The impossibility of perfect translation is a widely acknowledged trope, yet translation remains a powerful act of meaning-making. This research-creation project investigates not what is lost, but what is gained through translation, by presenting and reflecting on our artistic re-interpretation of <em>Dichterliebe</em>, Robert Schumann’s nineteenth-century song cycle on texts by Heinrich Heine. Drawing on theories of translation by Walter Benjamin, Umberto Eco, and Hans Vermeer, we approach art song translation beyond its conventional linguistic scope, exploring it as a mode of modernization and gendered recontextualization. Our project, <em>The Poet’s Love(r)</em>, features a new, singable English translation, alongside newly composed spoken poetry that gives voice to the song cycle’s historically silent female protagonist. In our methodological approach, we consider translation as a generative act within a broader artistic assemblage, incorporating artificial intelligence (AI)-generated images derived from the translated texts. These visuals, created with minimal textual prompts, offer a ‘post-human’ reflection on our hybrid nineteenth-century/twenty-first-century intervention, illuminating both the creative potential and the inherent biases of AI-generated art. Through an iterative process of artistic experimentation, pedagogical engagement with students at the mdw — University of Music and Performing Arts Vienna — and comparative analysis of contemporary <em>Dichterliebe</em> adaptations, we examine the strengths, limitations, and ethical considerations of translation as artistic research. Ultimately, we argue that translation — understood both linguistically and as creative transformation — can enhance access to art song’s multiple communicative layers (music, text, subtext), expanding its interpretative possibilities. By embracing a translational methodology, we advocate for a shift away from rigid notions of fidelity to historical works and toward a more dynamic, pluralistic engagement with musical tradition, informed by feminist, posthumanist, and experimental artistic perspectives. By situating <em>The Poet’s Love(r)</em> within a broader assemblage of interpretations — drawing on Paulo de Assis’s concept of musical works as decentralized, evolving entities — the project challenges traditional notions of fidelity and authorship in art song. It argues for translation as a vital creative practice that expands accessibility, deepens emotional resonance, and enriches the afterlife of canonical works. <style> /* rules to make button only show up in META */ .download-accessible { display:none; } .meta-right-col .download-accessible { display: inline-block; padding: 9px; margin-bottom:25px; border: 1px solid black; background-color:white; } </style> <a class="download-accessible" href="download-media?work=3794668&file=3794701" title="This accessible PDF is a derivative of the original which it is meant to support and not replace.">Download Accessible PDF</a> keywords: Dichterliebe, Schumann, translation, Gender studies, art song, reflective practice, post-human, the poet's lover, Lieder, song cycles, poetry, voicing the unvoiced, agency, piano, voice, female voice, empathy, AI

Living Lines of the Barely Noticeable is a long-term artistic research project aiming to develop distinct artistic approaches to relate to and interact with flying insects and provide the artistic research with a theoretical and practical context by reflecting on relationships and connections with the more-than-human world that occurred within the research. The research aimed to explore ways and manners, that can contribute to more meaningful relationships with a more-than-human entity. This resulted firstly in approaches that explored ways to relate to flying insects: reflective attempts studying glimpses and tatters of ‘insectness’ and the circumstances that shaped the way we related to each other. Secondly, I developed approaches that explored manners of being close to (or intimate with) flying insects. These approaches involved more active, hands-on experiments and attempts to interact with flying insects. <style> /* rules to make button only show up in META */ .download-accessible { display:none; } .meta-right-col .download-accessible { display: inline-block; padding: 9px; margin-bottom:25px; border: 1px solid black; background-color:white; } </style> <a class="download-accessible" href="download-media?work=3307173&file=3307179" title="This accessible PDF is a derivative of the original which it is meant to support and not replace.">Download Accessible PDF</a>

Environmental science has shown that the global use of concrete has led to significant challenges today and will seriously trouble future generations. Nevertheless, international building industries advertise concrete as a natural, regional, sustainable, and hence green material. In 2020, global human-made mass exceeded all living biomass, with concrete accounting for nearly half of it, making it a signal of the Capitalocene. A radical transformation of industrial building culture is asked for, otherwise anthropogenic mass will be three times biomass by 2040. The growth of the technosphere is amplifying multiple negative currents in the pluriverse — air pollution, lithospheric extraction, and hydrosphere depletion — all with catastrophic effects on biodiversity. This exposition displays the steps in and findings of the artistic research project Greenwashed Concrete. Setting out to widen understanding of the multi-layered material concrete, this project applied a methodology of juxtaposing two sculptural practices in order to collaboratively design experimental settings to engage scholars from heterogeneous fields. <style> /* rules to make button only show up in META */ .download-accessible { display:none; } .meta-right-col .download-accessible { display: inline-block; padding: 9px; margin-bottom:25px; border: 1px solid black; background-color:white; } </style> <a class="download-accessible" href="download-media?work=3155507&file=3155515" title="This accessible PDF is a derivative of the original which it is meant to support and not replace.">Download Accessible PDF</a>

'Bummock: Tennyson Research Centre' is an artistic research project involving three artistic researchers: Andrew Bracey, Danica Maier and Sarah Bennett. A bummock is the unseen — submerged — part of an iceberg, and comprises the largest volume of ice, compared with the tip — which is visible above the surface of the water. Likewise, archives hold more items than are commonly viewed or accessed. In Bummock, we choose to bypass the catalogue to engage with materials directly, establishing a 'controlled rummage' method as an alternative approach to standard archive access practice. This iteration of the Bummock project explores, examines, and creates new artistic research from five years of working with the Tennyson Research Centre (TRC), Lincoln, UK. This exposition has been collaboratively authored by the three artistic researchers and is structured into two sections. The first, labelled the 'controlled section', serves to introduce the project and its core concerns. The second, referred to as the 'rummage section', provides visitors with the opportunity to navigate their own path through the archival objects from the TRC and the artworks created. Within this section, individual reflections and critical discussions on three themes are presented: our past experiences working with archives, the research journey of the project, and potential future directions stemming from our research. The exposition concludes with a collective summary of findings and a film documenting the project. The contribution of this exposition is twofold: first, to unveil and disseminate the artistic research associated with the project, and second, to identify the key benefits that artists can bring to the archive by employing the 'controlled rummage' approach. The intention is to establish a framework that facilitates future use by other archive users. <style> /* rules to make button only show up in META */ .download-accessible { display:none; } .meta-right-col .download-accessible { display: inline-block; padding: 9px; margin-bottom:25px; border: 1px solid black; background-color:white; } </style> <a class="download-accessible" href="/profile/download-media?work=2936353&file=2936358" title="This accessible PDF is a derivative of the original which it is meant to support and not replace.">Download Accessible PDF</a>

In Doppel- oder Mehrfachbelichtung bergen die zufälligen Vermischungen von unterschiedlichen Orten und Zeiten auf einem Photo die Möglichkeit, Unbekanntes, Unbewusstes aufzuspüren, Spekulationen über Zufall, Leere und Unendlichkeit anzustellen oder Immanenz zu erfahren. Dieser Artikel begibt sich mit dem Konzept der Non-Photographie von F. Laruelle, des aleatorischen Materialismus von L. Althusser sowie den immanenzphilosophischen Überlegungen von G. Deleuze und F. Guattari auf die Spuren einer Ontologie resp. einer non-onto-photo-logischen Beschreibung von Doppel- oder Mehrfachbelichtungen. Im Zentrum dieser Betrachtung steht die Annahme, dass eine Photographie nicht als ein Klon der Realität, als ein fetischistischer Realismus zu betrachten ist, sondern als Umkehrung dieser Ordnung: In der Imagination begründet sich die Realität der Photographie, weil in Doppel- oder Mehrfachbelichtung durch das Ineinandergehen der Objekte den Objektformen die Kausalität entzogen wird. Es entsteht ein erkenntnistheoretisches, ein sinnliches Dazwischen. Diese zentrale Annahme, dass in einer solchen Nicht-Standard-Ästhetik der Doppel- oder Mehrfachbelichtung keine Doubles der Welt produziert werden, sondern Indeterminanten, hat zur Folge, dass diese Zufälligkeiten, Variablen und Szenarien auch als solche erkannt werden müssen, weshalb in diesem Artikel theoretische Legenden im Anschluss an Laruelle, Althusser und Deleuze/Guattari entwickelt werden, die es erlauben, die Immanenz der Bilder zu erfassen. English N-fold Exposures - Non-Photography, Aleatory Materialism, Images without Objects In classical photography, analog double or multiple exposures are considered as an accident, a mistake, or unaesthetic. But the accidental blending of different places and times in a photo holds the possibility to detect the unknown, the unconscious, to speculate about co-incidence or to experience immanence. This article goes on the traces of an ontology resp. a non-onto-photo-logical description of n-exposures with Francois Laruelle’s non-philosophical visual aid as well as the philosophy of Althusser, Deleuze and Guattari. At the center of this consideration is the assumption not to regard a photo as a clone of reality, as a fetishistic realism, but as an inversion of this order: not the photo simulates reality, but the image establishes reality. Therefore a photo can develop a life of its own, a reality of its own. Through the interlocking of objects in multiple exposures, the object forms in the photography are deprived of causality, thus creating an epistemological, a sensual in-between, i.e., possibility spheres of imagination and experience. The reflection that in the non-standard aesthetic of n-fold exposure no doubles of the world are produced, but indeterminants, has the consequence that these variables and scenarios has to be recognized as such. That is why in this article theoretical legends are developed, which allow to capture the immanence of the images by means of a non-standardized aesthetics. <style> /* rules to make button only show up in META */ .download-accessible { display:none; } .meta-right-col .download-accessible { display: inline-block; padding: 9px; margin-bottom:25px; border: 1px solid black; background-color:white; } </style> <a class="download-accessible" href="/profile/download-media?work=2936353&file=2936356" title="This accessible PDF is a derivative of the original which it is meant to support and not replace.">Download Accessible PDF</a>

In general, zoo architecture directs the attention towards the animals. The buildings create ‘frames’ around the animals, as John Berger (1980) states in his 1977 essay ‘Why Look at Animals?’. Following this premise, my work explores visual and psychological aspects of framing, relating to animal housing. Judith Butler (2009) explains how (visual) framings always create meanings and evaluations of what is enclosed within them. Therefore, the representation of animals in human culture affects how we treat animals socio-politically. Zoos generate and communicate ongoing conceptions of zoo animals. Zoo architecture, although often in the background of one’s field of vision, forms an important factor in the construction of these ideas.

In recent decades, digital technology has accelerated the development of new musical instruments, not only establishing new techniques for creating sound but also enabling new performance practices. From the perspective of the performer, this has significantly broadened their possibility to express themselves, but through earlier experimentations it has become clear to me that audiences have problem comprehend such use of new musical instruments. In a traditional setting, when an artist performs with an instrument the audience can build on their cumulative experience and knowledge to evaluate the skill of an artist. With new experimental instruments such a strategy to understand a performance is not possible. This text describes my work with the dance performance Sound of Silence, and the creation of a device called the Looping Camera. Base on previous experience from using sensor technology in musical performances combined with theories and about the listeners position, we tried find a new approach to the creation of new sound producing devises that could overcome earlier problems with audience comprehension. With our work we tried to create a device that, even if it was largely unfamiliar for the audience, could establish a sense of meaning for the audience by including references to non-musical media technology. This performance also resulted in the developing of an analytical concept, that of “sonic tools”, that is meant to draw attention to the aesthetics of new an unfamiliar instrument through liberating such tools from the dichotomy of musical vs- nonmusical sounds.