Praxis and Poiesis from arts practice towards art theory


DESCRIPTION
Praxis and Poiesis aims to promote, stimulate, support and disseminate research in fields related to the arts, in its proximity to sciences, media and culture, by carrying out research that contributes to the development and dissemination of knowledge, and the socio-cultural growth of the regions where its activities are implemented, increasing production and transmission of the arts in articulation with technology.
KEYWORDS
Art/Curatorial Practice | Visual/Critical Thinking
Memory | Identity | Becoming | Affect | Perception Science/Technology | Digital Interaction/Activism Sustainability | Place | Heritage | Material
STRUCTURE

The area of Art Studies is manifested in diverse types of knowledge. Due to the combination of skills thus far, the group proposes/suggests that research should be organised according to four thematic areas, which are briefly described below. We draw attention to the fact that the boundaries between the themes are liminal thresholds only necessary to establish an initial research framework – as this group research and expertise is centred in the visual arts, most certainly crossovers and links between the themes will be explored.

Group Coordinator elected by the Scientific Committee, two-year renewable term;
Scientific Committee formed by all integrated members;
Project coordinators emerge out of the projects themselves;
Plenary meetings with all members of the group (bi-yearly).

The existence of a Scientific Committee is anticipated within this structure: formed by all integrated members, so that all researchers/Integrated Members (Scientific Committee) will be involved as coordinators of the presented thematic areas, and whom will be responsible for:

• Initiating and promoting projects;
• Elaborating funding applications;
• Communicating/presenting their research actions to society (through editing journals; international congresses); • Organizing festivals, exhibitions and workshops;
• Encouraging other activities in partnership with cultural/scientific and social institutions.

The collaborating individuals – Post-Doctorate researchers; doctorate or masters students; and invited specialists – will be integrated according to the projects to be developed.

The proposed areas are:

Artistic Practice [art as production – the making (art studio; object)]:

  • the significance of the work through its own artefacts – interaction, interrelation, mutual understanding – as a process of production of contents;
  • art as a legacy in itself (Art for art’s sake);
  • the intrinsic questions of the making, as well as research that focuses on performance practices, drawing, painting, sculpture and installations – regardless of the medium in which it materialises, but rather expanding and questioning the boundaries between the studio and/or the construction of socio-cultural public space and/or project presentation.

Critical-philosophical thinking in/about art [art as an act of reflection – exegesis; thought (aesthetic; curating; critical and/or self-reflexive)]:

  • exploring methodologies, the construction of knowledge through artistic creation and the aesthetic experience of reception/participation, the techniques and of the poetics.

Transdisciplinary technical/technological Intersections (media, art and science – media lab):

  • the medium as a process that can intrinsically guide the development of the work/artistic object and its display (not as a concept but as an object), with codes, tools and circulation supports;
  • the framing and contextualization of projects that relate to practices which are dependent on specific technological mediation (e.g. video, photography, sound, mediated perception, augmented reality, virtual reality, affective computing, interface, interaction, biofeedback, etc.);
  • the structuring of this line of questioning in relation to the practice of art with scientific, industrial and procedural exploration in other disciplines such as biology, medicine, health, engineering, climate sciences, agriculture, geology, museology, etc.

Artistic Education:

  • forms and methods for pedagogical practice (Can art be taught? How should the artist of the future be taught? And children and young people?), exploration and development of specific methodologies and techniques for art education and research in art and through art – technological mediation and complex issues of education (e.g. distance learning and virtual communities, communities with special needs).
STAFF
Integrated researchers (PhD)
Paulo Bernardino das Neves Bastos
Daniela Graça Silva Rocha
Fabiana Feronha Wielewicki
Graça Maria Alves dos Santos Magalhães
Joana Trigueiros Rafael Sampaio Rodrigues
José Pedro Barbosa Gonçalves de Bessa
Maria Manuela Carvalho de Sousa Lopes
Nuno Miguel Chuva Vasco
Sérgio Rafael Tomé das Neves Eliseu
Integrated researchers (no-PhD)
Gilberto Miguel Tavares dos Reis
Guy Amado
Ivo Daniel Valente Fonseca
João Manuel Gonçalves Ribeiro
Jorge Miguel da Silva Reis
Marta Sofia da Silva
Sonia Isabel Pereira de Carvalho
Other researchers
Hugo Filipe Rodrigues Paquete
João Vilnei de Oliveira Filho
José Miguel Santos Araújo Carvalhais Fonseca
Luísa Maria Lopes Ribas
Maria Isabel da Fonseca e Castro Moreira Azevedo
Marta Isabel Sobral Ribeiro de Menezes da Silva Graca
Milton Terumitsu Sogabe
Priscila Almeida Cunha Arantes
Rosa Maria Pinho de Oliveira
Rosangella Leote
Suzete Venturelli
OBJECTIVES
As comprehensive objectives, we propose to:

– Promote an inter/transdisciplinary research with a centre in the experimental and original creation of artistic projects, individual, collective and socially inclusive;
– Develop, explore and stimulate research activities and outcomes in artistic and technological areas that underlie the visual and performing arts practices of the members of the broad group of researchers and collaborators;
– Foster a critical discussion and disseminate knowledge in the context of the Arts Studies and Praxis.

In the coming years the aims are to deepen and broaden research extending the collaboration through protocols to other research groups and institutions through joint application for fundraising and support for projects, at international and national level.

MAIN
ACHIEVEMENTS
Between 2013-2017 the group finished several funded PhD research projects, numerous masters and a few Postdoc projects – which ignited research in the fields of art criticism, photography, science and technology, memory studies and neuroscience, sociology of art, teaching of the arts; interaction, augmented reality, digital culture or culture and tradition, representation in cultural and scientific collections – presenting them at conferences, publishing in national and international scientific journals, producing curatorship and participations in exhibitions and festivals of renown impact.

Examples:

1. Chairing of two editions of the International Meeting on Art and Technology – #ART: seeks to explore the relations between art, science and technology through the analyses of concepts, such as: territory and culture; materiality and immateriality; thought and action; memory and identity; and confront them with the new notions derived from contemporary thought to articulate and update the discourses on the area of research and artistic production.
– #16. ART was held at the University of Oporto, in 2017, under the theme “Artis Intelligentia: Imagining the Real”
– The #14.ART was held in 2015 at the University of Aveiro with the theme “Art and Human Development”.
Both editions brought to Portugal excellent examples of research in the arts including participation of circa 400 authors from more than a dozen countries.

2. Participation in the European Project NERRI | Neuroenhancement Responsible Research and Innovation, included in a Postdoc arts research project and the Curation of the World Class International Exhibition Enhancement: MAKING SENSE at i3S in Oporto. The exhibition attempted to bring into conscious acknowledgement some of the unseen processes of the brain/mind/body through which one perceives the world and ourselves, by challenging artists to explore different ways to accentuate how art operates in an era of biotechnology, in a world that is organically and imperceptibly both human and non-human.

3. Structured and developed the R&D project RAMPAP | Augmented Reality versus Enhanced Reality, an exploratory Arts based project in an Anatomopathology Laboratory, which uses the artistic gaze allied to the technology of Augmented Reality to inform medical research on anatomopathology and question the understanding of the relationships body/health/identity/memory. The project developed as a sequence of a PHD research in partnership with several Institutions such as the Francisco Gentil Portuguese Oncology Institute of Coimbra | EPE and the Aveiro University. The outcomes of this research were presented at the Virtual Augmented and Mixed Reality VAMR conference in Toronto 2016 and on a book chapter in Humanities as Science Matters.