Research Catalogue

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• PhD Meta-Exposé-Entwurf (last edited: 2019) author(s): Erika Matsunami This exposition is in progress.
  Dieser PhD Meta-Exposé-Entwurf ist ein Exposé-Struktur für Ph.D. Kunst-Forschung.
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  Orchestrating timbre - unfolding processes of timbre and memory in improvisational piano performance (last edited: 2019) author(s): Magda Mayas This exposition is in progress.
  The doctoral research investigates the orchestration of timbre from a performer’s perspective. Through the dissertation, I explore or- chestration as means to “unfold” improvisational processes. The foundation of the work lies in my practice as a pianist in the realm of improvised music, in which I often use preparations and objects as extensions of the instrument. Whilst timbre is often understood as a purely sonic perceptual phe- nomenon, this view of timbre does not accord with its use within con- temporary site-specific improvisational practice. This research grew out of the need to explore the potentiality of timbre, and to renew and situate it within my own practice. Through the research, I argue that a range of aspects that exceed the purely sonic—for instance, changing spatial circumstances, the affordances and agency of instru- ments and objects, and the performer’s movements and gestures— all impact upon a performance and the listening experience. All of these aspects need to be taken into account in understanding and working with timbre. 5 In this dissertation, I introduce and argue for an extended and sit- uated understanding of timbre in relation to material, space, and body that recognizes timbre’s complexity and embraces its potential to contribute to an ethical engagement with the contextual environ- ment. I understand these material, spatial, and embodied relations to be non-hierarchical, inseparable, and in constant flux, and to require continuously re-configuration without being reduced or simplified. This timbral approach, which navigates multiple media beyond the sonic, radiates throughout my research. From a performer’s perspec- tive, I define “orchestrating” timbre as the attentive re-organization of these active agents and the creation of musical structures on micro and macro levels through the sculpting and transitioning of timbre— spatially, temporally, physically, and mentally—within a variety of com- positional frameworks. Understanding timbre in this way requires that we recognize the multiple and complex roles that memory plays in contemporary im- provisational practice. I therefore introduce the term timbral memory in order to describe how I use memory strategically as means to gain knowledge about improvisational processes undertaken in line with an extended understanding of timbre. In the course of the research, I conducted four investigative projects that were integrated into my practice, which were further extended through collaborations with sound engineers, an instrument builder, and a choreographer. The resulting practice-based research explores multiple, combined, artistic, and analytical approaches to timbre: I use systematic mappings to detail vocabulary and technique, explore am- plification and recording in the creation of spatial compositions, em- ploy a custom-built device for live spatialization as a means to expand and deepen spatiotimbral relationships, adopt gestural approaches in composing timbre choreographies, and articulate a range of diverse perspectives through dialogues and interviews with other practition- ers. 6 Taken together, these diverse studies constitute an exploration of both timbral memory as a structural, reflective, and performative tool, and the creation of performing and listening modes as integrated parts of timbre orchestration. The thesis opposes the notion of gen- eralizable, reproducible, and transferrable techniques and instead offers detailed and intimate approaches to technique and material, describing object timbre, action timbre, and gesture timbre as active agents in sound-producing processes. Orchestrating timbre forms a hybrid compositional approach, which can be applied to various improvisational contexts and which, by engaging with dynamic relationships, reconfigures them; in this, it offers a way of understanding and using the potentials that instru- ment-body-space interactions afford. By reaching beyond the sonic, my research makes a contribution to the field of critical improvisation studies. It addresses practitioners and audiences in music and sound art alike, attempting to constitute a bridge from artistic research in music—which is often viewed and treated as a self-contained disci- pline—into multiple artistic fields, in order to inspire discussions, cre- ation and education in broader audiences.
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  Reading on Reading: Ecologies of Reading (last edited: 2019) author(s): Emma Cocker, Lena Séraphin, Cordula Daus This exposition is in progress.
  Reading on Reading is a series of experimental reading practices developed collaboratively by Emma Cocker, Cordula Daus and Lena Séraphin whilst working together in the Research Pavilion #3, Venice, 2019, for exploring what alternative modes of sense making are produced when reading is undertaken artistically, as an aesthetic activity. Reading on Reading explores three interrelated foci: How can aesthetic practices of reading: (1) Shed new light on the phenomenology (or how-ness) of reading? (2) Transform the often-solitary activity of reading into a shared or communal act — and what modes of sociality, solidarity and emergent ‘we’ emerge therein? (3) Operate as a disruptive process, unsettling normative conventions of reading through focus on the poetic, affective and material dimensions of readerly experience? Within this artistic research collaboration, we consider the act of reading beyond the relation of the reader to a text read, as a micro-political or ethico-aesthetic practice through which to re-consider — perhaps even re-organise — the relations between self and other(s), self and world. Reading is explored as an aesthetic activity for cultivating shared poetics of attention, for the re-sensing of language through embodied vocalisation, for tending to the temporary gatherings of ‘we’ that reading together affords. This exposition shares the reading practices tested and explored in and through the collaboration Reading on Reading, alongside reflection on the questions and concerns emerging within this enquiry. Whilst operating as a document or archive of a specifically time-bound research activity, the intention is that our reading practices have scope to be activated by other readers.
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  Johannes Kretz and Wei-Ya Lin: con | versation – de | fragmentation (2019) author(s): Johannes Kretz published in: Research Catalogue
  This is the exposition for the application of Johannes Kretz and Wei-Ya Lin for the SAR conference in Bergen 2020.
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  The variables that affect colour in the digital textile printing process (2019) author(s): Becky Gooby published in: Research Catalogue
  The development of digital printing is a major change within the textile design process as a designer is no longer restricted to number of colours, repeat patterns, and may include photographic images and intricate detail. With digital print it is now possible to print anything between a metre, or hundreds of metres, at the click of a button. However, there is a marked difference between screen-colour and print colour. A textiles designer using Computer Aided Design (CAD) to create a design will be required to experiment with a number of variables in order to feel more confident about the outcome when using digital fabric printing.
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  Colour Maps (2019) author(s): Becky Gooby published in: Research Catalogue
  This exposition presents 48 colour maps signifying the hue, saturation and brightness (HSB) differences between a screen colour and the resulting colour outcome when printing onto fabric with a digital inkjet textile printer. Each map is a 360 degree hue colour circle that has inner rings decreasing in saturation and brightness. These diagrams visualise the results of initial gamut mapping exercises to explore the colour shifts for a set of Pantone colours printed onto wool (w), linen (l), cotton(c) and silk (s) using reactive dyes. The colour maps, or digital lab dip tests, provide designers and SMEs with a visualisation of expected colour shifts, allowing them to make amendments to design work prior to printing, and managing expectations of printed colour outcomes.
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Susan Williams
Germany (residence)

RC User Support

Linda H. Lien
Norway

Björn Ross
Denmark (residence), Sweden (citizenship)

Susan Brind

Shauna McMullan

Doris Ingrisch
Austria

Paola Tine
Italy (citizenship)

Nicolina Stylianou