recent activity
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Almat - Iteration EG
(last edited: 2018)
author(s): Hanns Holger Rutz, David Pirrò, Erin Gee
This exposition is in progress.
Discourse and materials pertaining to the experimental iteration with Erin Gee, during the Algorithms that Matter (Almat) artistic research project.
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weS.A.N.K.
(last edited: 2018)
author(s): vincent roumagnac
This exposition is in progress.
Research Project
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Transpositions [TP]
(last edited: 2018)
author(s): Gerhard Eckel, Michael Schwab, David Pirrò
This exposition is in progress.
The research project investigates the possibility of generating new auditory and visual forms based on the analysis and mathematical transformation of scientific data. In addition, the project studies whether and how these new forms are of scientific significance by asking the collaborating researchers to scientifically analyze the artistic outputs. By remaining true to the data while employing an artistic working method and, thus, by combining scientific and artistic values, the project contributes to the conceptual development of a space for research that is shared between art and science. This, however, implies that during the project both scientists and artists will be challenged to work in ways that are unfamiliar to them, either through confrontation with complex artistic interpretations of data or through exposure to very specific scientific working methods. On a meta-level, the project will report on the types of interactions that are deemed to be of value to either the artists, the scientists or both.
At present, scientists use a variety of sonification and visualization procedures to analyse and communicate their findings. For artists, those representations are often of little artistic value since they are geared towards a transparent communication of the data creating little space for artistic interventions. Conversely, by foregrounding aesthetic effects, the expanding field of artistic data sonification and visualization runs the risk of producing art works that only superficially related back to the scientific research from which the data originated. While giving the arts an important role in the communication of scientific activity, the artistic exploration of scientific data may thus add very little to the research itself. Given the ever-increasing amount and importance of data representations, it is of particular importance that artists become engaged with their fabrication and to identify how in spite of their very different constitution aesthetic and epistemic research aims may support each other.
Three case studies from different scientific fields provide data to be transposed by the artists into artistic outputs, which are in turn analysed by the scientists. The artists have an established practice in music composition and visual art, respectively, and have been collaborating very productively for the last 3 years. Given the transdisciplinary nature of the artistic collaboration it is possible to investigate issues of intermediality not only between art and science but also from within the arts. The process of creation and analysis is continuously exposed on the Research Catalogue online platform while a number of performances/exhibitions make the outputs tangible to the scientists and the general public.
Recent Publications list view
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Crafting Context: An Inquiry into the Art of Curating Music Performance
(2018)
author(s): Imogen Cooney
published in: Research Catalogue
Crafting Context: An Inquiry into the Art of Curating Music Performance
Thesis written by Imogen Eve (3134989)
Master of Music:
New Audiences and Innovative Practices (Specialization)
Royal Conservatory of the Hague
Published on June 21, 2018
Supervisors: Falk Hübner and Renee Jonker
Subject Teacher: Renee Jonker
Research Question
“How can present-day classical performance experiences be curated to fuse attentive listening with active audience engagement in non-traditional performance settings?”
Research Summary
This study explores how curatorial practices can be utilized to create new performance contexts that aim to fuse classical aesthetics with 21st century cultural values. Through research analysis, a Curatorial Methodology is formulated specifically for music events and then applied to case study projects.
The outcome of this research has found that the tools within the curatorial method do aide in transforming these non-traditional performances into more engaging and artistically rewarding experiences. Even within the limitations of this study, this method of approach has the potential to craft new performance contexts that positively impact both classical and non classical musicians as well as generate engaging music experiences for 21st century audiences.
Biography
Imogen Eve is an independent performance arts curator and designer, specializing in creating immersive and interactive concert experiences. Utilizing her training as a musician and within theatre, she crafts the emotive elements inherent in live music with the environmental and atmospheric elements of spatial design to construct narratives - storytelling experiences communicated through sound and space.
Imogen trained as a classical violinist and went on to study at the Queensland Conservatorium of Music (2009-2013) and at the Australian National Academy of Music (2014) whilst simultaneously working within theatre as both an actor and an artistic director. In 2012 she founded and directed The Painted Feet Orchestra, an interdisciplinary performance collective, and directed their productions in the 2012 Anywhere Theatre Festival (AUS) and the 2013 Music by the Sea Festival (AUS). From 2013 - 2015, Imogen was co-artistic director of the Deep Blue Orchestra (AUS) for their production of India Stories in the Woodford Folk Festival and at the Brisbane Powerhouse. As a freelance music director, Imogen worked with Fractal Theatre Company (AUS) on Secret Love Life of Ophelia in 2012 and The Shakespeare Theatre Company (AUS) on Mary Stuart in 2013.
In 2016 she began her master research at the Royal Conservatory of the Hague specializing in curatorial practices for music performance. Imogen currently lives in The Hague and engages in freelance curatorial projects and performs as a violinist with the Pynarello Ensemble Collective.
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The Dominant Eye
(2018)
author(s): Vincent Meelberg
published in: Journal of Sonic Studies
The Dominant Eye is a sixteen week project that aims to uncover why there is a heirachy of the visual sense whilst establishing strategies to re-engage with our forgotten senses. Through a series of weekly radio discussions, members from The Noematic Collective will build on a dialogue with speakers to form a manifesto towards an equality of the senses. Speakers will include sound theorists, artists, architects and specialist researchers whom deal with the beaurocracy of the senses that has been established by modernist thinkers like Art Critic Clement Greenberg.
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Capturing Intimacy: Translating Intimate Moments in Film
(2018)
author(s): Kerstin Parth
published in: Research Catalogue
The aim of this arts-based research project was to examine the translation of intimacy in film and to create a transparency for the accompanying artistic decision-making processes. The research focus was to explore the processes involved in the production of moments of intimacy from an inter- and transdisciplinary perspective, and to study the contexts in which intimate moments are "translated" into moving images. Within this context, this project was particularly concerned with filmmakers' experiential knowledge about creating intimate moments within an artistic framework by employing different technologies and staging them in different ways, as well as with asking how this attributes meaning to these intimate moments.
The framework of this research project includes an inter- and transdisciplinary workshop aimed at initiating a dialogue and exchange of knowledge between theory and practice. This workshop aimed to reflect together on the artistic (subjective creative) decision-making processes, to hone the research questions and lay the foundation for the artistic research that took place in the FILM LAB (film research laboratory).
The establishment of a FILM LAB served as an innovative and open research space in which filmic translation and decision-making processes could be observed and rendered comprehensible by employing a "slow-motion procedure". In particular, the FILM LAB aimed to highlight the complexity of intimacy and sound out specific processes of translation by employing and reflecting various artistic and technical means and methods.
artists using the research catalogue
Belen CerezoSpain, United Kingdom (residence)
Corina CaduffSwitzerland (residence)
Klarijn VerkaartNetherlands (residence)
Björn RossDenmark (residence), Sweden (citizenship)
all artists
