Research Catalogue

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  Dérive (last edited: 27/06/2017) author(s): Lula Romero This exposition is in progress.
  Dérive (2017) for string quartet and live-electronics explores the aesthetic consequences of different ideas of the role of subjectivity in sonification processes, the concept of dérive (drift) and the notion of musical structure as a translation of a real physical space.
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  revising historical development of the main subject (last edited: 27/06/2017) author(s): Johannes Boer This exposition is in progress.
  Contexts of the main subject have been a point of attention right from the start of the academic training of Early Music. Intensifying the relation with other departments of the Royal Conservatoire could lead to far more efficient use of expertise in the school. In that sense it is not so much a development or history of an instrument or voice which is the subject of studies. Far more important is the personal knowledge of students, which make them identify with their own work and perspectives in the field. The second nature of contextualizing repertoire should not be limited to the historical performance, but can serve any performing artist in exploring his/her full potential in relation to this repertoire.
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• To call that 'writing'? (last edited: 27/06/2017) author(s): Joa Hug This exposition is in progress.
  In my doctoral research, I am exploring a practice that combines the observation of the process of sensing with paying attention to the process of thinking - the so-called 'research score'. This research exposition is a draft version of a contribution to a special issue of 'Nivel' (a publication series of the Theatre Academy Helsinki) on the poetics of form in artistic research, expected to be published in September 2017. It raises the question whether the linguistic and aesthetic yield of the research score can be considered a form of 'writing' that is readable as research?
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  Still Moving (2017) author(s): Juriaan Achthoven, Rhian Morris published in: Research Catalogue
  The startingpoint of "Still Moving" has been: to map and perform an artistic process in which the aim is to create a scenographic poem. If poetry is about 'feeling in language' (Eliot), then scenographic poetry is about feeling in the materiality of a spatial-temporal composition. We have started to work with an actor, live video technology and 'Four Quartets' by T.S. Eliot. Throughout the process the main ingredients have shifted towards: the breath of the actor, a lot of soil and sensor-technology. The research question has been evolving from an interest in the concept of 'presence', towards an interest in rhythms of the body in relation to rhythms of the earth, towards an interest in the materiality of the ingredients. This page is meant to give insight into our process of creation.
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  Editorial: Sound Studies and Politics (2017) author(s): Vincent Meelberg published in: Journal of Sonic Studies
  Editorial: Sound Studies and Politics
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  “The Performative Biofact” (2017) author(s): Lucie Strecker published in: University of Applied Arts Vienna
  Since the 20th century the relationship between ecology and the arts has increasingly shaped various concepts of performance art. These have developed training and working systems such as biomechanics, somatic dance techniques or psychological realistic acting methods (Giannachi and Steward 2005) based on the analysis of natural phenomena. However, the life sciences have fundamentally changed what we understand by nature and ecology and, as the philosopher and biologist Nicole C. Karafyllis explains, the Aristotelian demarcation between nature and technology as a separation between what grows and what does not is no longer valid. Agri-technology and biotechnology methods such as genetic engineering or cloning mean that life forms can to a great extent also be artificial or technological. Consequently, this project, “The Performative Biofact”, aims to rethink and practically research this relationship. The theories of new materialism, and in particular the work of the scientist Karen Barad, who questions the dichotomy between ontology and epistemology, open up new perspectives on the relationship between material and performativity, which have previously only been partially taken into account in performance theory and practice. This project is developing a new experimental process involving the provocative production of a semi-artificial, semi-natural being, with the equal treatment of apparatus, humans and non-humans. In Nicole C. Karafyllis’s terminology, the hybrid being that is to be created, whose ontological status alternates between animate and inanimate, can be described as a biofact. We question the history that the performative production of material derives from and how technological renewal will change our understanding of ecology and art in future. This takes place through the inclusion of historical, culturally relevant relics. New biofacts will be created out of this biological, animalistic material. In this interaction between the human and technology, the figure of the animal also enters the process. Thereby we seek to avoid a solely anthropocentric perspective on the process and foster new creative solutions. The challenge is to avoid the anthropomorphising of the animal, and instead to liberate it from its passive position as the exploited “other”. The set-up to be developed together with the co-researchers in this project is intended to unite transdisciplinary methods of archaeology, performance, molecular biology and genetics. Through the concept of performative creation of a biofact in a model experiment, new scope for action and perception arises and offers opportunities to continue the research on the constantly changing relationship between ecology and the arts. Cooperation Partners: Felix Grun, PhD Director MS Facility, Department of Chemistry, University of California IrvineIrvine Dr. Jens Hauser University of Copenhagen, Department of Arts and Cultural Studies & Faculty of Health and Medical Sciences - Medical Museion Risa Puleo Curator, Bemis Center for Contemprorary Art, Omaha, Nebraska Dr. Mark Rinnerthaler Universität Salzburg,  FB-Zellbiologie/Abt. Genetik Dr. Markus Schmidt  BIOFACTION KG, Wien Prof. Dr. Klaus Spiess Medizinische Universität Wien, Institut für medizinische  Psychologie, Zentrum für Public Health Prof. Paul Vanouse Department of Art, Director of Coalesce Center for Biological Art, University at Buffalo Prof. Victoria Vesna UCLA Art/Sci Center, California Center for Human - Computer Interaction, University Salzburg 
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Krien Clevis
Netherlands

Marc Goodwin
Finland (residence)

Abhishek Hazra

Nell Breyer

Kit Hammonds
Mexico, Taiwan, United Kingdom (residence), United Kingdom (citizenship)

Vincent Meelberg
Netherlands

Sher Doruff
Netherlands (residence)

Tuija Kokkonen

Sarah Alford