Co-Learning Score for Artistic Research
Research
On going
Co-Learning Score for Artistic Research is a early iteration of a score created in the framework of LePARC - Performing Arts Research Cluster at Milieux Institute for Art, Technology & Culture
Description
This practice takes place at the intersection of criticality and research-creation, offering a space where theory and practice enter into sustained and generative dialogue. Structured as a performance score and an epistolary exchange, the process unfolds through biweekly encounters—a choreography of inquiries and performative responses—among artist-researchers from LePARC and led by Professor Lília Mestre.
Each session invites participants to share their work-in-process as both performance and proposition. Within four days, a guiding question is formulated by each participant in the form of a letter and circulated by email to another participant. Every other week, this correspondence emerges from within the work and is addressed back to it, opening new possibilities for reflection, experimentation, and critical engagement.
This recursive structure allows inquiry to evolve collectively, moving through spirals and tentacles rather than straight lines, tracing artistic practices and critical processes with equal attention and forming an entanglement of concerns and desires. The works-in-process are research-creation thesis projects developed by graduate students within the HUMA and INDI programs at Concordia University. They engage with music, visual arts, choreography, theatre, and other artistic forms, addressing questions of performativity and exploring philosophical, critical, and socio-political approaches to artistic practice.
Through this sustained performance based and epistolary practice—exchanging letters every other week—participants commit to a shared criticality. How do we compose materials and thoughts? What performativity is at stake in sharing them? How do subjectivity and collectivity inform one another within a collaborative environment? The process is documented along the way, gradually forming a shared archive and providing material for a collective publication. See Publications #1 and 2# in this website.
The curiosity of this research-creation project is to deepen the entanglement between form, concept, and collective practice. It is a space to test ideas materially, to ask what thinking feels like, and to re-sense what the performing arts might propose as a commons.
Each session invites participants to share their work-in-process as both performance and proposition. Within four days, a guiding question is formulated by each participant in the form of a letter and circulated by email to another participant. Every other week, this correspondence emerges from within the work and is addressed back to it, opening new possibilities for reflection, experimentation, and critical engagement.
This recursive structure allows inquiry to evolve collectively, moving through spirals and tentacles rather than straight lines, tracing artistic practices and critical processes with equal attention and forming an entanglement of concerns and desires. The works-in-process are research-creation thesis projects developed by graduate students within the HUMA and INDI programs at Concordia University. They engage with music, visual arts, choreography, theatre, and other artistic forms, addressing questions of performativity and exploring philosophical, critical, and socio-political approaches to artistic practice.
Through this sustained performance based and epistolary practice—exchanging letters every other week—participants commit to a shared criticality. How do we compose materials and thoughts? What performativity is at stake in sharing them? How do subjectivity and collectivity inform one another within a collaborative environment? The process is documented along the way, gradually forming a shared archive and providing material for a collective publication. See Publications #1 and 2# in this website.
The curiosity of this research-creation project is to deepen the entanglement between form, concept, and collective practice. It is a space to test ideas materially, to ask what thinking feels like, and to re-sense what the performing arts might propose as a commons.