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  The Emergence of Choreographic Material in 'Silent Pact' (2018) (last edited: 2018) author(s): Paula Guzzanti This exposition is in progress.
  About This exposition presents the documentation of the choreographic material of my performance piece 'Silent Pact' (2018). This work is a collaboration with voice artist Una Lee. This Exposition Includes: 1) Visual Essay (10 mins) 2) Photographic Documentation (2 images) 3) My mother's original letter (English version) 4) My mother's poem entitled 'Silent Pact' (English version) 5) Soundtrack version of the screen dance. 6) Essay 'On the Emergence of Choreographic Material in Silent Pact' (forthcoming publication in the Journal Corpografias) 7) GIFs of Choreographic Material Becoming (5 gifs) 8) Screendance 'Silent Pact' (2018) Background to the work The performance evolves from re-visiting an intimate affective trace –a letter from my mother– through dance improvisation and performance-making practice. In June 2015, I received a letter from my mother together with a poem entitled Silent Pact (28/06/1981-28/09/1981). The letter tells the story of my mother having to keep me in secret, as she got pregnant three months before her church wedding. I discover that my real birthday is three months earlier than what I had been celebrating all my life. In 2018, I am commissioned to create a piece as part of the International Women’s Day celebrations in Belfast; the theme was women’s silent voices. After considering various stories of women’s that were close to me, I remember my mother’s letter. This is what choreographer-dancer Silvy Panet-Raymond pointed to me as a ‘radical practice’ . Although I don’t consider myself exploring radical ways of creating performance, it was interesting for me to note that in this work the movement vocabulary contrasts dramatically with the movement in a series of pieces that share the same research focus – the affects of dance improvisation. In Silent Pact, there is a clear moving away from stylish vocabulary, I achieve a strong presence in a performance charged with emotional nuances and textures. I chose this work for discussing the emergence of choreographic material as I found that the resulting choreographic material emerged from a particular set of conditions that was a move towards defining my artistic signature.
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  Transmitting a listening (last edited: 2018) author(s): Magda Mayas This exposition is in progress.
  Magda Mayas is a pianist and researcher, exploring relationships between sound, space and the listener within improvised music. She experiments with a grand piano, objects, microphones, speakers and space. Timbre and its dynamic inter relation to body, movement and objects is at the core of her research, which she investigates through performative projects.
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  weS.A.N.K. (last edited: 2018) author(s): vincent roumagnac This exposition is in progress.
  Research Project
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  Six Formats (2018) author(s): ingrid cogne, Tobias Pilz published in: Research Catalogue
  The arts-based research project Six Formats (February 2015 - June 2018) analysed various formats commonly used in relation to arts-based knowledge articulation and/or communication in the present day: publication, exhibition, symposium, lecture-performance, screening, and workshop. Six Formats created situations of dialogue in, on, and between each of its formats. Six Formats facilitated co-processes of ongoing self-reflection and re-articulation aiming for reciprocal attentiveness to the respective needs of the project, its partners, and co-researchers. Six Formats was funded by the Austrian Science Fund (FWF, PEEK, AR291-G21) and hosted by the Academy of Fine Arts Vienna.
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  The Dominant Eye (2018) author(s): Vincent Meelberg published in: Journal of Sonic Studies
  The Dominant Eye is a sixteen week project that aims to uncover why there is a heirachy of the visual sense whilst establishing strategies to re-engage with our forgotten senses. Through a series of weekly radio discussions, members from The Noematic Collective will build on a dialogue with speakers to form a manifesto towards an equality of the senses. Speakers will include sound theorists, artists, architects and specialist researchers whom deal with the beaurocracy of the senses that has been established by modernist thinkers like Art Critic Clement Greenberg.
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  Sonifying for Public Engagement: A Context-Based Model for Socially Relevant Data (2018) author(s): Milena Droumeva published in: Journal of Sonic Studies
  In this paper we discuss the possibility for designing sonification as a tool for public engagement for socially relevant data. We do so through a case study of a specific sonification model and the results of a participatory focus group discussing ours and similar sonifications of “social” data. First we report on a unique and contextually-sensitive approach to sonification of a subset of climate data: urban air pollution for four Canadian cities. Similarly to other data-driven models for sonification and auditory display, this model details an approach to data parameter mappings, however we specifically consider the context of a public engagement initiative and reception by an “everyday” listener as a core principle informing our design. Further, we present an innovative model for FM index-driven sonification that rests on the notion of “harmonic identities” for each air pollution data parameter sonified, allowing us to sonify more datasets in a perceptually “economic” way. Finally, we discuss usability and design implications for sonifying socially relevant information based on user evaluation of our design and an open-ended discussion from two small-scale participatory focus groups.
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Pasi Lyytikäinen
Finland (residence)

Nikos Kokolakis
Netherlands (residence), Greece (citizenship)

Marielle Heidekamp
Netherlands

Vappu Jalonen
Finland, Germany (residence)

Sara Benaglia
Italy

Paul Thompson

Simon Granell
United Kingdom (residence)

Susannah Gent
United Kingdom

Hanna Järvinen
Finland