Research Catalogue

The context of generative processes encapsulates relevant data that influence the behavior of an algorithm including mental domains and 'internal' dimensions of a particular context such as goals and decision making. Of creative importance is how an algorithmic process reacts to the influence of its environment, the enclosing conditions from which it emerges. Given a clearly defined set of resources, a variety of processes can operate within the boundaries imposed by a certain context. Such a shared space can be seen as a composable structure, a space where both composition and generative activity take place. Contributing to the evolving properties of a certain situation, the persistence of state means that an environment behaves according to the previous activity that has occurred within it. Opposed to an amnesic situation, a persistent environment can resume previous developments, adapt to long-term interactions and evolve over time. Based on persistence and gradual change, the temporal unfolding of generative processes has an important impact on the becoming of compositional algorithms and the sound material they create.

Exploring methods of connecting thinking to space and embodiment in a research that looks at the connection between mental images, language and the body through felt experience.

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.

Having departed from the idea of exploring the subject of “childhood politics” and memory (topics that both Anja Suša and Dejan Kaludjerović have been interested in and invested in through their own artistic practices in theatre and visual arts, as well as in this collaboration), they soon found themselves caught up in the discussion about artistic mandates and the potential artistic format as the output of the research project. The discussion became so intense that it entirely changed the focus of the collaboration—from the content of the project to collaborative protocols—and finally landed in what is best described by Claire Bishop as the “Grey Zone,” which can also be understood as a liminal space between contemporary artistic practices in the fields of performing and visual arts. Coming from the ideologies of the Black Box and the White Cube, which have been further reinforced by many years of institutional practice that still revolves around the idea of formal artistic education and artistic mandates, the artists soon realized that they wanted to embark on the journey of reinventing themselves in the artistic field of the “other,” despite the lack of formal training or any previous experience. They tried to explore the possibility of entering each other’s art fields based solely on artistic experience, and not on any particular art training.

How can embodied listening be performed, from my ears (body) to yours? How are we (dis)oriented? ‘Braced under the heating sun’ is centred around listening to and documenting my childhood home and its aural particularities through processes of embodied listening. The project is based on my recordings and experiences there between February and March 2020 (bookended by the waning Australian black summer bush fires and the burgeoning COVID-19 pandemic). The house is made from wood and so bends with the weather. The wooden structure amplifies the sounds of our habitation. The house is located on the edge of a small town and next to a sugarcane farm in North Queensland. Although in a tropical climate it has no flyscreens, and air-conditioning in only one room. The windows are open all of the time to let a breeze through. Most evenings you can find green tree frogs, geckos and insects amongst other animals in or around the house. In this way nature (a wild exterior) pushes against and blurs into the home (an organised interior). It is never silent there, the sounds are a mix of all forces; human/animal, natural/industrial. For me, it resonates as a site that is connected to the world despite its rural location. In this house the “rhythms and cycles of the living and the immediate needs of every living being are highlighted and played out. It is where intensities proliferate themselves, where forces are expressed for their own sake, where sensation lives and experiments, where the future is affectively and perceptually anticipated” (Elizabeth Grosz 2008). In this audio paper, I discuss this installation work and my continued research on embodied listening.

theory practice theorize practice practice theory ... By using any of these words I am establishing an order of importance among them. My body cannot vocalize two of them at the same time. How in the world can this terrible order of things be abolished? How can we relate to a possible merge of the dichotomy theory/practice through language?