The Research Catalogue (RC) is a non-commercial, collaboration and publishing platform for artistic research provided by the
Society for Artistic Research
. The RC is free to use for artists and
serves also as a backbone for teaching purposes, student assessment, peer review workflows and research funding administration. It strives to be
an open space for experimentation and exchange.
For their inaugural exhibition as a collective, LIMB will explore [hydro]ecology as a form of writing beyond words and writing beyond meaning. Thinking through wet ecologies as sensitive surfaces, as inscribing agencies and as archives, they look towards nonhuman expansions of the very idea of inscription itself.
They will show work spanning moving images, artificial intelligence, photography, printmaking and living installation, and a public programme of workshops and events will be spaced throughout the exhibition period. A collaborative textile piece charting LIMB’s research will cover the Dorset Place gallery window and visitors will be encouraged to contribute to a growing archive of images and objects which feed into new ways of forming more-than-human communication and kinship.
Silence surrounds us, silence around us - X
This artistic research "Silence surrounds us, silence around us" was started in 2020 after the corona pandemic. "X" is a new beginning of artistic research in the research series "Silence surrounds us, silence around us". I continuously explore the research method of "work in progress" in artistic research from the perspective of biology. (For a new geometry and a new topology in the arts, in the 21st century)
Transdisciplinary artistic research in the visual arts with architecture and music, with regard to transversal aesthetics.
Keyword "Ageing" in this artistic research is philosophical consideration. For instance, "capital" in Marx's theory, "immateriality" and "materiality" in capitalism, how is "Ageing" viewed?
What gaps between cultural mentality and social condition?
What role can art play in answering these questions?
Therefore, my attempt in artistic research is through string theory as well as Einstein's special relativity theory in the 21st century, to explore the new value (as well as, quantum) of ageing towards capitalism of all democratic social systems and their ideologies for something new.
//Unheard_Landscapes - listening | resonating | inhabiting 10th FKL/ENP/AAU_CRESSON International Symposium on Soundscape BLOIS | October 27 -30 | 2021
STEFANO ZORZANELLO, francesco michi, Daniele Pozzi
Unheard landscapes: this metaphor leaves space to imagination, to the un-thought, to the un-known, to past and future, as well as unexplored sound scenarios. It also reaches the field of auditory perception, the acoustic domain. Sound, through auditive qualities, acoustic phenomena, design practices, artistic creations, and listening experiences, offers an inspiring transversal entry onto landscapes and ambiances. Beyond the discussions on “soundscape”, approaching ordinary environments through sounds increases the awareness of our own capacities to feel, while we inhabit and move across different worlds. From an ecological perspective, resonance appears a key word, too. It puts sound and space together. It implies the idea of a plurality of bodies, things and living beings vibrating all together, sharing common contexts of time and space.
The act of listening bypasses the passive meaning it usually receives. It contains in itself a completely unexpressed potential, connoted with «project», «pro-action» and «active decision» by individuals. What will be the sounds of the future and the soundscapes in which we will live, or would like to? How can listening practices evolve, how will we listen or how differently could we listen to the world around us, tomorrow?
Inhabiting the world brings to us questions about how we want to manage our being in it. How do we want to inhabit the world sonically? How sound and listening do actually affect our way to inhabit it? Have we lost some of our abilities to resonate with the world? What remains to be heard? Where could the practices of listening and attuning take us to?
What is the word
What than is music? – Music is language.’ Composer Anton Webern was quite outspoken in 1932 : 'A human being wants to express thoughts in this language, but not a thought that can be transferred into an idea, but only into another musical thought.’ Almost sixty years later composer Wolfgang Rihm isn’t sure whether music is a language but states in his speech 'Was ‘sagt’ Musik/ What does music ‘say’?:’ if music is saying something, than the first what is addressed to us is: speak! Music wants to make us speak. That’s what music says!’
That raises the question whether music can be referential or carry meaning just as language can. A question that has made many speak and filled libraries of studies. Cognitive psychologist Aniruddh D. Patel writes in 2008: ‘A natural place to turn for help in defining musical meaning is the work of music theorists and philosophers of aesthetics’. After summing up a dozen publications on the topic since Webern made his statement, Patel reports: ‘No consensus has emerged from these writings for a definition of musical meaning.’
There is a lot of evidence in linguistics that qualities attributed to musicality contribute to language being the carrier of meaning. So what about the other way around? Can language help to understand what is experienced as meaningful in music?
Language itself is an indicator that qualities inherent to language are often given to music. In German the word Interpret is used for instrumentalists performing music. The Dutch language has the word zeggingskracht that attributes power to music. 'Zegging-’ stems from the verb zeggen (to say), ‘kracht’ means power. Zeggingskracht was one of the three criteria to assess the work of composers by the Fund for the Creation of Music (Fonds voor de Scheppende Toonkunst ) in The Netherlands. When the power to speak is inhibited and people stammer or lose their speech suffering from aphasia, it has been said that “only music, can do the calling.” And it’s almost a cliché to say that music can express what can’t be given words.
Music is not a language but often sounds like one. What do musicians that are ‘speaking’ that music have to say about meaning in music, singing, performing or creating what composer Louis Andriessen describes as ‘talkative’ music? Or the stammering that composer György Kurtág calls his mother language? How do musicians give words to those moments when their music does the talking?
What is the word is the last text that Samuel Beckett completed at the end of his life when through a stroke he periodically suffered from the disability to finds words, commonly diagnosed as aphasia. The Irish author inspired many to explore the zeggingskracht of music. Precise as he was, Beckett left out a question mark in the title, both in the original French version of Comment dire and in his English translation. That the title of Samuel Beckett’s last text is not posing a question but may provide us with an answer, is the hypothesis of this research.
Movement first : Directing for Movement-Based Performative Arts
Making performances that have movement as a base means in many ways to venture out into an unexplored landscape. What is to be played on stage usually has its origin in a movement-based idea and not in an already written text to be analyzed. How can this work go? Where are the challenges and what methods can be used?
Lena Stefenson has written this book on the basis of her own experiences as a choreographing director with examples from various works as well as her own and others' teaching. The text is about how to create the elevated movements in a performance. How to work with theme? With story? What is the relation between text and movement? What does it mean to be a choreographer / director for a movement-based work? How are the last rehearsal weeks going?
The book is aimed at anyone who is, or wants to become, a choreographing director or actor in the movement-based performing arts with forms such as dance, mime and circus. It is also aimed at those who generally want to make their scenic work more physical.
Smitte som skapelsesmaskin
Liv Kristin Holmberg
The exposition ”Smitte som skapelsemaskin” (Contagion as a creation machine) is based on the artistic project ”Kroppsliturgiske eksperimenter” that explores the boundaries emerging when performing arts and human bodies enter the sacred space of a church. To what extent does the church as a social and architectural environment, shape human conceptions of bodies? What might the history of theology and of the Christian church tell humans about our relationship to our own bodies? The pandemic has put the above questions in a new light: It made the skin a potential carrier of life-threatening infections. At the same time, we suffered the lack of mutual human touch and of physical presence. Caught between the fear of being infected by touch and a hunger for being touched, the project ”Kroppsliturgiske eksperimenter” appears both challenging and attractive. Crisis has produced a desire for new forms of touch, in art and in human life. This contribution to VIS was created in collaboration and dialogue with performer Hanna Barfod, priest, professional singer and research fellow Mathias Gillebo, film photographer and editor Mats Christian Rude Halvorsen and priest Arne Jor.