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Artistic Research in Music and the Performing Arts Annegret Huber, Doris Ingrisch, Therese Kaufmann, Johannes Kretz, Gesine Schröder, Tasos Zembylas (eds.) Knowing in Performing Einzelveröffentlichungen Kulturwissenschaften | Volume 132 Annegret Huber (Prof. Dr.) is a professor at the Department of Composition, Elec- troacoustics, and Tonmeister Education at the mdw – University of Music and Performing Arts Vienna, Austria. Her research focuses on epistemological, cul- tural and historical questions on musical analysis and its methods in interdisci- plinary contexts, especially sociology of knowledge, media philosophy, and gender studies. Doris Ingrisch (Prof. Dr.) is a cultural scientist and a visiting guest professor of gender studies at the Department for Cultural Management and Gender Studies (IKM) at the mdw – University of Music and Performing Arts Vienna since March 2011. Her research focuses on science, art and gender, experimental methods, and arts-based research. Therese Kaufmann is head of research support services at mdw – University of Music and Performing Arts Vienna, Austria. Johannes Kretz (Prof.) is a composer, electronics performer, artistic researcher, and head of the Artistic Research Center (ARC) at mdw – University for Music and Performing Arts Vienna, Austria. Gesine Schröder (Prof. emerit. Dr.) is a professor for music theory at the Depart- ment of Composition, Electroacoustics, and Tonmeister Education at mdw – Uni- versity for Music and Performing Arts Vienna, Austria, and at the University for Music and Theatre »Felix Mendelssohn Bartholdy« Leipzig, Germany. Tasos Zembylas (Prof. Dr.) is a professor for cultural institutions studies at mdw – University of Music and Performing Arts Vienna, Austria, with a research focus on the sociology of artistic practices, the institutional analysis of art worlds, and public cultural funding policies. Annegret Huber, Doris Ingrisch, Therese Kaufmann, Johannes Kretz, Gesine Schröder, Tasos Zembylas (eds.) Knowing in Performing Artistic Research in Music and the Performing Arts Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nation- albibliografie; detailed bibliographic data are available in the Internet at http:// dnb.d-nb.de This work is licensed under the Creative Commons Attribution-ShareAlike 4.0 (BY-SA) which means that the text may be remixed, build upon and be distributed, provided credit is given to the author and that copies or adaptations of the work are released under the same or similar license. For details go to http://creativecommons.org/licenses/by-sa/4.0/ Creative Commons license terms for re-use do not apply to any content (such as graphs, figures, photos, excerpts, etc.) not original to the Open Access publication and further permission may be required from the rights holder. The obligation to research and clear permission lies solely with the party re-using the material. First published in 2021 by transcript Verlag, Bielefeld © Annegret Huber, Doris Ingrisch, Therese Kaufmann, Johannes Kretz, Gesine Schröder, Tasos Zembylas (eds.) Cover layout: Maria Arndt, Bielefeld Cover illustration: Angélica Castelló, Magnetic Room, sound installation/composi- tion 2017 © noid 2017. Proofread by Anne Ewing, Michael Delaney and Heidi Wilm Foreword translated by Michael Delaney Typeset by Mark-Sebastian Schneider, Bielefeld Printed by Majuskel Medienproduktion GmbH, Wetzlar Print-ISBN 978-3-8376-5287-1 PDF-ISBN 978-3-8394-5287-5 https://doi.org/10.14361/9783839452875 Printed on permanent acid-free text paper. Inhalt/Contents Einleitung Über das Wissen und Erkennen im künstlerischen Tun: Knowing in Performing Annegret Huber, Doris Ingrisch, Therese Kaufmann, Johannes Kretz, Gesine Schröder, Tasos Zembylas ������������������������������������������������������������� 7 Foreword About Knowledge and Realisation in Artistic Activities: Knowing in Performing Annegret Huber, Doris Ingrisch, Therese Kaufmann, Johannes Kretz, Gesine Schröder, Tasos Zembylas ������������������������������������������������������������ 17 The Pot Calling the Kettle Black An Essay on the State of Artistic Research Efva Lilja ���������������������������������������������������������������������������������������� 27 Artistic Research and Music Research Epistemological Status, Interdisciplinary Forms, and Institutional Conditions Georgina Born ���������������������������������������������������������������������������������� 35 Artistic Paths in Five Images Questioning Artistic Research Kathleen Coessens ����������������������������������������������������������������������������� 51 Looking back, Looking through, Looking beneath The Promises and Pitfalls of Reflection as a Research Tool Darla M. Crispin �������������������������������������������������������������������������������� 63 Making Sound, Making Music Mieko Kanno �������������������������������������������������������������������������������������77 voicings of an auralist a series of transmissions from an unknown source Till Bovermann, Almut Schilling, Thomas Grill, Tobias Leibetseder ����������������������� 89 Creative (Mis)understandings: A Methodology of Inspiration Johannes Kretz & Wei-Ya Lin (with contributions by Bernd Brabec de Mori) ������������ 111 Schallnamen Johannes Kreidler �����������������������������������������������������������������������������131 Souveränität riskieren: Transdisziplinäre Forschung, kontextorientierte Aufführungspraxen und die Arbeit des Theaters der Versammlung Eine Anregung Jörg Holkenbrink ������������������������������������������������������������������������������ 137 Knowing in Intra-Acting Arts-based Research als Weg des Welt-Gestaltens Doris Ingrisch ��������������������������������������������������������������������������������� 147 In Love with Art & Philosophy // Zwischen Kunst & Philosophie Susanne Valerie [Granzer] & Arno Böhler ��������������������������������������������������� 161 Worldmaking — Knowing through Performing Barbara Lüneburg ����������������������������������������������������������������������������� 185 Shooting as a Researcher — Fracking Your Face Forschung mit darstellenden Künsten Anton Rey �������������������������������������������������������������������������������������� 201 Abbildungsverzeichnis / Image Credits �����������������������������������������213 Biografien / Biographies �������������������������������������������������������������� 217 Einleitung Über das Wissen und Erkennen im künstlerischen Tun: Knowing in Performing Annegret Huber, Doris Ingrisch, Therese Kaufmann, Johannes Kretz, Gesine Schröder, Tasos Zembylas Künstlerische Forschung, wie sie sich in den letzten drei Jahrzehnten entwi- ckelt hat, ist mit einem zunehmenden Interesse an erkenntnistheoretischen Fragen verbunden sowie mit der Frage, wie künstlerische Praktiken kons- titutiv Prozesse der Wissensgenerierung anstoßen. Kunst fungiert somit sowohl als Gegenstand als auch als Medium künstlerischer Forschung und nimmt teil am Diskurs über Wissensregime und Forschungsmodelle. An diesem Punkt der Entwicklung künstlerischer Forschung setzt Knowing in Performing an. Die Begriffe »Wissen« und »Erkenntnis« weisen eine Reihe von ideenge- schichtlichen Konnotationen auf. Wissen und Erkenntnis können beispiels- weise durch Kontemplation, wie etwa in bestimmten philosophischen Auf- fassungen, durch Berechnungen und induktive oder deduktive Ableitung, etwa in den Naturwissenschaften oder der Medizin, durch logische Analyse und Schlussfolgerung, wie in den Formalwissenschaften oder der analyti- sche Philosophie, sowie durch die inhaltliche und genealogische Interpreta- tion von Handlungen, Ereignissen, Artefakten und ihrer Bedeutung, wie wir es aus den Geistes-, Kultur- und Sozialwissenschaften kennen, gewonnen werden. In solchen Fällen nehmen Wissen und Erkenntnis symbolgebunde- ne, propositionale Formen an.1 Der Begriff »knowing« – die deutsche Übersetzung des transitiven Verbs als »wissend« ist nicht befriedigend – grenzt sich von den oben erwähnten 1 »Symbolgebunden« heißt, dass das Wissen durch ein symbolisches System (auch Arithme- tik, Programmiersprache, formale Logik) ausgedrückt wird. 8 A� Huber, D� Ingrisch, T� Kaufmann, J� Kretz, G� Schröder, T� Zembylas Bedeutungen ab. Das Suffix »-ing« weist auf einen genuin körperlich-sinn- lich gebundenen, praktischen Vollzug und somit auf den fluiden, prozess- haften Status des Wissens hin. »Knowing is literally something which we do«, so John Dewey (1916, 331). Das Wissen-im-Tun – so könnte man also knowing sinngemäß verstehen –, hängt nicht von einem vorangegangenen Erlernen kontemplativer, berechnender, logisch-analytischer und interpre- tativer Methoden ab. Vielmehr setzt es ein praktisches Lernen-im-Tun vo- raus, in dem sich Wissen und Können parallel entwickeln und vollständig überlappen. Wenn es um repetitive Tätigkeiten geht, dann sprechen wir vom prozessualen Wissen, dass durch vorangegangenes Üben erlernt wird. Darunter kann man zum Beispiel das Klavierspiel subsumieren. Wenn aber kreatives Handeln sich auf partikuläre Situationen und Herausforderun- gen bezieht – etwa die Schaffung eines neuen Werkes –, dann kann man nicht einfach auf vorhandenes bzw. propositionales Wissen zurückgreifen und dieses anwenden. Erfahrenheit hilft vielleicht, aber die Übertragung von Erfahrungen, die gerade kein propositionales Wissen darstellt, bedarf einer Übertragung auf andere, neue Fälle. Durch Learning by Doing wird ein Wissen angeeignet, das im Handeln implizit ist. Die Bewältigung neuer Herausforderungen
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