• Künstlerische Forschung
• Methodenentwicklung

Field of interest: Modes of Collaboration
Surely as a reader one might ask: why are nearly twenty authors listed here, and did all of them contribute to this article? The correct answer would be no, but all of them influenced the reflections and insights presented within it. In order to sketch out the Network of Actants which did influence our thinking and doing, according to the newer social science studies (Latour / Woolgar 1979) and the term compositionism (Latour 2003), we even would have to go as far as listing the museum architecture where our research took place, tracking systems, hard- and software, the algorithms which were developed, the artworks and the participants which were the subject matter of our case studies and many other things which impacted on the collaboration of our research members in the five year long research process of eMotion – mapping museum experience. Last but not least, the impact of the reviewers on this article would also have to be mentioned as a driving force in the conception of this paper. The purpose of this article is to compose this network of actants, which, according to Bruno Latour, could consist of actors and objects, mind sets and routines etc., in order to demonstrate the process of knowledge construction. However, instead of analysing scientific laboratory life (Latour / Woolgar 1979, Knorr-Cetina 2002; Ricki 2011), we would like to focus on a research project where scientists in the fields of psychology, sociology, cultural studies and art theory work together with artists coming from media and sound art, programmers and database managers and interface designers as well as practitioners in the field e.g. curators.

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