Research Catalogue

- Post-contemporary art for the Joint Artistic Research: Performance in the site-specific and spatial installation (in the real space), that will consist of the conjunction between gaps of the different artistic fields, mediums, and techniques, and their materiality and dynamics. - The artistic approach of the Joint Artistic Research through the Intersubjective connections in different artistic fields and their gaps: Social relationship and as well as economy and social system immediate within the digital society after the corona pandemic, that suggests exploring the transformations, which are new imaginaries, and which aims in the Joint Artistic Research towards the underpinning of contemporary social space. - Problem of the cross-disciplinary artistic research: A problem in a collective artistic research is contextualism and relativism in different artistic disciplines, that might be impossible to explore a new artistic dynamic technically. Another problem is functionalism, especially which refers to multiple realizability in a cross-disciplinary artistic research collectivity. - Solution of the cross-disciplinary artistic problems: For example, in a collaboration with a composer and conductor Valerio Sannicandro in which research subjects of decentralization, and sonic and visual space(s). The gaps between visual arts and music (composition): What are the specific creativity in each artistic field and the individual artistic characters? How can we work dynamically? Therefore, we need to explore the new artistic method for the conjunction from the wide perspectives in each artistic field, that is the aim of the Joint Artistic Research "Variation II". In the case of Karlheinz Stockhausen, he explored "Lautsprecher Musik", it was a starting point of musical automatization, however, it was a new music method of monophonic and polyphonic, heterophonic texture and homophonic texture, and so on for a multi-layered sonic space and time in a concert space, was neither music nor symphonic orchestra. It was rather something new sound and sonic texture as a new music composition in post-war. In the real space (environment), we can de- and reconstruct and transform "spatialization" into the multi-layered phonic texture as the musical and sonic expressions very simply. On the topic of spontaneous, there are many possibilities and opportunities for combining diverse artistic layers and actions, such as by humans (performers or participatory way of randomness or interactive way) and/or by nature. Thereby the communication means very widely. ...

What is a Reef of Art? A diverse community of organisms, that support, protect and complement each other. A floating isle of colors, shapes and whispers of wonder. A fragile family threatened by pollution, isolation and neglect, that needs your urgent care. The exhibition Reef of Art: from deep introspection to fluid exchange takes the metaphor of the coral reef as a way to explore how we can keep art dear to our heart and mind. Frail but strong, and with a positive impact on its environment!

Material created between 2016 and 2020, contributing to the development of my PhD (Artistic Research): a research project exploring the relationships made manifest by artistic research, within silences and other apparent lacunae. The Exposition offers access to documentation of selected art-objects, installations, exhibitions, performances, papers and presentations, created during the development of my research. These are supplemented by selected writing which concisely situates those individual works within the development of my research.

The human sensory system is complex and enigmatic but yet, attractive. Why are we continuously applying expressional words from another sensory modality and understanding it without any suspicion? In classical music, usage of the term dolce (sweet) to specify particular musical tones is frequently applied despite the word initially used to express a character of specific taste, which seems unrelated to music. This curiosity affects the researcher to explores a specific sensorial phenomenon, a crossmodal correspondence. The study's objectives are to comprehend and utilise the topic of crossmodal correspondences to design multisensory performance with an emphasis on sound-taste associations. This exposition contains scientific reviews on crossmodal correspondences, interviews with a neurologist, and personal experience at a fine dining restaurant; additionally, the related subject, synaesthesia. Lastly, a review on the process of creating a flavour musical piece for solo guitar in collaboration with a prominent Thai composer, Piyawat Louilarpprasert, has been elaborated.

Urban festivals have traditionally been considered incompatible with residential areas because of their contrasting sonic characters, where the sounds of festivals are treated as a nuisance for residents. However, the neighborhood dedicated to housing festivals in downtown Montreal is also the home of diverse groups of residents and workers. Based on a diary and interview study with residents of the Quartier des spectacles festival neighborhood, and building upon research on touristification, festivals as third places, and soundscape, we explored what it meant to be at home in a festival neighborhood, focusing on the sonic experiences of locals. Findings provided a more nuanced portrayal of everyday life in a dense, lively urban environment transformed through touristification. Residents do not consider the sounds of festivals as a primary source of annoyance; on the contrary, these sounds inspire them to engage with their neighborhood, suggesting a more porous living experience between indoor and outdoor spaces. Drawing on the characterization of other imagined residents by our participants, we conclude by introducing the idea of soundscape personas as a practical method in participatory decision-making for the future of the neighborhood.

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