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 researchers. It 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.

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RESONANCE: (Re)forming an Artistic Identity through Intercultural Dialogue and Collaboration (2021) Nathan Riki Thomson
A B S T R A C T This artistic research examines how the third space emerging from intercultural dialogue and transcultural collaboration can be a catalyst for new musical discoveries, intercultural humility and the (re)forming of artistic identities. The body of this project is centred around three doctoral concerts, a CD/LP recording, and a documentary film, which took place between 2016 and 2021. In addition, I draw on the embodied experience of a five-year period I spent living and collaborating with musicians and dancers in Tanzania and Zambia prior to the doctoral project. As a double bass player and composer, I place myself in a series of different musical and multi-arts contexts, engaging in dialogue with musicians, dancers and visual artists from Brazil, Colombia, Estonia, Finland, France, Madagascar, Poland, Sápmi, Tanzania, the UK and Zambia. Various solo, duo and ensemble settings act as case studies to examine how this process takes place, the artistic outcomes, and the effects of intercultural dialogue, collaboration and co-creation on my own artistic identity. The instruments and forms of artistic expression used by my collaborators include the Brazilian berimbau, Chinese guzheng, dance, live electronics, experimental instrument making, Finnish Saarijärvi kantele, Sámi joik, vocals, percussion, live visuals, image manipulation, animation and film. In these artistic explorations, I draw on new knowledge gained from the collaborations, as well as from my five-year period of intercultural immersion in Tanzania and Zambia. As key concepts in this research, I investigate artistic identity, hybridity, intercultural collaboration, co-creation, third space theory and resonance, the latter being viewed both as a physical phenomenon and an approach to thinking about the ways in which we connect with the world around us. This research contributes to new knowledge and understandings in these areas through the interweaving of artistic processes, audio, video, photographs, artistic outcomes and text. Findings emerge in terms of new musical discoveries found in the dynamic third space surfacing from transcultural collaboration; the interconnected nature of my work and its reliance on meaningful dialogue and exchange with others; and the crucial role of resonance in forming a personal artistic identity. Further research outcomes include new techniques and the expansion of the sonic palette of the double bass, enabled by developing custom-made attachments, preparations and electronic manipulation. The complete scope of this doctoral project includes four artistic components, a documentary film and an artistic research thesis comprising two peer-reviewed articles and an integrative chapter, all housed within the main multi-media exposition, Resonance: (Re)forming an Artistic Identity through Intercultural Dialogue and Collaboration. Key words: artistic identity, intercultural humility, hybridity, intercultural collaboration, transcultural, third space, third space bass, resonance.
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ALMAT - Iteration RK (2021) Hanns Holger Rutz, David Pirrò, Ronald Kuivila, Daniele Pozzi
Discourse and materials pertaining to the experimental iteration with Ron Kuivila, during the Algorithms that Matter (Almat) artistic research project.
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Through Segments — Durchlässige Segmente (2021) Hanns Holger Rutz, David Pirrò, Ji Youn Kang, Daniele Pozzi
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).
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Ferry Experiment: Reading Line and Sound aims to grasp movement in different artistic elements and trace their interconnection. A sound of a ferry trip Lisbon-Berreiro is recorded as if from two differing ears of a passenger. One traces the movement of detailed noise inside while the other lowers itself to the machinery and gives an impulse of the repetitive swing of moving water. A drawing is created as a result, dismounted to its detail and used together with the sounds as a continuation searching itself in the movement of a body.
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Home page JSS (2021) Journal of Sonic Studies
Home page of the Journal of Sonic Studies
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JSS Book reviews (2021) Journal of Sonic Studies
JSS Book reviews
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