recent activity
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Deer, Tigers, Perec and The Everyday - a choreographic approach
(last edited: 2019)
author(s): STELLA MASTOROSTERIOU
This exposition is in progress.
My research focuses on the interrelations between different types of spaces and the types of movement they encourage or impose. The research is inspired by the writings of writer Georges Perec and informed by concepts and methods from the fields of sociology, anthropology and architecture.
This portfolio supplements the written exegesis of my practice-led research process, which revolves around two interwoven strands / projects, and serves as an analysis of the artistic outcomes and as documentation of the artistic processes. The practice research has been constantly informed by theoretical concepts deriving from an extensive theoretical research, which will be selectively reported. Several smaller projects, experiments and workshop processes that I will briefly delineate in this paper, led into forming two more elaborate projects that I have been developing in the past year and will be more extensively reported in this paper.
The first strand has to do with working in the public space and aims to devise ways of thinking and creating in and for the public space. Under the title I DON’T SEE DEER, I work with observation and writing as a tool for studying everyday life and movement in the public space, in order to highlight existing aspects of the city and propose new site-specific situations. Both the research process and the artistic outcomes were located outside – in the urban space. The process and the outcomes of this part of the research have so far been translated into various forms: a video work, a live performance, a photographic series, a workshop, and most importantly the outline of a flexible way of working that I can bring into different places and groups.
In the second strand, I attempt to incorporate concepts, tools and findings from working in the public space into choreographic research and creation for the stage. While keeping observation of street life as one of my main tools, the practical research here was mainly studio-based. This strand led to the creation of the work WE ARE NOT TIGERS that I presented as my final project for the master.
The two strands did not follow any successive chronologic line. Instead they emerged and were developed concurrently, as autonomous processes that constantly affected and informed one the other, throughout the past year. In this paper though, I will mainly follow the chronological order of how my research path evolved, while linking the practice-led research to the theoretical research.
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MATERIAL STRATEGIES
(last edited: 2019)
author(s): patricia canellis, Camilla Eeg-Tverbakk, Electa Behrens
connected to: Norwegian Artistic Research Programme
This exposition is in progress.
Material strategies explores ways of practicing materiality in relation to artistic processes of creation. It responds and aims to contribute to questions related to sustainability and the antropocene, identity and subject formations, and appropriation and cultural exchange.
With reference to object oriented philosophy and new materialism as an ethical ground, the proposed research project will investigate voice and body as material in relation to spaces, architecture and objects. How can we as artists to a greater extent listen to the agency of the material and let it shape our artistic work? How do human ideas, emotions, visions and memories come into play when the artistic strategy calls for less power and control over the material? How are performative and material practices articulating the embodied nature of memory?
The project will further develop pedagogical areas that are fundamental to the teaching practices at NTA. Professor in Dramaturgy and Performance Camilla Eeg-Tverbakk will lead the project reflecting her recent PhD project Theatre-ting, toward a materialist practice of staging documents, which deals with object oriented philosophy as a framework for investigating dramaturgical practice and the ethics connected to staging documents. Other involved staff members are: Assistant professor Øystein Elle, Professor in scenography Jakob Oredsson, Assistant professor Electa Behrens, and research fellow Ingvild Holm.
We arranged a two days international seminar at VEGA scene in Oslo on 28. February and 1. March 2019.A two weeks practical workshop, culminating in a public presentation and discussion happens between 29. April and 10. May 2019.
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My Brother Heroin - Research Cartography
(last edited: 2019)
author(s): Trifilo Gianluca
This exposition is in progress.
Meine Arbeit ist eine Suchbewegung entlang von Zusammenhängen, die sich mit Dringlichkeit in unserer Gesellschaft zeigen. Es sind vor allem jene Felder in denen der Mensch sich zwischen Überforderung, Abhängigkeit und Isolation oder Sehnsucht nach Entgrenzung bewegt: Drogen, Religion, Social Media. Meine Kindheit gab mir prägende Erfahrungen mit, durch meine beiden Brüder, die dem Heroin erlagen. – Seit 2014 setze ich mich mit diesen Inhalten mittels 3D Technologie, in Form von interaktiven Videos, mit Sprache aber auch mit Objekten auseinander. Mich beschäftigen Fragen des Vergessens und der Wiederholung. Wie kann ich Vergangenes in einen Zustand transferieren, der nicht in der ursprünglichen Situation gefangen bleibt? Kann ich der Überflutung von Bildern und Information entkommen und den Fundus produktiv nutzen?
Recent Publications list view
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Finding Focus
(2019)
author(s): Susan Williams
published in: Academy of Creative and Performing Arts
An important question facing musicians both in the practice room and on stage is “What should I focus on?” There is a great deal of research in the fields of movement sciences and sports that suggests that adopting an external focus of attention – focusing on the intended effects of one’s movements – can be beneficial both for learning and for performance of complex motor skills. There has been very little research done on the effects of external focus on musicians.
The aims of this study on external focus were as follows: to translate the idea of external focus from movement science into the field of music (how can external focus be characterized for music-making?); to design several ways to use, test and explore the application of external focus in field situations; and to collect data and find information to elucidate the effects of external focus and the instances in which it can work for musicians.
A series of three empirical projects were designed and carried out in both semi-controlled as well as natural environments. The mixed methods research approach included both quantitative and qualitative elements. A music-pedagogical practice tool based on external focus was designed and used in all three projects.
The first project involved natural trumpet players (n=7) who practiced fragments of repertoire using an external focus practice tool. Results were compared the their ‘usual’ practice methods. Quantitative data was collected to show the effects of external focus on accuracy, self-efficacy, confidence and motivation of the players. In the second project the same seven players participated in the preparation and performance of a chamber music concert for trumpet consort. The third project involved a chamber ensemble of 18 players including string players, trumpeters and keyboard players. In projects two and three the performances were prepared and rehearsed by using tools and techniques based on external focus. Qualitative data was collected from questionnaires, surveys and interviews.
Results from the three projects tentatively supported the overall hypothesis: External focus is beneficial to musicians’ learning and performance experience. Statistical results showed positive effects of external focus on accuracy and suggest a positive trend for confidence and for self-efficacy in performance. Qualitative data from interviews and surveys over the three interventions showed the performers’ ensemble playing was enhanced by using an external focus approach, and that they suffered much less from performance anxiety than usual.
External focus could play a larger role in music pedagogy for musicians at every level and stage of learning. The kind of procedural implicit learning that results from using tools based on external focus means that technique (motor control) is being informed by musical intention and not the other way around.
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Home page JSS
(2019)
author(s): Journal of Sonic Studies
published in: Journal of Sonic Studies
Home page of the Journal of Sonic Studies
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Habitual touches (carvings) of beings
(2019)
author(s): eli eli
published in: Research Catalogue
This is a story of consecvenses of concecvenses of concekvences of concecuences of consequenses of
consequences of concequenses and how i almost learned to spell this word. Its a never ending story. I
study what was before us, i draw lines and connect.
Some lines are direct, others are nonlinear and take crooked paths, where we cannot trace where it all
started.
artists using the research catalogue
Nikolaus GanstererAustria (residence)
Paula KramerFinland, Germany (residence)
the narrativecollectiveNetherlands (residence)
Fiona PattenNetherlands (residence), Ireland (citizenship)
all artists
