The call is open between 17 September and 1 December 2019.
Henk Borgdorff, referencing Christopher Frayling’s influential paper of 1993, distinguishes between research on, for and in the arts. This trichotomy has proved useful in establishing artistic research as taking place through and within artistic practice. The distinction has also served to delineate what does not constitute artistic research. For example, even though research for the arts facilitates artistic practice, it is often considered secondary or external to artistic research itself.
However, the development of instruments and tools is an implicit part of the research within many other disciplines. Thomas Kuhn observes that, within a new paradigm, “scientists adopt new instruments and look in new places. Even more important, during revolutions scientists see new and different things when looking with familiar instruments in places they have looked before”.
In a not yet published paper, the composer and philosopher Rebecka Ahvenniemi quotes Theodor Adorno’s postulate that “each and every important work of art leaves traces behind in its material and technique”. She regards art as a source for change and suggests that “the work may come to affect its own tools and materials, and the social space around it.” Historically, there are many examples of how research in and research for the arts have overlapped. For example, the post-WWII history of electronic music mostly took place at experimental research centres, where artistic and technical experimentation and development happened in tandem, with a high degree of interaction and correspondence between the two.
VIS Issue 4 wants to re-examine the relationship between research in and research for the arts. We invite artistic research that enters into critical and transformative dialogue with its own tools, techniques and materials. This might be projects that involve the invention, construction, development, modification, improvement, hacking, exploitation or abuse of tools, techniques and materials. Contributors are invited to present the artistic research questions, context and outcomes in which such approaches emerge and to reflect upon how work on tools and materials relates to the artistic practice and research itself.
 Borgdorff, H. (2012). The conflict of the faculties: Perspectives on artistic research and academia. Amsterdam: Leiden University Press, pp. 37-39.
 Thomas S. Kuhn. (1996). The structure of scientific revolutions (3rd edition). Chicago and London: The University of Chicago Press, p. 111.
 Adorno, T. W. (1997). Aesthetic Theory. Minnesota: Regents of University of Minnesota, p. 44.
 Ahvenniemi, R. S. (2019). Musical Compositions and Fractures. Leaving Traces in Material, Technique, and Thought. Presented at the 2019 Biennial Conference of the RMA Music & Philosophy, King’s College. Paper yet unpublished. Quote confirmed by the author.
To apply for the open call: create, design and submit an exposition (in draft) using the database Research Catalogue (RC). You need to register a full account in RC. On the RC, click ”create exposition” and use the help offered in RC-guides, tutorials and RC-support. Submit your exposition to the VIS Portal Page in RC (in the menu, choose “Submit for publication” and then choose the portal “VIS – Nordic Journal for Artistic Research”, confirm by “Submit”).
You should consider your “exposition-draft” as only a proposal. You can leave notes within the draft that explain further developments and ideas. If your proposal is chosen by the Editorial Committee, it will be peer-reviewed and you will have about 4-5 months to edit it before publication in VIS Journal.
The Editorial Committee selects five-to-eight contributions to each issue of VIS.
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The RC functions as a platform for the dissemination of self-published content as well as peer-reviewed publications. The RC hosts a number of journals and institutional publications that are peer-reviewed.
To be able to participate in VIS, you need to register an account in Research Catalogue (RC). Peer-Reviewers register a "basic account" to be able to participate in the review-process. Authors need to register a "full account" to be able to create expositions. RC is free of charge.
Learn how to create expositions with the RC-guides. Some institutions that are portal partners in RC gives lessons in how to use the publishing tool. Portal partners in RC can be found here. When you have a registered account in RC you are able to share your exposition with different contributors.
Register in RC
VIS holds an open call for every issue. 5–8 expositions will be selected by the Editorial Committee. As described above, all expositions are created in the database Research Catalogue.
If your submission is selected for consideration by the Editorial Committee, an external peer-reviewer will be chosen to evaluate it. The peer-review will take approx. 2 months; the review process will be partly dialogue-based so that it may be collaborative and developmental as well as evaluative. After peer-reviewing, you will have the opportunity to carry out further work on the exposition and you will get in copy-edited before submitting it for publication.
VIS is interested in exploring new ideas for the process of peer-review in artistic research. Models that combine rigorous scrutiny of work with a collaborative and developmental process are of particular interest to the Committee.
As a peer reviewer for VIS, you will be an expert in your own field and have a solid knowledge of what artistic research means. It is a great advantage if you are experienced with the exposition format in the database Research Catalogue or have peer-reviewed expositions and articles in experimental and unconventional formats.
Do you fit this profile and does the process of collaborative and developmental review appeal to you? If so, please send your expression of interest, accompanied by an up-to-date curriculum vitae, to: email@example.com