Art Practice Commons^™

Ecological Functions Of The Document In Art And Design: Diplomatic Documents In Artistic Inquiries, Yann Aucompte

Proceedings from the Document Academy

A certain ecologist art form has been on the rise for the past twenty years. Those artworks include documents. The analysis will take two examples : Tale as Tool, and Chroniques de l’accueil. The use of documents doesn't deal with representation, as it used to be in art, but with inquiries. The ecological art tries to trigger testimonies and transformations of the common representation of nature. They don’t use documents as a trace but for their diplomatic capabilities. The document doesn’t record events or facts but it changes the situation. The ecological artists come with this paradoxical art stance : …

No Canvas, No Rules, Francisca B. Ugalde

Proceedings from the Document Academy

This presentation activity is a creative exploration of the concept of DIS-EASE, as in the absence of ease, uneasiness, or discomfort.

Conceptually, I am exploring DIS-EASE in three ways:

1. As you can see, I am painting directly onto the gallery wall. As the keeper of these galleries, I can assure you that this is a big no-no. I mean how dare anyone disturb these pristine surfaces?! The rationale behind my discomfort is rooted in the idea that the gallery is a sacred space, and that these walls ought to be kept pristine so that the objects displayed against them …

Reflective Documentation As A Movement Potential: Two Digital Platforms Building A Professional Learning Community, John Taylor, Defne Erdur

Proceedings from the Document Academy

Creating dance and training dancers is a collaborative and co-creative process, and teaching has a central role in the co-creative artistic processes. Yet dance teachers, whether free-lance or working in an institution, often develop and maintain their physical teaching practice in isolation. Additionally, because of the ephemeral nature of dance and the relational nature of dance education, these practices usually do not end up being recorded or documented as a body of knowledge. In the face of such a reality the online database IDOCDE.net provides a platform for the development and maintenance of an inclusive professional learning community through a …

Performing The Quality Of Imperceptible Interactions Between Individuals: A Technological Challenge Regarding The Collective, Marine Theunissen

Proceedings from the Document Academy

Contemporary technologies allow incredible possibilities of capturing individuals, but a problem arises when it comes to capturing a chorus, that is to say a "collective body" in motion. This proposal will address the problem of the sensitive capture of the quality of the interrelations between individuals, and of their refined interpretation through algorithms to "output” them in other forms. We will address two questions on the subject: how to capture the relations between individuals within a collective? How to create a circular-causal loop, whose artistic material (the digital data) is the interrelations of a collective, without engendering redundancy in their …

On The Borders Of The Document: Trip To Turakia, Sabine Roux, Caroline Courbieres

Proceedings from the Document Academy

Analysis of documentary boundaries through the study of a set of documents related to the French Theater Company Turak. We describe as artistic documents the different documents that circulate during the creation of a play. There is an initial documentary collection comprised of the documentation for the performance on which the company relies to stage the play itself. At different stages of artistic creation, the company designs documents that are useful for the pursuit of creative reflection. The theater company also develops documents aimed at promoting the play for professionals and the public. Finally, the spectators also produce many documents …

Gauguin's Savage Document Work: Understanding As Function, Tim Gorichanaz

Proceedings from the Document Academy

We tend to think of documents as things that provide answers, but documents can also provoke questions. This can be seen clearly in the study of art-making as document work, since the power of art is not in how it can represent reality, but how it can pose questions to reality. In this paper, I examine the work of 19th-century artist Paul Gauguin, which proceeded through iterative abstraction and productive reproduction. Gauguin's document work was a mode of questioning with the epistemic and communicative aim of understanding.