Research Catalogue

Timelessness and temporality (Kruse, 2011) are widely studied topics in the classical music of the second half of the 20th century and the 21st century, mainly concerning the perspective of musical composition and auditory perception of music. But what is the perspective of temporal layeredness in the performer’s experience? This quote offers a starting point (Noble, 2018): “music whose temporal organisation optimises human information processing and embodiment expresses human time, and music whose temporal organisation subverts or exceeds human information processing and embodiment points outside of human time, to timelessness .” Specialized in the repertoire of Karlheinz Stockhausen, I want to investigate the role of temporality in music from the perspective of a performer. I will delve into the richness of different layers of temporal awareness in an artistic experience through experiential, embodied, and sensorial knowledge, using different temporal compositions by Stockhausen as case studies: HARMONIEN (2006) for flute solo,, Xi (1986) for flute solo and STOP (1969) for ensemble.

WITHDRAWING THE PERFORMER WITHDRAWING THE PERFORMER is conceptualized and conducted collaboratively by Charlotta Ruth (SE/AT) and Jasmin Schaitl (AT). The starting point are two artistic practices based on methods of mindfulness and game/play; Performances for the Mind and Choreographic Clues. These two individual perspectives on participation emerge from the project leaders’ ongoing artistic research and merge in their common artistic curiosity in the facilitator role and facilitating the creation of immaterial material. Accompanied by neuroscientist and performer Imani Rameses (US/AT) the research asks: How does immaterial material perform within participatory situations? What role does participatory setting play and how does participation differ if situations are communicated as a workshop, a treatment, a practice or a performance? How can neuroscience support how immaterial and participatory art practices are developed and described? What relation exists beyond involvement and how can a participant become the situation rather than being part of a situation? What has to occur in the mind and body for this to happen? Through practice and dialogue conducted with experts in the fields of contemplative sciences, sound art, choreography, game art and somatics, the research explores how input from participants (e.g. memory, thought, emotion) can be placed at the centre of a flexible yet framed performance situation. WITHDRAWING THE PERFORMER was realised in collaboration with the Angewandte Performance Laboratory 2021-2022. In the course of the project, a lecture was given at the Center for Didactics of Art and Interdisciplinary Education, and a public series was realised at Kunsthalle, Wien & Angewandte Performance Lab. Collaborating expert practitioners and dialogue partners are: Philipp Ehmann (AT), Nikolaus Gansterer (AT), Mariella Greil (AT), Dennis Johnson (US/AT), Anne Juren (FR/AT), Krõõt Juurak (EE/AT), Imani Rameses (US/AT), Christian Schröder (AT), Lucie Strecker (DE/AT).

The subjective experience of time pressure in today’s efficiency- and performance-oriented society is fuelled by a paradox: acceleration is omnipresent due to economic and technological demands, while at the same time complexity and self-responsibility require more time for decisions. This exposition examines individual and institutional ways of dealing with discrepant time demands. Where and how do different age groups experience divergent time regimes that occur simultaneously? Which techniques do individuals and institutions use or invent to synchronize different time perceptions, rhythms, and activities? How can artistic research create asynchronicity and make it experienceable through filmic means? And, finally, to what extent can filmic thinking produce ways of knowing that convey (as yet) unverbalized perceptions of time? Methodologically, this research combines analytical and artistic approaches in an essayistic procedure comprising cinematic practice and writing. On the one hand, it explores different aspects of divergent perceptions of time in a series of case studies under the leitmotif of “asynchronous determinations of time.” Situated in both immaterial and care work, in which bodily and affective temporalities are highly important, these empirical investigations consider the role of lifetime (age, biography, memory) and temporal modes (tempos; imperatives, indicatives, subjunctives). On the other hand, this study develops specific artistic procedures for focusing perception by means of narration, fragmentation, montage, visual and linguistic interventions, extractions and interweavings. Since simultaneous non-simultaneities (tend to) overwhelm subjective experience, the procedures adopted in this research contribute to new forms of filmic thinking and images of thought. They should be understood as an incentive to empathize with different understandings of time.

This virtual exposition partially concentrates the experimental works developed during the doctorate in musical performance. Based mainly on the theory of transcreation of Haroldo de Campos (1962-2003), the topic of virtuosity is approached from artistic gestures trying to raise the discussion on what it means to be a virtuoso in the contemporary musical world. Paradoxically, iconic piano technique studies were chosen as the main material,this transcreationist interpretation allows traditional material to be permeated not only by contemporary means and aesthetics, but also questions that reflect on the tradition that made the emergence of these studies possible.

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Taking as a departure point my experience working with war survivors in Peru, this project investigates how art can enable the collectivization of mourning. I connected my interest in the act of mourning human losses with my experiences living in Athens, Greece, where I encountered depression as a common diagnosis on both the individual and collective levels. If being depressed relates to unresolved mourning processes, what are the objects of loss caused by economic crisis and political disillusion? How can art help us to mourn an abstract loss, such as a political project, a certain sense of dignity, a particular relation with time and nature, or a fixed role in the familial structure? How could mourning be shared to allow communities to reframe and re-signify those objects of loss, towards transforming our relation to the economic and political? Lost and Shared creates dialogue between theory and affective labour, through collective experiences that connect emotions, critical thinking, body and space. The intuitions and questions brought by conversations with Greek activists and artists are the core of the project. Later on, facing the impossibility of working as planned due to the pandemic, Lost and Shared was adapted to the new socializing conditions and to acknowledge how crisis and mourning had become a global concern. Thus, the project ends up proposing the idea of “fertilizing mourning” as a concept in the making - an open invitation to collectively create practices that help us reconsidering the entanglements between life, death, and regeneration. Urgent practices we need today in order to contest the increasing, global processes of loss caused by capitalism.