John Cage, “Where are we going? And what are we doing?”


Artistic Research at Cambridge Creation Lab

An absence of information intrigues me. I am then driven by a higher commitment toward delving into establishing arenas where artistic practices can interact with academic approaches to research and developmentacross disciplines to reveal a new order of the poetics of thought and expression. The process of probing into questions through innumerable forms of the myriad sensations and perceptions that overcomes my consciousness when I am drawing an imaginary framework of connections for critical analysis---is dynamic and always performative.”-Ivaana

At Cambridge Creation Lab, artistic researchneeds to be understood in terms of the performative movement of thought and action based on a spontaneous response to reconfigurations of convention. When we speak of “performative art” we are usually forming discussions around visual arts, performative strategies, choreographies and design related pedagogies that are mostly experiential in nature. At CCL we are perpetually finding new ways to qualify artistic research as a performative paradigm that allows a free flow of ideas through unriddling deep investigations- translations and transfusions that reveals new modes and methods that help us understand and celebrate new protocols or principles under a distinctive framework.Mingling methodologies and remediating narrative forms through various disciplines we arecreating new theoretical and disciplinary entanglements, through which new/augmented modes of thinking/doing emerge. We are keen upon understanding that between the dissemination of information and the ultimate creative output through texts and visual contributions, discussions, immersion, manifestos, and metaphors.

Our Research Context from a performative perspective includes a concentration on (and not limited to):

  • Making connections and creating new horizons of awareness for interdisciplinary questions, methods and development.
  • Establishing research orthodoxies by refining procedures by following unorthodox protocols.
  • Laying down theoretical foundations of art science collaborations and inviting students to redistribute observations, materials and concepts and developing a choreographic pattern of free-flowing strategies.
  • Luminously tracing latent imagined spaces in concrete findings.
  • Emphasizing on the artistic dimensions of the arts whilst reinventing interdisciplinary arrangements and combinations through multidimensional experimentations.
  • Understanding that to dwell on uncertainties and keep the wondering alive is a significant factor in smudging boundaries between art and science and that a mediated exchange between practitioners from distinct disciplines could present unprecedented responses to thought and design provocations.
  • The perception that the notion of choreography operates simultaneously as an analytical device, problem to be examined, and an artistic outcome and could translate from material science research to literary projections, architectural spaces to sound related practices, from biology to a whole process of the orchestration of the senses.
  • Exploring the intentions and experience of artistic research as a piece of spatial writing wherein temporal and otherworldly voices structure writing. The writing voice has a sense of assurance, and thus relies heavily on vision; it assumes it knows what a material is and what each tool is supposed to do-yet with a sweeping imagination that moves through the void of empty spaces.
  • Following the contours of ideas from science and allowing them to move in all directions and finally musing on the sounds or silences that they createin artistic practices.
  • Seeking to better understand the unifying qualities of art across various moving image formats in the sciences, through direct creative inquiry.
  • Through the manifold process ofinvestigation, verbalization anddocumentation design layered narrative forms that loosely represent a continuous dialectic of experience.
  • Constantly looking for answers for the tools and design processes that we may need to use in order to invent, create, nourish and augment unique perspectives in art-science writing, performances, musicality or other applied art forms.

Artistic research at CCL is like Loie Fuller’s Fire Dance-incandescent, warm and cool at the same time-illuminated by multicolored projections and as French writer Roger Marx described:

a gigantic lily around a calyx, which is the same body of the dance, the petals spreading open…this image is prolonged by a thousand little openings and contractions of this inexhaustible vision, this delicate and fantastic plant, which juxtaposes in one symbol, being and nature, and which illuminates with the smile of a woman, the fragile flesh of flowers.”