed to be of value to either the artists, the scientists or both. At present, scientists use a variety of sonification and visualization procedures to analyse and communicate their findings. For artists, those representations are often of little artistic value since they are geared towards a transparent communication of the data creating little space for artistic interventions. Conversely, by foregrounding aesthetic effects, the expanding field of artistic data sonification and visualization runs the risk of producing art works that only superficially related back to the scientific research from which the data originated. While giving the arts an important role in the communication of scientific activity, the artistic exploration of scientific data may thus add very little to the research itself. Given the ever-increasing amount and importance of data representations, it is of particular importance that artists become engaged with their fabrication and to identify how in spite of their very different constitution aesthetic and epistemic research aims may support each other. Three case studies from different scientific fields provide data to be transposed by the artists into artistic outputs, which are in turn analysed by the scientists. The artists have an established practice in music composition and visual art, respectively, and have been collaborating very productively for the last 3 years. Given the transdisciplinary nature of the artistic collaboration it is possible to investigate issues of intermediality not only between art and science but also from within the arts. The process of creation and analysis is continuously exposed on the Research Catalogue online platform while a number of performances/exhibitions make the outputs tangible to the scientists and the general public.
open exposition comments (0)
Rebody (last edited: 2017) author(s): Gerhard Eckel, Michael Schwab, David Pirrò This exposition is in progress.
Rebody (2010) by Gerhard Eckel, Michael Schwab and David Pirrò is a video and installation piece in which the captured motion of a dancer is transformed into a dynamic drawing that informs a musical composition. The piece explores the dance movements, the drawing algorithms and the musical structures in an attempt to create aesthetic resonances and convergences. The work investigates how structured creative processes can transpose rather than represent the dancer's movements. Rebody is based on motion-capture data collected from Bodyscapes (2009), an intermedial solo dance performance by Valentina Moar (choreography/dance), Gerhard Eckel and David Pirrò (composition).
Provisional Glossary (last edited: 2017) author(s): Michael Schwab This exposition is in progress.
I have been customising and developing a number of interrelated concepts over the years. This Provisional Glossary attempts an overview. Key terms to date: Exposition, Figure, Proto-object, Second-order Artefact
Research Days 2016 lecture: Experimental Systems: Contemporaneity, Untimeliness and Artistic Research (13/12/2016)
Event: Presentation, Uniarts Helsinki, artist(s)/author(s): Michael Schwab
Appropriating Hans-Jörg Rheinberber's work on Experimental Systems, the presentation will make links to theories of contemporary art. It will suggest a possible departure of artistic research from contemporary art by deploying Nietzsche's notion of the "untimely" against the famous claim made by Roland Barthes, who (inspired by Nietzsche, and quoted by Agamben) said that "the contemporary is the untimely".
Nietzsche 6+1: The Weight of Music (01/12/2017)
Event: Performance, artist(s)/author(s): Paulo de Assis, Michael Schwab
Between 1854 and 1874 Friedrich Nietzsche composed a substantial number of musical works, including fragmentary pieces for solo piano, several songs and even a sketched opera. His activity as a composer remains essentially unknown and his music pieces are rarely performed. Moreover, they are usually considered, in the best case, as juvenilia. Indeed, when Nietzsche decided to be first a philologist, then a philosopher, he stopped composing music. However, and beyond aesthetical judgments, his musical compositions disclose a character and a personality quite different from the far better-known Nietzsche-the-philosopher. Nietzsche-the-composer understands himself as a "medium", an agent dominated by transcendent powers of inspiration and creation submitting him to pre-existing values; whereas Nietzsche-the-philosopher was a destabilising constructor, the inventor of new images of thought, the active operator of a fundamental redefinition of values. For Nietzsche music had the problematic potential of carrying an "oppressive weight"—an expression he openly used to refer to one of his compositions, and, later on, to Wagner's music in general. A weight he increasingly associated with the idea of "swimming", to which he proactively opposed the notion of "dancing". In this performance, the Collective ME21, presents musical works by Nietzsche in dialogue with fragments of his texts, exposing some of the tensions between Nietzsche-the-composer and Nietzsche-the-philosopher.
First, the second: Walter Benjamin's theory of reflection and the question of artistic research (01/01/2008)
Publication: Article, Journal of Visual Art Practice, artist(s)/author(s): Michael Schwab
Analysing Walter Benjamin's 1919 dissertation 'The Concept of Criticism in German Romanticism', this paper questions definitions of artistic research that require textual support. In an attempt to investigate alternative definitions of artistic research, the paper follows Benjamin's theory and places reflection, critique's underlying concept, within artistic practice. A number of secondary texts are used, most importantly Winfried Menninghaus' book Unendliche Verdopplung, in order to focus on the formal character of Benjamin's argument and to avoid repetition of metaphysical assumptions embedded in Romantic philosophy. A formal and systematic approach promises that a coherent argument can be made towards an alternative definition of artistic research that does not require a discussion of Romanticism's shortcomings. As a result, a definition of an essentially reflective artistic practice is sketched out that operates beyond the practice/theory divide and for which concepts such as 'beauty' or 'intuition' are irrelevant.
The Power of Deconstruction in Artistic Research (01/01/2009)
Publication: Article, Working Papers in Art and Design, artist(s)/author(s): Michael Schwab
First, the second: the supplemental function of research in art (01/01/2009)
Publication: Article, Zurich University of the Arts/Scheidegger & Spiess, artist(s)/author(s): Michael Schwab
The Research Catalogue as Model for Dissertations and Theses in Art and Design (01/01/2012)
Publication: Article, Sage, London, Thousand Oaks, New Delhi, artist(s)/author(s): Michael Schwab
The Artistic Research Catalogue (ARC) is a project funded by the Dutch government (2010–2012) that develops a publication framework for artistic research. This framework is tested in a prototype software used by the Journal for Artistic Research (JAR). JAR is a novel, international, online, Open Access and peer-reviewed journal for the identification, publication and dissemination of artistic research and its methodologies. The development of ARC and JAR is a response to a problem perceived by many researchers in art and design: traditional, academic modes of writing cater little for the needs of artistic researchers who are striving for a greater integration of making and writing. The present chapter introduces epistemological problems of artistic research, which it relates to recent developments in the history and theory of science, before attempting a definition of what academic writing may be for art and design practitioners. Explaining a number of key concepts from ARC (exposition, weave, aspect, tool and work) the chapter describes software requirements for the publication of artistic research that combine features from academic repositories, museum catalogues, online publishing and e-research. Finally, the chapter suggests that ARC is transdisciplinary in nature due to the fact that all modes of writing can be represented.
Exposition Writing (01/01/2012)
Publication: Article, Swedish Research Council, Stockholm, artist(s)/author(s): Michael Schwab
Introduction (01/01/2013)
Publication: Article, Koenig Books, London, artist(s)/author(s): Florian Dombois, Claudia Mareis, Michael Schwab
Artistic practices are manifold and highly diverse. In recent years, a claim towards research has become meaningful to many practitioners of art. Intellectual Birdhouse gives room to a number of acteurs to unfold their attitudes towards this claim. In this book, 'artistic research' is assumed as being independent of 'discipline', with the potential to occur in all contexts once epistemological expectations have shifted. This approach foregrounds questions concerning the type of models, terms and concepts that elucidate the processes and outcomes of epistemic-artistic practices while recalling theoretical debates steeped in tradition. Artistic research often involves productive and refl ective work on and with material, and is frequently paired with testing of forms of representation other than texts that engage in open negotiations with knowledge. For this reason, artistic research may take an unexpected or even controversial course. As a consequence, most of the chapters discuss how borders need to be negotiated as part of the research process. This includes questions bearing on art and science, art and politics, art and history as well as art and philosophy. Many of the authors see themselves as artists, but one of the chief claims of this book is that a position is possible beyond the 'theory' and 'practice' labels. The chapters address this position and the difficulties negotiating it in the context of existing discourses and intellectual frameworks.
Between a rock and a hard place (01/01/2012)
Publication: Article, Koenig Books, London, artist(s)/author(s): Michael Schwab
Paris (01/01/2013)
Publication: Book, Copy Press, London, artist(s)/author(s): Michael Schwab
Micheal Schwab is curious about trees in Paris. The most unnatural thing about a tree in a city is the place where it is planted. A tree in a city does not grow; it is planted. Paris lets you explore trees in Paris while it breaches narrow definitions of photography. 'So you think you know Paris, but if you take Michael Schwab as your guide you will find yourself in a truly inventive space between photography and drawing. You will be delightfully transported to spaces and places of the imagination, with some very particular trees to hold on to for reality. This is indeed Paris from another perspective.' Vanessa Jackson
Publication: Article, Leiden University Press, Leiden, artist(s)/author(s): Michael Schwab, Henk Borgdorff
The Exposition of Artistic Research: Publishing Art in Academia introduces the pioneering concept of 'expositions' in the context of art and design research, where practice needs to be exposed as research to enter academic discourse. It brings together reflective and methodological approaches to exposition writing from a variety of artistic disciplines including fine art, music and design, which it links to questions of publication and the use of technology. The book proposes a novel relationship to knowledge, where the form in which this knowledge emerges and the mode in which it is communicated makes a difference to what is known.
Expositions in the Research Catalogue (01/01/2014)
Publication: Article, Leiden University Press, Leiden, artist(s)/author(s): Michael Schwab
This chapter discusses how the technology of the Research Catalogue engages with the notion of 'exposition'. In particular, it looks at the repository, where a distinction is made between works and simple media, as well as 'the page' that is literally only created as it is populated with data. A final section looks at both sharing and publishing workflows, which represent elements in the way the Research Catalogue engages with social media.
A Conversation on Publishing Artistic Research (01/01/2014)
Publication: Publication, Swiss Artistic Research Network, artist(s)/author(s): Michael Schwab
"Das Experiment geht weiter..." (31/01/2014)
Publication: Article, APA-Science, artist(s)/author(s): Michael Schwab
This 'guest commentary' suggests that the introduction of artistic research poses a challenge to academia, while it is not clear how this challenge will eventually be settled. However, a few basic insights are being discussed, such as (1) the fact that debates whether art was already research or not were leading nowhere (2) a focus on the third cycle of discussions around research is limiting (3) the application of standards from the sciences or the humanities has proven unhelpful. On the positive side, the text argues that (1) artistic research breaches the gap between fundamental and applied research (2) it requires rich-media forms of documentation and communication and (3) it opens new professional fields for artists.
Publication: Article, Orpheus Institute/Leuven University Press, Gent/Leuven, artist(s)/author(s): Michael Schwab
The Exposition of Practice as Research as Experimental System (01/01/2014)
This chapter links my work on 'Experimental Systems' in the context of artistic research to my concern with 'expositionality' as developed in and around the Journal for Artistic Research (JAR). Relying on a Derridean notion of 'writing', the chapter suggests that expositionality is relevant to experimentation and vice versa allowing for a form of remote material meaning.
Artistic Research and Experimental Systems: The Rheinberger Questionnaire and Study-Day - A Report (01/01/2014)
The chapter describes the application of some of Rheinberger's theory of 'experimental system' to a group of artistic researchers in music at the Orpheus Research Centre in Music in Gent, Belgium. It suggests that some notions, such as epistemic thing, may be quite transferable, while others, such as technical object, are more problematic. The chapter gives an insight into how one may appropriate concepts from other disciplines for an investigation into what artistic researchers do.
Dessiner le trans-corps (01/01/2015)
Publication: Article, La Part de l'Oeil, Brussels, artist(s)/author(s): Michael Schwab
This text introduces and contextualises my use of 'figure' and 'second-order artefact' in order to explain the visual operations at play in much of my research. Following both Merleau-Ponty and Lyotard, it argues that notions of 'Gestalt' need to be complicated and that what we consider to be a 'body' needs to be challenged. With reference to Didi-Huberman and Ranciere, an alternative way is sought that can explain how a shape may think. The English translation is available online on the Research Catalogue following the link below.
Drawing the Trans-body (2015) author(s): Michael Schwab published in: Research Catalogue
This text introduces and contextualises my use of 'figure' and 'second-order artefact' in order to explain the visual operations at play in much of my research. Following both Merleau-Ponty and Lyotard, it argues that notions of 'Gestalt' need to be complicated and that what we consider to be a 'body' needs to be challenged. With reference to Didi-Huberman and Ranciere, an alternative way is sought that can explain how a shape may think.
Imagined Meetings (01/01/2015)
Publication: Paper, Royal College of Art, London, artist(s)/author(s): Michael Schwab
Research Catalogue (01/01/2015)
Publication: Article, Diaphanes, Zurich, artist(s)/author(s): Michael Schwab
This chapter offers a very short introduction to the Research Catalogue online publishing and research management framework used, amongst others, by the Journal for Artistic Research (JAR).
Experiment! Towards an artistic epistemology (11/06/2015)
Publication: Publication, Journal of Visual Art Practice, artist(s)/author(s): Michael Schwab
On the basis of a notion of experimentation derived from Hans-Jörg Rheinberger's concept of 'experimental system', which he developed in the context of twentieth-century experimental science, this paper sketches a possible route into a genuine artistic epistemology. While experimental systems are highly conceptual in nature, they are actually meant to produce material, epistemic excess – epistemic things – that enter the world first as unknowns. Given this initial lack of knowledge, the article argues that it is less helpful to decide whether any concrete epistemic thing is fact or fiction; rather, an artistic epistemology is suggested that focuses on the radical individuality of such a thing and the way in which artistic research practice may need to protect its individuality as a site for particular knowledges. This implies a critique of Rheinberger's emphasis on historicity in experimental systems, a critique which is explained with reference to two works by Marcel Duchamp: Fountain and Three Standard Stoppages. While the former arguably changed the history of art, the latter is said to have had a much greater effect on Duchamp's practice and understanding. DOI: 10.1080/14702029.2015.1041719
Photo-Objects installation catalogue (09/11/2015)
Publication: Publication, artist(s)/author(s): Michael Schwab
Nietzsche 5 : The Fragmentary (2016) author(s): Michael Schwab, Paulo de Assis published in: RUUKKU - Studies in Artistic Research
'Nietzsche 5 : The Fragmentary' is a collaborative research exposition, which presents a number of compositions by the young Friedrich Nietzsche (organised top to bottom) as well as various layers of reflection, interrogation, and speculation (organised left to right). It focuses on a moment of transformation around 1872 when Nietzsche moved from a serious interest in music composition to a career as a writer and philosopher. This period also coincides with the breakdown of Nietzsche's friendship with Richard Wagner. The exposition suggests that Nietzsche's own music as well as that of Wagner serves as a (negative) point of reference for the later Nietzsche, whose work, following Maurice Blanchot amongst others, can be characterised through the notion of the fragmentary, which places it also in relation to early Romanticism, in particular the writings of Friedrich Schlegel, Novalis, and Friedrich Hölderlin. While Nietzsche's more monumental compositions, such as his unfinished Mass (1860) and the symphonic poem Ermanarich (1861), may be more problematic, the exposition suggests that in some smaller pieces – in particular in So lach doch mal (1862) and Das 'Fragment an sich' (1871) – a sense of the fragmentary in Nietzsche may already be constructed. Beyond interpretations that focus more narrowly on Nietzsche's work, this research exposition sets out to render the notion of the fragmentary productive for the wider context of artistic research. It does so with reference to Nietzsche's notion of the untimely as a way to challenge both the dominant instrumentalisation of research and the notion of contemporaneity that seems central to present-day artistic practice. This not only provides perspectives into artistic epistemologies but also, more concretely, provides the methodology by which the research itself and its exposition have progressed. The overall mode is, thus, also that of the fragmentary, in which various media including text and image as well as audio and video recordings are distributed across a two-dimensional grid allowing multiple relationships and readings to emerge. The research exposition aims not only to discuss but ultimately also to employ the fragmentary so as to touch upon a specific artistic and intellectual motivation that we have come to identify with Nietzsche and which we suggest is also relevant today.
Experimenteller Geist: Epidemische Dinge, Technische Objekte, Infrastrukturen der Forschung (01/03/2016)
Publication: Article, Lettre International 112, artist(s)/author(s): Hans-Jörg Rheinberger, Michael Schwab
Translation into German of my interview with Hans-Jörg Rheinberger. Rheinberger, Hans-Jörg. 2013. 'Forming and Being Informed. Hans-Jörg Rheinberger in Conversation with Michael Schwab', in Experimental Systems: Future Knowledge in Artistic Research, ed. by Michael Schwab (Leuven: Leuven University Press), pp. 198–219
A Future History (01/01/2016)
Publication: Article, Paper Monument, artist(s)/author(s): Michael Schwab
Schwab, Michael. 2016. "A Future History." In Social Medium: Artists Writing, 2000-2015, edited by Jennifer Liese, 309–11. Brooklyn: Paper Monument. Reprint of the first section of: Schwab, Michael. 2012. "Between a Rock and a Hard Place." In Intellectual Birdhouse: Artistic Practice as Research, edited by Florian Dombois, Ute Meta Bauer, Claudia Mareis, and Michael Schwab, 229–47. London: Koenig Books.
Exposições no Catálogo de Pesquisa (01/03/2018)
Publication: Article, Palindromo, artist(s)/author(s): Michael Schwab
A translation into Portuguese of my chapter "Expositions in the Research Catalogue"
A EXPOSIÇÃO DA PRÁTICA COMO PESQUISA ENQUANTO SISTEMAS EXPERIMENTAIS (01/01/2019)
Peer Reviewing in the Journal for Artistic Research (01/01/2018)
Publication: Article, VUBPress, artist(s)/author(s): Michael Schwab
Schwab, Michael. 2018. 'Peer-Reviewing in the "Journal for Artistic Research"', in Evaluating Art and Design Research. Reflections, Evaluation Practices and Research Presentations, ed. by Walter Ysebaert and Binke Van Kerckhoven (Brussels: VUBPPRESS), pp. 52–59.
Expositionality: Journal for Artistic Research, Research Catalogue
The Exposition of Artistic Research: Publishing Art in Academia (last edited: 2014) author(s): Michael Schwab, Henk Borgdorff This exposition is in progress.
JAR/RC Diagrams (last edited: 2019) author(s): Michael Schwab, Florian Dombois, Henk Borgdorff This exposition is in progress.
A portfolio of diagrams and explanations that explain the conceptual and technical environments of the Journal for Artistic Research and the Research Catalogue.
The Exposition of Practice as Research: Talks, Conferences, Workshops (last edited: 2018) author(s): Michael Schwab This exposition is in progress.
In this collection, I plan and document events around the notion of exposition.
Proto-Objects
Proto-objects (last edited: 2019) author(s): Michael Schwab This exposition is in progress.
Proto-Objects is an ongoing, long-term research project by Michael Schwab retrofitted to a number of activities held before and after 2009. The project combines two distinct concerns: (1) the figuration of brain activity and (2) the conceptualisation of artistic, epistemic objects – that is, it combines a specific with a general research interest. The material basis for proto-objects consists of one hundred three-dimensional models, each of which represents an artistic analysis of Schwab's brain activity while seeing a work from the history of art. While these models – or figures – may be scientifically developed to enhance our understanding of the workings of the brain, they may also be artistically developed and used for the production of new works of art. The notion of a proto-object indicates that both avenues may be suspended and that objects may be produced with unknown or at least underdeveloped representational status. This approach makes use of Hans-Jörg Rheinberger's distinction between graphematic and representational spaces, where the former can broadly be understood as the space of research and the latter as the space of science or art. By deploying the notion of a proto-object, this research project suggests that research activity can continue for its own sake at the border of either science or art so that 'knowledge' in the guise of epistemic or aesthetic objects may be speculatively projected but never quite realised in those representational spaces.
100 Proto-Objects Source Material (01/01/2009)
Art object: Visualisation, artist(s)/author(s): Michael Schwab
100 Proto-Objects (top view) (01/01/2015)
Art object: Construction, artist(s)/author(s): Michael Schwab
3D OBJECTS (26/06/2015)
Brain (01/01/2010)
Art object: Art object, artist(s)/author(s): Michael Schwab
Rusted, cast-iron sculpture of all 100 proto-objects in their respective place making up a model of a proto-brain.
Michael Schwab - Proto-Objects (last edited: 2016) author(s): Paulo de Assis, Michael Schwab This exposition is in progress.
Michael Schwab | Zurich University of the Arts, CH Day 1, 9 November, De Bijloke Bibliotheek, 14:00-14:30 For the installation Proto-Objects, Michael Schwab commissioned four independent collaborators to respond to his artistic analysis of his own brain activity. This was recorded as he was exposed to a succession of one hundred pictures, randomly chosen from the history of art (from 1420 to 1912). The initial EEG scan took place as part of the research project "Wissen im Selbstversuch/Knowledge through Self-Experimentation" (2009–10, PI: Yeboaa Ofosu, see http://www.hkb.bfh.ch/?id=2453) at the Hochschule der Künste Bern (CH) and was carried out by Dr. Thomas Koenig at the Universitätsklinik für Psychiatrie und Psychotherapie Bern (CH). The raw EEG data was statistically analysed and geometrically transformed with the help of Padraig Coogan, Leon Williams (both Royal College of Art, London, UK), Michael Klein (Universität Heidelberg, D), and David Pirrò (Kunstuniversität Graz, AT). This work resulted in the construction of one hundred three-dimensional "proto-objects," each corresponding to what is deemed significant in Schwab's cognitive response to each particular picture. The name "proto-object" was first used by Schwab in a book chapter (Schwab 2012) that utilises Hans-Jörg Rheinberg's research on "experimental systems" for possible epistemologies and methodologies of artistic research. Rheinberger makes a distinction between two spaces, the graphematic and the representational space (see Schwab 2013). Surprising events that lack explanation are produced in experimental settings and traced in the graphematic space as "epistemic things." Epistemic things are gradually transposed into the representational space where they register as knowledge. According to Rheinberger (1997, 28) appropriating François Jacob, epistemic things announce future knowledge and, thus, drive history. However, in the context of techno-scientific experimental systems, and despite being rooted in the graphematic space, the future of an epistemic thing lies in the representational space—that is, research must feed into science. The installation Proto-Objects speculates that this economy is reversible, following a two-step procedure. The material installation transfers an actualised technical object back to an epistemically underdetermined space, a virtuality suggested by a multiplicity of images from different disciplinary backgrounds. In this installation, Einar Torfi Einarsson transforms Schwab's proto-objects into scores to be interpreted and played by the cellist Séverine Ballon; the contemporary artist Florian Dombois uses the one hundred objects to develop a "language of things," in which he writes poetry; the architect Miguel Figueira modifies Van Gogh's Pont de Langlois (1888) on the basis of the proto-object corresponding to that painting; and Taslim Martin uses one proto-object as the template for a creamer and sugar set. Needless to say, there are no "real" proto-objects outside their presentation as manifold, "the real object is reflected in a mirror-image as in the virtual object which, from its side and simultaneously, envelops or reflects the real: there is 'coalescence' between the two . . . a double movement of liberation and capture" (Deleuze 1989, 68). Keeping what Deleuze says here in mind, the installation Proto-Objects may be seen to suggest alternative modes of signification within artistic experimental settings.
Transpositions [TP]
Neuro - Dynamic System v.01 (05/02/2015)
Art object: Visualisation, artist(s)/author(s): David Pirrò, Gerhard Eckel, Michael Schwab
This is the first visualisation of a dynamic system as part of Case Study One (Neuro) of the research project Transpositions.
This is the second visualisation of a dynamic system as part of Case Study One (Neuro) of the research project Transpositions.
This is the third visualisation of a dynamic system as part of Case Study One (Neuro) of the research project Transpositions.
This is the fourth visualisation of a dynamic system as part of Case Study One (Neuro) of the research project Transpositions.
This is the fifth visualisation of a dynamic system as part of Case Study One (Neuro) of the research project Transpositions.
Neuro - Dynamic System V.06 (Bremen) (08/05/2015)
Art object: Visualisation, artist(s)/author(s): David Pirrò
Case study 4: chromosome 1 interactions (14/07/2017)
Art object: Video, artist(s)/author(s): Michael Schwab
Interactions on chromosome 1 (nlps)
Charcoal drawings (01/01/2011)
Tacting (01/01/2010)
Art object: Digital artwork, artist(s)/author(s): Michael Schwab
Windkanalvideo (07/03/2016)
Introduction to: The Exposition of Artistic Research: Publishing Art in Academia (01/01/2014)
Publication: Article, Leiden University Press, artist(s)/author(s): Michael Schwab, Henk Borgdorff
The Exposition of Artistic Research: Publishing Art in Academia
introduces the pioneering concept of 'expositions' in the context of art and design research, where practice needs to be exposed as research to enter academic discourse. It brings together reflective and methodological approaches to exposition writing from a variety of artistic disciplines including fine art, music and design, which it links to questions of publication and the use of technology. The book proposes a novel relationship to knowledge, where the form in which this knowledge emerges and the mode in which it is communicated makes a difference to what is known. Schwab, Michael, and Henk Borgdorff, eds. The Exposition of Artistic Research: Publishing Art in Academia. Leiden: Leiden University Press, 2014. Email orders@lup.nl to order the book through Leiden University Press at € 39.95. Scroll down to download sample chapters. Contents Introduction Michael Schwab & Henk Borgdorff Considering Notes on Media Sensitivity in Artistic Research Mika Elo Artistic Researching: Expositions as Matters of Concern Ruth Benschop, Peter Peters & Brita Lemmens Exposition Rolf Hughes Aesthetic Sensibility and Artistic Sonification Marcel Cobussen Publishing The Meaningful Exposition Michael Biggs & Daniela Büchler Expositions in the Research Catalogue Michael Schwab Practising the Artistic Research Catalogue Ruth Benschop Artistic Expositions within Academia: Challenges, Functionalities, Implications and Threats Lucy Amez, Binke van Kerckhoven & Walter Ysebaert Practising 'Scaling Parnassus in Running Shoes': From the Personal to the Transpersonal via the Medium of Exposition in Artistic Research Darla Crispin Integrating the Exposition in Music-Composition Research Hans Roels When One Form Generates Another: Manifestations of Exposure and Exposition in Practice-Based Artistic Research Ella Joseph Writing Performance Practice Siobhan Murphy Placing Distant Voices and Bodies in a Market Square Andreas Gedin From Wunderkammer to Szeemann and Back: The Artistic Research Exposition as Performative and Didactic Experience Pol Dehert & Karel Vanhaesebrouck Between the White Cube and the White Box: Brian O'Doherty's Aspen 5+6, An Early Exposition Lucy Cotter Counter-Archival Dissemination Henk Slager Biographies Index
Art Criticism & Peer Reviewing (30/04/2015)
Event: Conference, artist(s)/author(s): Michael Schwab
During 'Unconditional L VE', the 2015 Spring Event of the Society for Artistic Research (SAR), I will be a panelist in a session on 'Art Criticism & Peer Reviewing' organised by Alexander Damianisch and Julie Harboe.
Making Proto-Objects (26/03/2015)
Event: Presentation, Kunsthal Aarhus, artist(s)/author(s): Michael Schwab
The presentation will explain the concept of 'proto-objects' through a few examples from my practice. With this concept in mind and with reference to Hans-Jörg Rheinberger's notion of 'Experimental System', the talk will highlight a tension between making and meaning that represents both a challenge to academia and an opportunity for artistic researchers. Link to their blog https://artisticresearchaarhus.wordpress.com
1) Figure and 2) Experimental Systems (04/02/2015)
Event: Presentation, Camberwell College of Arts, London, artist(s)/author(s): Michael Schwab
Michael Schwab will given an insight into his post-conceptual practice as artistic researcher. The talk will focus on his understanding of the notion of 'figure', which is more figural than figurative, and how it has informed his current research into 'unknown' states of information. The talk will describe this situation as 'experimental' in an attempt to highlight low-level processes of understanding that are hardly tangible but - perhaps due to this - very exciting. The recording was made by MA Fine Art Digital, Camberwell College.
Event: Seminar, Royal College of Art, London, artist(s)/author(s): Michael Schwab
Assuming that in artistic research we may encounter local and limited knowledges, it is difficult to speculate – in general – what its audience might be and what this audience may, actually, experience. It is not enough to simply believe that a host of negotiations have to be entered into, which will eventually be settled; rather, it may well be that the various identities that appear to meet during these negotiations are not necessarily stable and that, perhaps, something or somebody will have become that thing or body only through such a meeting. If this is the case, where is the knowledge and where is it not? And, what relations are implied? References: All JAR Editorials on: http://www.jar-online.net/ The JAR peer-review form: http://www.jar-online.net/app/webroot/uploads/JAR_Peer-Review_Form_2014.doc Lowry, Sean, and Nancy de Freitas. 2013. 'The Frontiers of Artistic Research: The challenge of critique, peer review and validation at the outmost limits of location-specificiy', 2013 Conference Proceedings (presented at the Critique 2013, Adelaide, South Australia), pp. 137–51. Rancière, Jacques. 2009. The Emancipated Spectator (London and New York: Verso), pp. 1-23. Foucault, Michel. 1990. Politics, Philosophy, Culture: Interviews and Other Writings, 1977-1984, Lawrence Kritzman (ed.), New Ed edition (New York: Routledge). The notion of probematization in the chapter 'The Concern for Truth', pp. 255-267. Agamben, Giorgio. 1993. The Coming Community, trans. by Michael Hardt (Minneapolis: University of Minnesota Press) Lomax, Yve. 2009. Passionate Being: Language, Singularity and Perseverance, First Edition edition (London ; New York : New York: I B Tauris & Co Ltd)
Transpositions 1 (08/05/2015)
Event: Performance, Jacobs University, Bremen, artist(s)/author(s): Michael Schwab, David Pirrò
Transpositions is a collaborative research project that investigates the possibility of generating new auditory and visual forms based on the analysis and mathematical transformation of scientific data. For this occasion, we will present a four-channel audio and video walk through a data set provided by the Computational Neuroscience and Neurocomputing research group at the KTH Royal Institute of Technology, Stockholm, which models large-scale biological neuronal networks in order to investigate memory processes. By remaining true to the data while employing an artistic working method will we seek to create alternative encounters with potentialities inherent in the data that are not yet accounted for. Transpositions is supported by the Austrian Science Fund.
Proto-objects. Transpositions of Brain Activity. (08/05/2015)
Event: Presentation, Jacobs University, Bremen, artist(s)/author(s): Michael Schwab
This presentation will introduce the artistic research project 'Transpositions. Artistic Data Exploration', a collaboration between Gerhard Eckel, Michael Schwab and David Pirro, which is funded by the Austrian Science Fund. Using recorded data from brain activity in one of its case studies, the project demonstrates how artistic engagement with data can escape the 'representationalism' that is often found when data is sonified/visualised adding additional, speculative dimensions to the works that are produced. Using this case study, I aim to demonstrate a 'gap' between notions of 'abstraction' and 'the abstract'. In this context, I understand 'abstraction' to indicate a representational relationship between source data and target object, where the latter, albeit abstractly, represents qualities of the former. In contrast to this, I understand 'the abstract' to denote a thought inscribed in an object that is had in relation to the source data, but which is not already believed to be present in it. 'The abstract', thus, exceeds 'abstraction' while remaining true to its data. While I hope that a presentation of our work will clearly demonstrate this difference, I will further elaborate on and thus entrench this understanding within a more philosophical horizon. On the one hand, I will relate to notions of 'figuration'/'the figural' (Lyotard, Deleuze, Krauss, Didi-Huberman) in order to explain what 'though' might mean here – and why it is important to contemporary artists and researchers. On the other hand, using the concept of 'proto-object' that I introduced elsewhere as part of an application of 'experimental systems' (Rheinberger) to artistic research, I will discuss the precarious status of such abstract objects ('the abstract') in so far as they are epistemically under-determined and threatened, in the 'wrong' eyes, to be seen, simply, as bad representations.
The Research Catalogue and the Journal for Artistic Research: New Modes of Presenting Artistic Research (01/10/2015)
Event: Festival, Orpheus Research Centre in Music, artist(s)/author(s): Michael Schwab, Paulo de Assis
Paulo de Assis and Michael Schwab will be discussing how experimentation and expositionality have developed hand-in-hand in MusicExperiment21.
Proto-objects (09/11/2015)
Art object: Installation, artist(s)/author(s): Michael Schwab
During 'The Dark Precursor. International Conference on Deleuze and Artistic Research 2015,' I will present an installation of four artistic developments of my ongoing work on proto-objects. The collaborators are: Florian Dombois, Einar Einarson, Miguel Figueira and Taslim Martin.
Nietzsche 6: The Weight of Music (28/11/2015)
Event: Performance, artist(s)/author(s): ME21 collective, Michael Schwab
Exposition Writing: Radical Epistemology (29/04/2016)
Event: Presentation, artist(s)/author(s): Michael Schwab
Expositionality is one of the key concepts of the Journal for Artistic Research (JAR). The term suggests that in the context of artistic research, practice may not only be seen as producing outcomes but also as the creation and communication of its own epistemologies. Thus, what 'knowledge' might mean in a specific project can become part of the aesthetico-epistemic labor of research. Understanding artistic research through such 'radical epistemology' has two chief implications: (1) the relationship between artistic research and contemporary art can be redefined; in effect, it is through notions of 'expositionality' that artistic research can not only become contemporary, but also enter a productive tension with contemporaneity itself. (2) it challenges the major forms on which our contemporary episteme are build, both in art as well as science; it may be that, in particular, an interest in the situatedness and locality of knowledge drives the development of artistic research. My keynote presentation will argue for expositionality as form of writing. It will explain this with reference to previous issues of JAR as well as JAR's submission policy and peer-review process. In a more speculative and programmatic part, I will try to sketch what is at stake when one is 'writing up' one's research: the staging of a very particular relationship to knowledge, which has the power to challenge and destabilize exiting, dominant epistemological narratives.
Transpositions: Data Rush (last edited: 2016) author(s): Michael Schwab, Gerhard Eckel, David Pirrò This exposition is in progress.
TRANSPOSITION NOT EXHIBITION A RESEARCH EVENT BY Gerhard Eckel, Michael Schwab, David Pirrò and Artemi-Maria Gioti Angewandte Innovation Laboratory, Franz Josefs Kai 3, Vienna Transpositions Lab May 14 – 16, 2016 10:00 – 17:00 daily with interventions by Paulo de Assis, Florian Dombois and Lucia D'Errico Symposium May 17, 2016 10:00 – 17:00 organised by Cecile Malaspina
A Plea for Experimentation (11/10/2016)
1. Proto-Objects 2. Transpositions 3. Experimental Systems 4. Expositionality
Jenseits von Gut und Böse (26/11/2016)
The presentation is part of the conference 'Art as a medium of thinking' at the AIL Vienna. Organised by the PEEK-Project "Artist Philosophers. Philosophy as Arts-Based Research"
Experimental Systems: Contemporaneity, Untimeliness and Artistic Research (13/12/2016)
Part of Kuva Research Days, 13/12/2016 11:00 Appropriating Hans-Jörg Rheinberber's work on 'Experimental Systems,' the presentation will make links to theories of contemporary art. It will suggest a possible departure of artistic research from contemporary art by deploying Nietzsche's notion of the 'untimely' against the famous claim made by Roland Barthes, who (inspired by Nietzsche, and quoted by Agamben) said that "the contemporary is the untimely."
JAR issue and website launch (28/04/2017)
Event: Event, artist(s)/author(s): Michael Schwab
Futures of the Contemporary (10/05/2017)
Event: Conference, artist(s)/author(s): Paulo de Assis, Michael Schwab
Orpheus Institute Academy 2017 (10-12 May) The contemporary points towards incommensurable definitions. Intensely debated in the fields of visual arts, art theory, and philosophy, it describes different practices, relating to disparate conceptual horizons. However, if distinguished from the contemporaneous of a given historical time, the contemporary becomes a selective concept: it promotes or excludes things and practices according to their ability of diagnosing previously unnoticed aspects of the present. In this sense, it gains a critical function, involving particular modes of relating to history and to one's own time. Following Roland Barthes' claim, who—inspired by Nietzsche, and quoted by Agamben—said that "the contemporary is the untimely", the contemporary might suggest artistic practices that run against their own time and epoch, implying specific forms of resistance. Beyond historicising frameworks, the 14th International Orpheus Academy for Music and Theory—Futures of the Contemporary—will explore and discuss new modes of thinking the contemporary in the arts, particularly focussing on music and music performance. Guest Faculty Babette Babich, Fordham University, New York (USA) Chaya Czernowin, Harvard University (USA/Israel) Heiner Goebbels, professor to the Justus Liebig University, Gießen (D) Claus-Steffen Mahnkopf, Hochschule für Musik und Theater Leipzig (D) Peter Osborne, Kingston University London (UK)
Transpositions. From science to art (and back) (04/10/2017)
Event: Conference, artist(s)/author(s): Gerhard Eckel, Michael Schwab, David Pirrò
Stockholm, October 4 to 6, 2017 The final research event of the project Transpositions: Artistic Data Exploration. Science and art are usually held distinct due to the different kinds of processes they employ and the character of the conclusions that they draw. However, what if artists were to extend scientific methodologies while radicalising their stance in post-conceptual art under the heading 'artistic research'? How can scientific data be pushed to the limits of representation? We think that science and art will still follow their own respective trajectories, yet they will start to 'talk' to each other in unexpected ways once their practices are enmeshed. After working with scientists and their data from fields as separate as computational neuroscience, quantum mechanics, cosmology, and molecular biology, and after preparing our artistic responses, we want to find out the character of our scientific-artistic conversations and how we can push the work even further. Transpositions are artistic forms created from scientific data that respect the epistemic potential of their material under aesthetic conditions. Extending representational registers, transpositions propose a new aesthetic-epistemic logic of material difference rather than formal identity. Placing the focus on transpositional operators – their inner workings and as strict logic – suggests inconsistencies are not detrimental to knowledge but necessary stages in a game of heightened complexity. The research event Transpositions: From science to art (and back) aims to provide an overview. It brings concepts, data, artworks, and people together for a three-day set of events spread across Stockholm. It offers numerous opportunities to engage with transpositions in exhibitions, installations, performances, presentations, and discussions. Keynote lecture by Hans-Jörg Rheinberger. With contributions by: Marcia Sá Cavalcante Schuback, Leif Dahlberg, Luc Derycke, Gerhard Eckel, Sabine Höhler, Victor Jaschke, Ioana Jucan, Tina O'Connell, Daniel Peltz, David Pirrò, Hanns Holger Rutz, Pelin Sahlén, Michael Schwab, Phoebe Stubbs, Nina Stuhldreher, Neal White and many more. In cooperation with the Royal College of Music, the Royal Institute of Art, the Royal Institute of Technology, Färgfabriken, and Audiorama. Funded by the Austrian Science Fund FWF (PEEK, AR 257)
Collisions. The contemporary in artistic research (13/12/2017)
Historically speaking, contemporary art, following modern and – so it existed – postmodern art, is the art of today. As such, it seems that art has ceased to be a historical project with less interest in change than remaining in circulation, in particular on a global scale. For some, this is the contemporary condition of art. At the same time, as the name suggests, in the con-temporaneity of contemporary art, different times and temporalities come together able to create links across times and across spaces that would otherwise be unthinkable. Following the famous claim made by Roland Barthes, who (inspired by Nietzsche, and quoted by Agamben) said that "the contemporary is the untimely", the contemporary might suggest artistic practices that run against their own time and epoch, or at least help problematize and re-emphasize particular relationships to time, history and historicity. However, what is the relationship of artistic research to contemporary art? Can it help to further artistic practices interested in resisting the flow of our times, or is it complicit in making art available now not only as material object but also as object of knowledge?
The Exposition of Practice as Research (26/08/2018)
Event: Seminar, artist(s)/author(s): Michael Schwab
Invited speaker at: Naked on the Beach. On the Exposition of Artistic Research The 6th intensive Nida Doctoral School summer course for DA and PhD students in art, design, architecture, humanities and social sciences. 26 August – 2 September 2018. Nida Art Colony of Vilnius Academy of Arts, Lithuania. Lecture: The Exposition of Practice as Research Arguably everybody concerned with artistic research will have encountered the question of what it is, which often comes paired with a challenge to its status as art or its validity as research. Rather than accepting such an impossible position between a rock and a hard place, over the last few years, practitioners have started to question whether 'art' as pitched against 'knowledge' is still a relevant concept and whether knowledge void of aesthetic experiences is worth having. As a consequence, the value of artistic research may be seen to lie in specific engagements between art and knowledge, in which neither is taken for granted to provide the guide against which a project is judged. Rather, definitions of art or knowledge are seen to emerge from a research project in specific ways. However, projects are never accessible as such; we only have their articulations to go by. Hence, a new concern has arisen regarding the mode and quality of such articulations, for which we, at the Journal for Artistic Research (JAR), coined the term 'expositions.' The lecture will explain the use of 'expositions' in the journal, engage with wider definitions of term and speculate how things may continue to develop.
Exploring Formats, Enriching Practice. A Research Event (12/10/2018)
Exploring Formats, Enriching Practice. A Research Event October 12-13, 2018 MUMUTH, Lichtenfelsgasse 14, 8010 Graz / Austria Exploring Formats, Enriching Practice brings together artists and theoreticians to explore forms in which to share developments emerging from art practices. The event will address the following questions: Which forms of sharing are relevant and adequate for artistic practice? Which formats can we think of that afford access and engagement while not compromising what is artistically important? What are the alternatives to a knowledge production driven and constrained by economic valorisation? The participants of the event will present and discuss examples of sharing engaged in artistic research. The event seeks to highlight possibilities of transposing rather than transferring what is gained from one context to another. Exploring Formats, Enriching Practice has been initiated by the team of artistic research project Transpositions [TP] Artistic Data Exploration (2014-17) and continues a series of research events that started in the context of the project The Choreography of Sound (2010-14) with On the Choreography of Sound (2012) and Mind the Gap (2013), both in Graz. Within TP two further research events took place, DA TA rush: Transposition not Exhibition (2016) in Vienna and Transpositions: From science to art (and back) (2017) in Stockholm. Artistic research events have been developed as experimental meeting formats combining artistic and academic contributions, aiming at articulating aesthetic experience and theoretical reflection. Following this tradition, Exploring Formats, Enriching Practice will also propose an unusual constellation of artistic and scholarly forms of presentation and participation.
works (collaborated)
Nietzsche 6+1 (22/11/2017)
Nietzsche 6+1
Exposition: In the prison of permanent change (22/11/2012) by Gerhard Eckel
Michael Schwab 29/11/2012 at 22:41
Answering your question will move the point away from your contribution here. It may be better to discuss what you are actually after in more detail, although I am not sure if I am the best person to do this -
In any case, I thought about the relationship between entropy and redundacy that I discuss in my PhD on p.40ff. The point is that we somehow operate between minimal and maximal redundancy (or disorder, for that matter) and that only because of this, structures are actually possible. My point is less that this may be due to the human etc. but rather that your model does not capture it (and that's why we are in a prison).
From the moment structures are possible, life/thought is possible. I tried to suggest with my previous comment that traditional music (or art) - but perhaps also other forms - may qua structure have introduced the possibility for life/thought. Going all the way to the other extreme as you suggest, closes that possibility again.
Why I am interested in it? - This is where I think I operate both in life and in art.
This is an interesting reply, since I wasn't sure what to expect. In a sense you are right, but you promote this 'minimal' setting i.e. a certain radical formalism that looks at order/entropy.
However, what about a rhythm or a meldoy (i.e. a musical structure or 'content' even)? May one not argue that they offer two types of identity at the same time, in the material and the experience?
Conversely, what music should you play that allows for identity (and freedom)?
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text:
Q: How does ISet have two Add(T item) methods that vary only by return type? I know I can't overload a return type (I think I know this).
void F()
{
}

bool F()
{
   return true;
}

..produces error already defines a member called 'F' with the same parameter types
However, I'm reading the documentation for ISet from MSDN, and I think I see the two Add methods that only vary by return type.
What is going on here?

A: The other Add method is an explicitly implemented interface method.
When an interface method is implemented explicitly, it cannot be called without casting the reference to the interface type first, which makes calls unambiguous, and therefore having multiple methods with the same signature is fine.
To do this in your code, you'd do, for instance
class MyCollection<T> : ICollection<T> {
    public void Add() { ... }
    void ICollection<T>.Add() { ... }
}

This avoids having to come up with alternate method names to avoid collisions with interface names, when you'd like the interface method to do something slightly differently than the other method.

A: The first "Add" method is actually ICollection<T>.Add, which is inherited.
When this is implemented in a class, at least one of the two Add methods will need to be explicitly implemented, ie:
void ICollection<T>.Add(T item)
{
   // ... Implement here

A: Interface methods can be implemented explicitly, like so:
public class Something : IINterface1, IInterface2
{
    public bool DoSomething();
    public void IInterface2.DoSomething();
}

Now the method returning void is only accessable if you cast the class to the interface:
Something s = new Something();
IInterface2 i = (IInterface2)s;
i.DoSomething(); // method returning void

redpajama_set_name: RedPajamaStackExchange


Now... should I get a life?
I thought the point of the whole last year was for you to have a life.
This is just the reward for all the effort!
Congrats, Bz. Lots of crazy love for our favorite Hag!
Does further life exists after six orange squares?
Congrats to our first Big Wee Hag! Well deserved, Bea!
Someone needs to raise the level cap.
I actually found her scarier as Grimhilde.
Snow White was the first movie my father ever saw. In the theater, right? He was terrified.
His favorite movie of all time is Bambi.
Doesn't "wee" mean small? So how can you be big and small simultaneously? Or is this like jumbo shrimp?
Absolutely recommended (for reading to your kid(s) someday too), first one is the Wee Free Men.
Like xiagan says it makes perfect sense if you read the Wee Free Men. As much sense as the Nac Mac Feegles can make anyway.


text:
Provocative and Unflinching
December 10, 2015 -
Poet, novelist named winner of Dos Passos Prize for Literature
Paul Beatty is the recipient of the 34th John Dos Passos Prize for Literature. Image: Hannah Assouline
Contemporary novelist and poet Paul Beatty is the recipient of the 34th John Dos Passos Prize for Literature, awarded annually by Longwood. Beatty is known for his razor sharp wit, which he wields to skewer racial politics, hypocrisy and sanctimony in his novels and collections of poetry. His most recent work, a novel titled The Sellout, has been widely hailed as provocative and unflinching.
The 52-year-old author, who was on campus Oct. 26 to deliver the Dos Passos address, came to prominence in the mid-1990s and quickly rose to the top of the ranks in the slam/spoken poetry community in New York City. He eventually broke out of that scene with his first novel, White Boy Shuffle, which was met with near universal high praise. Though he grew beyond his roots, poetry remained a driving force in his work.
"Paul Beatty is extremely willing to play with the boundaries within fiction and to do interesting things with his prose," said Dr. David Magill, associate professor of English at Longwood and chair of the Dos Passos Prize committee. "Beatty mixes poetry, melds genres and uses humor in his narratives to ask readers to rethink preconceived notions of both form and content. He's a wonderful writer."
Beatty's work, which often uses biting humor to break down cultural and racial barriers, is frequently taught at Longwood in contemporary literature and poetry classes.
The Sellout is Beatty's first novel in seven years and marks a return to the form for the writer.
The Dos Passos Prize, which is awarded annually by the Department of English and Modern Languages, is named for a talented but often overlooked 20th-century American writer. The prize recognizes contemporary writers who employ themes that run through Dos Passos' work: an intense and original exploration of specifically American themes, an experimental approach to form and an appreciation for a wide range of human experiences.
—Matthew McWilliams
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HOW TO tell which projects, tasks, and meetings are the most profitable?
Or which activities should have a higher priority as they contribute the most to reaching your team' goals?
Alright, only one more question: How do you keep your team motivated throughout long projects?
There's an easy way to answers all the questions mentioned above. It's called time-tracking.
Keeping a log of the team's and personal process helps to improve motivation as everyone can see the effect of their work. Moreover, you'll be able to analyze which tasks are the most productive, while reducing the procrastination during your days at work.
As you get started, time-tracking might be harder than you'd think. Here are our favourite time-management best practices that help you to create a habit, engage your team, and reap all the benefits.
You should never do something just because you think it MIGHT be useful.
To prove the point: when was the last time you evaluated all your work tasks to see which ones bring the greatest rewards?
Before taking up time-tracking, explain to yourself why you need it. Do you want to know where your time is spent? Which projects and tasks are the most profitable ones? Or where in the day the fatigue kicks in and your productivity levels plunge.
The first step to getting your team on board to work on a new project is to gather a meeting. It's the same way with getting them to track their time.
Show a case study – find a company or a friend that's already using a time-tracking tool and ask them to share their key learnings after starting to use a time-tracker.
Share your personal time sheets – the easiest way to make the point is to prove that you're aware of all the shortcomings yourself. Track your time for one week before sharing the results with your team.
Explain the benefits – give your teammates at least three key points how time-tracking would improve your collaboration and work results. Show how their work would improve as a result.
Ask for others' opinion – request whether your colleagues have concerns about time-tracking and find the best solution together with your team.
Before you start tracking everything you do, establish a structured system. Create projects and activity categories to have an organized overview of your work.
1. Start with projects – create a project for each client you're working for, for separate teams, for various goals – whatever you need to achieve and track.
2. Task categories – add task categories under each project to make logging your time easier and quicken the process.
3. Sub-tasks – establish sub-tasks under each task category so that everyone knows where they're supposed to log their time.
When creating a time-tracking framework, it's easy to get carried away with all the possibilities and future reporting options. Believe me, we've been there!
Instead of creating tens of different activity categories and sub-tasks, try to keep it as simple as possible. To add a touch of sophistication to your time-tracking structure, create tags that people can add when logging their time.
For example, create the tags #writing and #publishing to specify whether the time logged under "blog articles" sub-category was spent on writing or publishing a post.
Tags should serve as an add-on for personal time-tracking, making it easier to remind on which tasks exactly the time was spent.
Imagine you've completed a task of planning a project together with a client. Is it supposed to be logged under the category "Meeting", "Planning", or "Work for clients"?
To sidestep this kind of confusion, establish clear rules of which activity falls under which project.
Avoid creating overlapping projects as it will be difficult to evaluate your time usage later.
1. Create a Q&A document or a Slack thread where everyone can submit questions about logging their time. Answer the questions daily.
2. Create a shared file with examples of how to track different tasks and activities. Add explanations why each one falls under a specific category.
3. Review time sheets regularly to check whether everyone has logged their time correctly.
Alright. Imagine you've set up your tracking system and found a time-tracking tool to get started with.
Suddenly, all team members start to insert their time entries and log their time. At first glance, it might remind more of a hurricane rather than a neat time sheet system.
When a task doesn't seem to fit any pre-created category, people are tempted to create a new project or sub-category.
1. Establish user rights – avoid the chaos by setting user rights that prevent all users from editing your time-tracking framework.
2. Make it obligatory – logging one's time takes about 10 minutes each day. Make sure that each team member commits to completing this simple task at the end of each workday.
3. Offer help – taking up a new habit is difficult. Regularly ask your team members whether they grasp the new system and if they need additional guidance.
Yes, we know. Spreadsheets are EVERYTHING. They're so frequently used for planning and analysis that almost 90% of spreadsheets contain errors.
There so many better options to track your time. Like a cloud-based time-tracking tool that also compiles your reports in addition to systematically tracking your team's time.
1. Less hassle – you don't need to send tens of emails to collect everyone's time sheets. All the data's ready in your time-tracking tool.
2. Fewer errors – you'll instantly notice if something doesn't add up – the expected duration of a project is suspiciously low, or some employees are outperforming others by a way-too-big margin.
3. No more double data entry – instead of logging your team's time on spreadsheets and then compiling it into a work report, you can get automatically created reports inside your work management tool.
4. Anytime, anywhere – while Excel spreadsheets inhabit our PCs, a cloud-based tool makes your time sheets accessible anywhere and anytime.
What follows the monthly time sheet overview, is drawing conclusions, paying your team for their work, and billing clients.
Consider automating invoice creation by using invoicing software that automatically compiles neat invoices based on your logged time. With Scoro, you can even automate the sending of your recurring monthly invoices.
What else can you automate?
1. Overtime – let your team members log overtime and have this data show up in work reports.
2. Digital records – regularly have the time-tracking tool to back up your data. No more lost spreadsheets or outdated data.
3. Project-based reporting – Don't just track the overall time worked. Break up your work reports by clients, projects, task categories, etc.
You always set one person to be responsible for a project, right?
The one person that regularly reviews the project progress, keeps their eye on the key performance indicators and reports to the management.
You also need one person to take the accountability for your team's time-tracking.
1. Review frequently – especially in the starting phase, your time-tracking progress needs to be reviewed at least once a week, even better if once per day (for the first two weeks). Check whether everyone's logging their time and if they're doing it correctly.
2. Provide guidance – getting used to a new time logging framework might be difficult at first. So make sure that there's a person that others could turn to for help.
3. Constantly improve the system – according to other team embers' suggestions, personal notes, and other feedback, constantly bee on the lookout for a way to enhance your time-tracking. Be it by adding new projects or task categories, or creating new types of reports.
In Scoro, the entire team logs their time.
Because of that, we're able to evaluate our projects' progress, see how and where everyone's time is spent, and avoid inefficient work.
Not once per week and not after completing each new task. The most productive way to track time is to do it at the end of each workday. You might forget something when you do it less frequently.
Don't waste time logging your time after completing every single task. Instead, keep a list of finished activities. Not only do you feel more productive and motivated when crossing out the completed tasks, you'll also remember what to log at the end of the day.
This might not work in all time management tools. But in Scoro, you can create a task and the log time entries under it. So when working on the same task each day, you could simply add a time entry instead of creating a new task each time.
This one depends on the nature of your work. If you're billing clients based on the time worked, you should track it with a minute accuracy. But if you're simply logging time to track how the majority of each team member's time is spent, you can allow yourself to track time with 5- or even 20-minute intervals.
Nobody's actually working all the time they're in the office from 9 A.M. to 17 P.M. Allow yourself to have a lunch and regular breaks and don't be worried to keep this time unlogged. Having 6-7 productive hours each day is only natural.
If you're in the manager's role, ask yourself whether you prefer well-rested and productive employees or slightly higher results, resulting in a higher burnout rate.
As you take up time-tracking in your company, the first few months might bring about more hassle than benefits. But trust us. You'll be able to prioritize and delegate much more efficiently in the future.
Now, go and apply all these newly learned tactics to your daily time-tracking and be in control of your work!