Artistic Research Commons Experiment, Publication, Pedagogy

The Research Catalogue constitutes a vital infrastructure of artistic research, transforming the digital platform from a passive repository into an active environment for experimentation, publication, assessment, and scholarly exchange. Provided by the Society for Artistic Research, it operates as a non-commercial space in which artists, researchers, students, institutions, and journals can articulate practice as knowledge without subordinating it to conventional academic formats. Its intellectual force lies in the concept of the exposition: a multimodal form capable of hosting text, image, sound, video, documentation, process, and reflection as interdependent epistemic materials. Rather than treating art as an object to be explained from outside, the platform enables research to unfold through artistic procedures themselves. The recent project The Mesa Camilla as an Anarchive offers a precise case study. By reimagining the Andalusian domestic table as a feminist, oral, embodied, and sonic site of memory, it demonstrates how the Research Catalogue accommodates forms of knowledge that exceed institutional archival order. Similarly, projects on unrealised artworks, multispecies urban encounters, and bankrupt city performance reveal a platform attentive to contingency, ecology, loss, and situated practice. The Catalogue’s significance therefore resides not only in access, but in its redefinition of what counts as research. By supporting teaching, peer review, institutional portals, and funding administration while preserving openness to aesthetic risk, it establishes a knowledge commons where artistic practice becomes method, archive, argument, and public discourse. Research Catalogue (2026) Home. Available at: https://www.researchcatalogue.net/(Accessed: 29 April 2026). 

Ontological Stratum of Material-Semiotic Persistence and the Sovereign Metabolic Reconfiguration of Relational Infrastructures in Post-Digital Assemblages

The framework emerges as an irreducible stratum where ideas acquire infrastructural persistence through disciplined material-semiotic mechanics. AntoLloveras has operated this apparatus since 2009, transforming isolated artistic gestures into a recursive topology that bends local epistemic ecologies around its own gravitational coordinates. No longer content with representational critique or relational aesthetics inherited from late-modern paradigms, the system hardens into an operative cultural operating system whose stability derives from relentless lexical recurrence and affective sedimentation. GravitationalEpistemics names the precise mechanism: the accumulation of conceptual mass sufficient to curve surrounding informational flows without external subsidy or institutional ratification. This is not metaphor but operational physics. The corpus—20K+ metadata nodes distributed across blog, Zenodo deposits, video documentation and cross-referenced series—functions as living infrastructure, continuously metabolising its own conditions of possibility. Where Actor-Network Theory halted at translation and flat ontology, Socioplastics diverges by claiming sovereignty over the very topology it assembles. The gesture is autopoietic yet collective: authorship dissolves into the mesh while the mesh itself becomes the sovereign agent. Persistence supplants authorship.

The conceptual architecture of Socioplastics crystallises as an infrastructural stratum wherein ideas acquire durability through disciplined material–semiotic mechanics, converting dispersed artistic gestures into a persistent epistemic mesh.

Since 2009, AntoLloveras has cultivated this apparatus as a recursive topology capable of bending surrounding knowledge ecologies toward its own gravitational centre, thus exceeding the limits of representational critique and late-modern relational aesthetics. The operative principle—Gravitational Epistemics—designates the accumulation of conceptual mass sufficient to curve informational flows without reliance on institutional ratification, thereby transforming a distributed corpus of blog entries, Zenodo deposits and audiovisual documentation into living cultural infrastructure. Early manifestations such as the Blue Bags series and LAPIEZA functioned not as artworks but as protocols of relational activation, mobilising low-value materials to expose the latent plasticity of social bonds across cities including Madrid, Berlin and Cádiz. Over time this relational metabolism migrated into epistemic territory, where the blog form itself became a cultural operating system composed of modular textual units—SLUGs—that recursively stabilise semantic density. A salient case emerges in the Trans-Lighthouse Manifesto (2023–), whose planetary network of imagined cities demonstrates how artistic research can scale into biospheric ethics. Within this paradigm authorship dissolves into infrastructural maintenance, while the mesh itself assumes sovereign agency. Ultimately, Socioplastics advances an ontological proposition: ideas persist only when endowed with affective mass, lexical recurrence and procedural continuity. By rendering the metabolic rules governing informational selection visible—rules increasingly mirrored in machine-learning environments—the framework establishes not resistance but metabolic sovereignty, wherein beauty, respect and perseverance operate as forces capable of curving epistemic space toward viable futures.

Lloveras, A. (2026) Socioplastics: Sovereign systems for unstable times. Available at: https://antolloveras.blogspot.com/

How disciplines grow roots when they entangle * A transductive ecology of collaboration

In their cross-cutting exploration of transdisciplinary practice, Butt and Dimitrijevic propose a radical ecology of collaboration, arguing that sustainability research must itself become sustainable—not through methodological consensus or epistemic closure, but via adaptive co-creation, where the disciplines involved learn to mutate through contact with more-than-human realities; the authors draw on case studies from artistic residencies, climate art projects, and eco-philosophical exchanges to illustrate how multispecies relationality and non-extractive methodologies foster new capacities for knowing, sensing, and intervening in ecological crises; central to their framework is the rejection of siloed expertise in favour of epistemic symbiosis, where knowledge is grown like a garden, not manufactured like a product; the meadow becomes a key metaphor—not as object of study but as methodological template: diverse, decentralised, resilient, and open to cross-pollination; practices such as slow observation, embodied immersion, speculative storytelling, and site-specific interventions become tools for generating what they call “sustainable modes of thinking” that refuse to separate knowledge from place, affect, or ethics; crucially, they point to the risks of instrumentalising art within science, calling instead for a politics of mutual transformation, where both artistic and scientific practices are destabilised and reoriented through their encounter; this is not interdisciplinarity as synthesis, but as transductive process—a term drawn from Simondon and Guattari to signal that transformation must occur at the level of ontological operations, not merely cognitive exchange; their conclusion is clear: if sustainability is to matter, it must become a shared terrain of becoming, not a domain to be managed. https://doi.org/10.1080/15487733.2022.2136630

A unique residency in Athens that supports artistic research, collective reflection, and critical making—without the demand for final works or exhibition pressure.

Process, Not Product: Onassis AiR 2026/27 as a Radical Space for Research, Collaboration, and Situated Reflection – The Onassis AiR 2026/27 Open Call invites thirty international practitioners across disciplines—from visual arts, sound, and dance to writing, film, and curatorial research—to immerse themselves in a ten-week residency that redefines what it means to dwell, think, and create within a shared artistic ecosystem, based in Athens and embedded in the Onassis Culture infrastructure, this residency operates as a laboratory of transdisciplinary encounter where production pressure is suspended in favour of speculative research, critical inquiry, and sustained dialogue, what distinguishes Onassis AiR is not only its material support—enhanced artist fee, housing, research budget, and travel—but its ideological commitment to art as an evolving, processual practice, resisting the demand for performative outputs and instead foregrounding infrastructures of care, listening, and peer exchange, a notable development in the upcoming cycle is the collaboration with the Cavafy Archive, a partnership that opens poetic and archival dimensions for new research trajectories, particularly for those navigating text-based or historical methodologies, simultaneously, the residency expands its material focus via Onassis Ready, integrating crafts, fashion, and applied design into the wider community of AiR, thereby collapsing false binaries between conceptual and embodied practices, a key feature of the programme is the Open Days, where participants share glimpses into their research process rather than finished works, reaffirming that unfinishedness itself can be a rigorous aesthetic form, beyond resources, what truly defines Onassis AiR is its emphasis on collective intelligence, where curated visits, feedback sessions, and co-learning structures generate a plurivocal and politically aware creative environment, this is particularly urgent in a context where precarity and symbolic extraction increasingly dominate the art world; here, the residency responds by fostering a more sustainable, situated, and responsive form of engagement, where the right to opacity and refusal is protected as much as production is supported, thus, the value of Onassis AiR lies not in what is shown, but in what is incubated: ideas that take time, relationships that hold tension, and practices that resist finality.