Research Catalogue

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• S I R E N E N (last edited: 2019) author(s): Katharina / K.H. Hauke This exposition is in progress.
  Komm, besungener Odysseus, du großer Ruhm der Achaier! Lenke dein Schiff ans Land, und horche unserer Stimme. Denn hier steuerte noch keiner im schwarzen Schiffe vorüber, Eh' er dem süßen Gesang aus unserem Munde gelauschet; Und dann ging er von hinnen, vergnügt und weiser wie vormals. Uns ist alles bekannt, was ihr Argeier und Troer Durch der Götter Verhängnis in Trojas Fluren geduldet: Alles, was irgend geschieht auf der lebenschenkenden Erde! Das Wissen um alles was war und ist auf der Welt ist ein inkommensurables. Es ist kein wissenschaftliches und kein narratives Wissen, sondern mit der Welt gleichzusetzen, die/da diese aus ihrer Geschichte hervorgeht und ihre Existenz bedeutet. Dem Gesang der Sirenen zu lauschen würde bedeuten, in der Welt aufzugehen. Das glückliche und wissende von hinnen Gehen, das die Sirenen beschreiben, wenn auch nicht unbedingt einen biologischen, keinen Zerfall von organischen oder materiellen Strukturen in andere, die nicht uns bedeuten. Letzteres wäre eine gängige Lesart der Sirenen, an deren Ufern sich Gebeine modernder Menschen anhäufen, wie die Göttin Kirke verkündet. Als menschliche Wesen existieren wir auf weiteren Ebenen (selbst wenn diese in strukturiertem Material (zB Gehirnen, Institutionen, Büchern,…) explizit sind): einer sozialen/gesellschaftlichen, einer sprachlichen als deren Basis und Material. Indem die Sirenen aus einem Mund singen, lösen sie sich ineinander auf und deuten eine andere Lesart ihrer Gefahr an: wenn das Ich, die kleinste Einheit von Gesellschaft, die Identität, Fundament unseres (sprachlichen) Denkens infrage gestellt werden kann, dann entziehen sich unserer Gesellschaft, Werten und Wissen ihr Grund. Spätestens seit der Dialektik der Aufklärung aber wissen wir, dass wir was dieses Fundament in sich birgt und dass wir ein anderes suchen.
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  Research pavilion 2019 (last edited: 2019) author(s): Research Pavilion connected to: University of the Arts Helsinki This exposition is in progress.
  Uniarts Helsinki is organizing the 3rd Research Pavilion in the context of Venice Biennale, in May-August 2019. This edition presents itself as a meeting place, a catalyst of emerging co-operations in the area of artistic research and a generator of new thinking: a battery of research cells capable of recharging artistic research with new energy.
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• Feminist Gathering (last edited: 2019) author(s): Jaana Kokko This exposition is in progress.
  My contribution to the Research Pavillon in Venice 2019
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  Organized time (2019) author(s): Christian Blom published in: Norwegian Academy of Music
  For many years I was a part of a performance group called Verdensteatret. We made large scale performances and installations. They were often dense with information. Speech, movements, video, lights, sounds and music, all utilizing their full scales at once, fast to slow, loud to soft, bright to dark and so forth. This meant that we had many situations where the amount of information was overwhelming. Anyone attending would have to make choices of where to focus and what to follow. I recall sitting in rehearsal for the work Louder (Verdensteatret 2007) thinking: Isn’t that sound finishing off Marius’ movement? They are both coming to a halt after finishing a similar arch through the room. And the sound continues ten seconds after Marius has stopped. They start together but finish separately. A connection appears as they separate. The connection is clear for the ten seconds between when Marius is finished, and the sound finishes in a similar manner as Marius did. Nothing else enters and connects more strongly to either and their initial connection is strong since they start out as if in unison. I didn’t think all this then, it’s only now that I can put words to it. After all things are indications before they become phenomena (Bachelard 1958, 176). This glimpse and my imaginative memory is the basis for organized time. Through this research project I have tried to recreate this glimpse, to isolate it and force it to show itself. It has been a hunt. I started fiddling about, juxtaposing things and hoping for a dialectic miracle and as things became more clear I increased precision and gradually formulated a strategy for transmedial composition.
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• THE POETICS OF A MULTIPHONIC LANDSCAPE (2019) author(s): Niclas Hundahl, Torben Snekkestad, Torben Snekkestad connected to: Rhythmic Music Conservatory Copenhagen published in: Research Catalogue
  The project is an artistic research project focusing on the saxophone􏰁s ability to produce multiphonics (multiple sounds on an instrument considered monophonic). It is a personal artistic exploration into the process of unfolding the poetics of these complex sonics and a reflection over the process, methods and the creation of an album trilogy, consisting of acoustic solo music recorded during the research period. The main question I have been asking myself during this project has been: What happens if the raw musical material, in the creation of a set of solo saxophone works, is based on the multiphonics only and what this material in itself suggest – possibly independent of any stylistic affiliation? 
My main objective was to examine why the saxophone’s multiphonics have such a captivating effect on me. How could I possibly explore their intrinsic qualities and unfold the poetic potential in them? By the same token, my ambition was to find a suitable artistic context for this enamored relationship that so heavily has stirred the waves of my imagination. In the reflection text on the project, I disclose how some unexpected paths during this pursuit revealed themselves. From sprouting interest toward underwater soundscapes, to the making of a hybrid instrument called reed-trumpet; and how my personal catalog of multiple sounds found its place, not in a public pdf-document or book release, but in a German wooden archive box. I relay in what way I began to take on the intrinsic qualities of the multiphonics and the reason why an oscillation between artistic intention and action is so pivotal for an improviser. To make sure that the project had this focus at all time I sat up a dogma that contains a list of eight fundamental criteria that manifest the intentions and structure as well as sharpen the working methods.
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• Mediating "Eugene Onegin" (2019) author(s): Viktoria Volkova published in: Research Catalogue
  “The sun of Russian poetry”, Alexander Pushkin, wrote his novel in verse “Eugene Onegin” from 1823 to 1831. Since then it has been regarded as a masterpiece of literature and Pushkin’s key work. From the school curriculum every student is familiar with Pushkin’s famous iambic tetrameter, an unusual rhyme, which is also famous as the “Onegin stanza” or the “Pushkin sonnet”. But what still has been disputed by Pushkin researchers, is the query, what is it which is so unique about “Onegin”: is it the poetic structure of the novel, and the tempo-rhythm which the poetic structure produces while reciting and acting on stage? Or is it the national cultural content, called by the Russian critic Vissarion G. Belinsky "the encyclopaedia of Russian life”? There were many attempts to interpret the novel. But to interpret Pushkin is not the same as to recite him. That is why the former director of Taganka Theatre in Moscow Yuri Lyubimov (1917-2014) staged “Onegin” in 2000 focusing on the tempo-rhythm of the Pushkin stanza. However, “Eugene Onegin” remains undoubtedly “the encyclopaedia” where national manners, customs, and cultural traditions from every field of life are described with brilliant virtuosity. In this connection, Alvis Hermanis’ (1965-) interpretation of “Eugene Onegin” at the Schaubühne Berlin in 2011 should be mentioned. Hermanis concentrated particularly upon Russian cultural embodiment. Five actors embodied the main characters of the novel and were both its narrators and historians who allowed the audience to the backstage of Russian and European everyday life. So it was the actors themselves who embodied the “encyclopaedia of Russian life” in Belinsky’s sense on stage. Both, Lyubimov and Hermanis, chose heterogeneous forms of mediation for their performances. In my paper I investigate mediation practices applied to preserve the tempo-rhythm on the one hand, and to reveal cultural traditions on the other.
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Geir Strøm
Norway

Flick Harrison

Misha Penton
United States (residence)

Katrina Brown
Netherlands, United Kingdom (residence), United Kingdom (citizenship)

Linda H. Lien
Norway

Jennifer Torrence
Norway (residence), United States (citizenship)

Tinna Joné
Sweden

Jonathan Reus

Joshua Hale
Canada (residence), United States (citizenship)