ABOUT THIS SITE >>> This site is a blog as well as an archive. It gives visibility to the continues working of radical_hope, its current move to radical_house, the research project Distraction As Discipline (2016 - 2019) and the process of OTÇOE - works for passers-by, a working trajectory (2013 and 2014).
radical_house is a long term project and has a threefold nature: it presents a physical place, a framework and a logic. When in 2013 teaching and mentoring became an extension of Langsdorf's artistic practices now radical_house stems from her pedagogical experience where 'being in dialogue' with others is her main principle.
Distraction As Discipline is
an investigation into enactivist principles in art and education
(research trajectory at KASK School
of Arts Ghent 2016-19). It considers the potential of performance art and
pedagogy in general, in resisting the current and massive
desubjectivation, by critically reclaiming both, attention for the moment and participation in a process.
OTÇOE - works for passers-by was the development of radical_hope's artistic practice in the city and questioned how and by whom this practice (and its bodily, social and economical aspects) is perceived. The title refers to the public of a city and to how we encounter and register most things on our way through the city: Out of The Corner of Our Eyes. OTÇOE.
SEASONAL REFLECTIONS
NEWSLETTERS
TIMELINE
MAIN PRACTICES
CO-CONSTRUCTED CONVERSATIONS
HOW DO WE DO IT? - We did it.
“I think that the term “aesthetic research” is more adequate than “artistic research” to denominate this form of inquiry. Two main reasons support this idea. The first refers to the etymological origin of the word “aesthetics”: the greek term “aisthesis”. This term designates a way of understanding based on certain uses of our senses. In short, aisthesis means understanding through the senses. This form of understanding can provide the foundation for a possible “sensuous knowledge” and/or a “sensuous thought” or “sensuous thinking”, in which “thinking” is understood as an intervention in the process of the emergence of significance—that is, of what things and states of affairs are, or better, what/how they signify for us. Using the term “aesthetics” in this original sense—and not referring to a philosophical discipline dealing mainly, at least after Hegel, with the theory of art–we are situated, undoubtedly, in the epistemic or cognitive field, which means that we are in a good position to address successfully the question of research. Defining aesthetics basically as understanding through the senses or, more precisely, though practices that actualize and mobilize the epistemic power of the sensuous, the field of aesthetics is wider than the field of art. Aesthetic practices include all kind of practices able to actualize and mobilize the possibilities of understanding through the senses, and not only those practices restricted by the normativity that both defines and derives from the concept and the system of art.
There are aesthetic practices that are not considered to be artistic, but that nevertheless can fundamentally contribute to developing a mode of understanding different than the one enabled by the humanities, the social sciences, and the natural sciences. Aesthetic research (this is my proposal) can be understood as a variety of modes of inquiry methodologically based on practices of understanding through the senses in and beyond the limits of art. I think some of the practices we will share and discuss over the next three days will confirm this thesis.”