Artistic Research Syndrome

En aquest assaig presento una construcció heurística que anomeno «la síndrome de la investigació artística», una constel·lació de símptomes culturals associats, a grans trets, que tenen a veure amb el desplaçament del sentit. El meu objectiu és obrir una nova perspectiva a les pràctiques d'investigació artística en un marc teorètic cultural més ampli. El plantejament s'informa per la hipòtesi que hi ha una desestabilització en curs de les jerarquies condicionades culturalment entre les diferents dimensions del sentit (en tots els sentits de la paraula sentit) i que les pràctiques de la investigació artística tenen un paper significatiu en aquesta desestabilització. «El síndrome de la investigación artística» indica una crisi en els models d'investigació motivats per la teoria i el renaixement dels marcs d'investigació pragmatogònics. És un senyal de la relativització radical de les concepcions del món centrades en els humans i el reconeixement d'agències no humanes. Provoca el reconeixement de formes de coneixement prèviament subestimades. Domina en els punts neuràlgics de les economies i ecologies del coneixement d'avui dia. Abordaré alguns aspectes clau de la síndrome de la investigació artística per mitjà d'un conjunt de qüestions interrelacionades que afecten la relació entre l'estètica i la investigació artística. Formularé aquestes qüestions amb els termes tècniques culturals, desplaçament del sentit i treball de frontera.En este ensayo, presento una construcción heurística que llamo «el síndrome de la investigación artística», una constelación de síntomas culturales asociados en líneas generales que tienen que ver con el desplazamiento del sentido. Mi objetivo es abrir una nueva perspectiva a las prácticas de investigación artística en un marco teorético cultural más amplio. El planteamiento se informa por la hipótesis de que hay una desestabilización en curso de las jerarquías condicionadas culturalmente entre las diferentes dimensiones del sentido (en todos los sentidos de la palabra «sentido») y que las prácticas de la investigación artística juegan un papel significativo en esta desestabilización. «El síndrome de la investigación artística» indica una crisis en los modelos de investigación motivados por la teoría y el renacimiento de los marcos de investigación pragmatogónicos. Es una señal de la relativización radical de las concepciones del mundo centradas en los humanos y el reconocimiento de agencias no humanas. Provoca el reconocimiento de formas de conocimiento previamente subestimadas. Domina en los puntos neurálgicos de las economías y ecologías del conocimiento de hoy en día. Abordaré algunos aspectos clave del «síndrome de la investigación artística» a través de un conjunto de cuestiones interrelacionadas concernientes a la relación entre la estética y la investigación artística. Formularé estas cuestiones en términos de «técnicas culturales», «desplazamiento del sentido» y «trabajo fronterizo».In this essay, I present a heuristic construction that I call “artistic research syndrome”, a constellation of loosely associated cultural symptoms that all have to do with displacement of sense. My aim is to open a new perspective on artistic research practices in a wider cultural, theoretical frame. The approach is informed by the hypothesis that there is an on-going destabilisation of the culturally conditioned hierarchies between different dimensions of sense (in all senses of the word “sense”) and that artistic research practices play a significant role in this destabilisation. “Artistic research syndrome” indicates a crisis of theory-driven models of research and the revival of pragmatogonic research settings. It is signaling the radical relativisation of human-centered conceptions of the world and the recognition of non-human agencies. It provokes the recognition of previously underestimated forms of cognition. It holds sway on the neuralgic points of today’s economies and ecologies of knowledge.I will address some key aspects of “artistic research syndrome” through a set of interrelated questions concerning the relation of aesthetics and arts research. I will formulate these questions in terms of “cultural techniques”, “displacement of sense” and “boundary work”

Digital finger: beyond phenomenological figures of touch

The article reflects on digitality and interface design in terms of the multiple senses of touch. Touching is presented as a ‘‘pathic’’ sense of being exposed, which implies that touching exceeds the tactile and even the phenomenal world. A particular focus is set on Aristotle’s and Husserl’s ways of thematizing the sense of touch. In this way, two extremes of the phenomenological thinking of touching are articulated: touching as an indistinct and heterogeneous constituent of sensitivity and touching as the guarantor of immediacy of the sense experience. Referring to Derrida’s critical notes concerning haptocentrism, the article attempts to problematize the hand and the finger as phenomenological figures of touch and as holds of haptic realism. The article concludes that insofar as digital interface design aims at haptic realism it conceives of the sense of touch in terms of narcissistic feedback and thus tends to conceal the pathic moment of touching

Ekologinen näkökulma taidetutkimukseen

Teema: taiteellinen tutkimus.Vertaisarvioitu artikkeli

Photographic powers : Helsinki Photomedia 2014

Helsinki Photomedia is a biennial international conference of Photography Studies established in 2012. It was created to fill a void: there was no regular, international forum for photography studies, like Crossroads is for Cultural Studies or ECREA for Media Studies. This was surprising because there had been lots of new activity in the field of photography studies all over the world. In its current state of rapid transformation and diversification photography showed rich cultural potential, and photography research was gaining new importance. Three new referee journals were launched since 2008: Photographies, Photography & Culture, Philosophy of Photography. Books and articles did abound, and the general high tide of photography definitely required new thinking, new methods and new theories. Helsinki Photomedia started in 2012 with a broad theme: Images in Circulation. Over 140 participants coming from 23 countries proved that there really existed a need for a new international venue for presenting and discussing photography research. The three keynote speakers of this conference were Ariella Azoulay, David Bate and Charlotte Cotton. The variety of topics covered in the first conference was impressive. Terms such as 'expanded image', 'Photography 2.0', 'digital ethos' and 'collaborative turn in contemporary photography' appeared in some papers and presentations, indicating a need for a general diagnosis of the current shift. Some raised more specific questions about current developments in photography. There were analyses of metadata, affordance, curating and self-publishing, and so on. New modes of research, such as 'artistic research', were important elements of the first conference. Photographies published a special issue of the conference (Vol. 6 Issue 1, 2013). The second Helsinki Photomedia in March 2014 was run under the theme Photographic Powers. Again, there were around 130 participants, some for the second time. The keynote speakers were Paul Frosh, Jorge Ribalta and Joanna Zylinska. This publication is based on the papers and presentations delivered in the 2014 conference. After a strict referee process 14 articles were selected for publishing. Meanwhile the preparations for the third Helsinki Photomedia conference in March 2016 are well underway. The theme is Photographic Agencies and Materialities and the keynote speakers are Geoffrey Batchen, Annika von Hausswolff and Liz Wells

Swimming Pool. Artistic practice-based research : Manners and exercises

El libro recoge el trabajo realizado por el grupo laSIA en el marco del proyecto de investigación El lugar del sujeto en la investigación artística basada en la práctica (EHU 16/40)Índice: Introducción. Quebraderos para una investigación artística basada en la práctica - Alberto Díez Gómez // Dos ejercicios de observación - Rita Sixto // Artistic Research At The Academy Of Creative And Performing Arts, Leiden University - Janneke Wesseling // Mirando a otra parte - Veva Linaza // Paradoxes Of Artistic Research - Mika Elo // Galea, Urdin - Usoa Fullaondo // Feldenkrais para artistas - Naia del Castillo // Pintura traza-costra. Hautsa eta izerdia - Damaris Pan // El gato, la hormiga y el caballo: sensibilidad etnográfica & atención plena // María Fernanda MoscosoPublicado en el marco del proyecto de investigación El lugar del sujeto en la investigación artística basada en la práctica (EHU 16/40), financiado por la Universidad del País Vasco UPV/EHU

High intratumoral dihydrotestosterone is associated with antiandrogen resistance in VCaP prostate cancer xenografts in castrated mice

Antiandrogen treatment resistance is a major clinical concern in castration-resistant prostate cancer (CRPC) treatment. Using xenografts of VCaP cells we showed that growth of antiandrogen resistant CRPC tumors were characterized by a higher intratumor dihydrotestosterone (DHT) concentration than that of treatment responsive tumors. Furthermore, the slow tumor growth after adrenalectomy was associated with a low intratumor DHT concentration. Reactivation of androgen signaling in enzalutamide-resistant tumors was further shown by the expression of several androgen-dependent genes. The data indicate that intratumor DHT concentration and expression of several androgen-dependent genes in CRPC lesions is an indication of enzalutamide treatment resistance and an indication of the need for further androgen blockade. The presence of an androgen synthesis, independent of CYP17A1 activity, has been shown to exist in prostate cancer cells, and thus, novel androgen synthesis inhibitors are needed for the treatment of enzalutamide-resistant CRPC tumors that do not respond to abiraterone.Peer reviewe