Research Catalogue

This is the landing page for Rhythmic Music Conservatory's portal on Research Catalogue.

Through Segments is a sound installation in an unusual interstitial space—the staircase of the Kunsthaus’ Iron House that connects to the “Friendly Alien”. Four artists listen into the storeys using real-time computer algorithms, taking an acoustical image of the visitors’ movements, forming four individual reactions. It is a poetic attempt to think about the distributed, the fragmented, the parallel. During the development phase, the artists work independently, but at the same time they observe and interrogate each other, performing the gesture of a “simultaneous arrival” (Sara Ahmed). They enact a human algorithm, informed by reiteration and duplication but never being identical. The aim is not one “of all converging towards the same, but circulating, making common relaying, relaying back, being relayed” (Isabelle Stengers).

Through a dialogue with an historical archive the project seeks to construct a fluid story of a confined landscape on the point of transformation. Through the negotiation of a multitude of images the project constructs a narrative that transcends the photographic vision as evidence, and questions whether vision can be more than comparable to the ground of an archaeological excavation. Through the use of the photographic essay as a method the intention is to try and interpret the changeability of the urban landscape.

Cet article interprète l'adhésion au passé qui le conçoit comme l'idéal et la véritable manière de faire progresser, en gardant les yeux fermés sur le fait que l’évolution culturelle peut rendre ce qui était "sage" même inapproprié ou nuisible. Les études de cas présentent donc une dimension globale de l’époque autoritaire en Turquie, allant jusqu’aux idéologies cachées derrière le voile des sciences. L’idéologie autoritaire en Turquie est une question de droit et d’exception. Le fil qui relie aujourd’hui la Turquie et le monde moderne est l’idéologie capitaliste. Les habitants d’un même “village global” se réveillent et partent de chez eux vers des chemins différents où ils peuvent se retrouver avec des idéologies de négation, remplacées par des sciences confidentielles dans un monde qui croit en l’ouverture et la démocratie, qui est toujours au cœur des pratiques scientifiques.

This paper introduces the method of intuition as it is presented by French philosopher Henri Bergson in the book An Introduction to Metaphysics (Bergson 1912). Its usefulness as a tool to observe relevant information in artistic practice in sound is further discussed in relation to a series of works by the author. Exploring this complex field the author makes a preliminary conclusion that sound is not a thing, and it is not limited to what we listen to. It is a system of interrelated threads, the meaning of which is much larger than the actual sound itself.

The pursuit of perfection and the pressure to continually progress often overshadow the intrinsic joy and freedom that initially drew musicians to their profession. After a negative experience within my studies, I wanted to rediscover the essence of music-making through the lens of a specific tool: free improvisation. The research is driven by an autoethnographic approach where I focus on a specific angle within the broader topic of free improvisation: exploring how incorporating this tool affects the different parts of flute playing by putting the focus on how it can make us connect with our instrument, be more aware of our playing, of our body and to expand our creativity and imagination. Adopting a qualitative methodology, this research includes an exhaustive literature review, a journal on my reflections in collaborative sessions with a professional on the field and a data analysis of the survey answers by both professionals and students connected with this tool. Through immersive sessions conducted by Anne La Berge, I was guided across the possibilities of this tool. These are captured in a field journal where I reflect on topics as body awareness, skill development, creativity and motivational shifts triggered by the improvisational process in my own experience. Additionally, the insights collected from the questionnaires bring different points of view in the matter, offering diverse experiences and valuable perspectives. In summary, this study highlights the potential of free improvisation as a tool for reconnection, self-discovery and artistic growth as a flute player.