Research Catalogue

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• MKE2 Onderzoek (last edited: 2019) author(s): Emily Huurdeman This exposition is in progress.
  Onderzoekslessen MKE 2
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  LEAKS FROM A PEDESTRIAN CYBORG (last edited: 2019) author(s): Outi Condit This exposition is in progress.
  As my doctoral process winds towards its (however partial and provisional) sedimentation as "commentary" I have been thinking about writing. How can I write? The Performing Arts Research Centre curriculum asserts that the commentary "must demonstrate capacities to analyse, articulate, conceptualise, contextualize, and theorise artistic research settings in ways characteristic to artistic research." In ways characteristic to artistic research. It's an invitation. The door is ajar! In Figures of Touch (2018) Harri Laakso writes that the task of artistic research is to "keep grasping towards what cannot be grasped, to encounter the unknown as unknown, where the unknown will not be revealed, but indicated." Over the past four years I have been trying to trace assemble perform provoke something of the elusive experience of being "more than one, less than many", inhabited and moulded by relations, matters, (secret) agents, machines and ghosts, yet still managing to find some space to wriggle. The research has been informed by my professional life as an actor within the apparatus of theatre that folds into my queer experience of becoming in discomfort with expectations placed on my gendered body and the joys of failure. The experiments and art works are not my data. They are ways my research manifests in the world. If I don't want to write about them, how can I write? How can I inhabit the impasse that is artistic research, not as a binary opposition, but as a field of historically situated and contingent tensions of what is legible accessible legitimate and citable and for whom? Can an artistic strategy be considered a form of writing? This mini-exposition displays a writing experiment made through the Remote Control Human machine, a speculative re-assembling of elements, bodies and politics of theatre with which I have been experimenting in different ways for some time now. For this experiment I asked two of my closest colleagues, Vincent Roumagnac and Simo Kellokumpu, to collaborate. For each I wrote a "script" or a "seed", maximum one page long. I was thinking of them when I wrote, so the "seed" already grows from the intersection of my approach and theirs. I sent the scripts about a day before each session, and invited them to edit and rewrite freely as they liked. Then I asked them to perform their version of the script in front of the camera, through the Remote Control Human machine, with myself as their remote control avatar. I also asked them to decide on the location and frame the image, in effect, to split their artistry into two: to both inhabit and perform through my body, and to control what the camera sees as well. In practice the arrangement was realised through a telephone connection in between the "driver" and the "avatar", in this case myself, and simple game mechanic consisting of signals via a dog clicker: one click for speech and two for action. In addition the "driver" could see through two screened streams from two action cameras, one on the body of the "avatar" (P.O.V.-cam), and another behind the filming camera, so that the "driver" could see both the frame of the camera and the "avatar" behind it (panopti-cam). I would like to invite you to consider this arrangement as (something that produces) writing. Where and when is the writing? Who or what is writing? And obviously very importantly, (how) does this writing become legible? I am seriously considering continuing with this arrangement, so practical suggestions as well as conceptual considerations are warmly welcomed.
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  Site Awarenss in Music – recontextualizing a sensation of another place (last edited: 2019) author(s): Knut Olaf Sunde This exposition is in progress.
  The project argues that a sensation of another place is vital to the recognition of unfamiliar perspectives. Space and sound are inextricably connected. The surroundings and context are central to how we perceive external stimuli, such as images, events, history, ideas or music. The brain interprets and make choices by association, based on what the body perceives and based on previous knowledge and experience. How humans listen, hear, see, perceive, interpret and react to our surroundings are based on our cognitive structures. An unformatting of society is needed. A risk makes the body and brain aware and alert. Adrenalin is released to the blood, enabling the organism to sudden and severe effort. Risk implies something unestablished, uncertain, a danger, something unknown. Risk implies the possibility of failure and ultimately death. Risk increase anxiety and excitement, enabling the alertness needed to maneuver away from or solve problems. When something is at stake, interest is set into play. The unknown is by its very nature beyond the body’s experience. The project is about increasing the awareness of the situational and contextual implications of music. This is enquired through three works. For each site or situation I work with, I analyze its characteristics, such as acoustical conditions, the relations of the place to its surroundings, the shape of the landscape and historical or political context. I try to create immersive, audiovisual projects that are connected to a certain place. I aim to involve qualities and characteristics from the place, shaping a conversation, putting something at stake. I conceive a music activating the place, making created situations. I do this because there is a close link between memory, comprehension and place. The sense of place and ability to navigate is essential to our memory and bodily existence in the world. Main supervisor: Ole Lützow-Holm Second supervisor: Marianne Heier
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  Habitual touches (carvings) of beings (2019) author(s): eli eli published in: Research Catalogue
  This is a story of consecvenses of concecvenses of concekvences of concecuences of consequenses of consequences of concequenses and how i almost learned to spell this word. Its a never ending story. I study what was before us, i draw lines and connect. Some lines are direct, others are nonlinear and take crooked paths, where we cannot trace where it all started.
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  Home page JSS (2019) author(s): Journal of Sonic Studies published in: Journal of Sonic Studies
  Home page of the Journal of Sonic Studies
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  JSS Book reviews (2019) author(s): Journal of Sonic Studies published in: Journal of Sonic Studies
  JSS Book reviews
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Mika Elo

Jesse Josua Benjamin

Arno Boehler
Austria, India (residence)

Katarina Šoškić

Jens Staal
Belgium (residence), Sweden (citizenship)

Jana Roovers
Netherlands (residence)

Shibboleth Shechter
United Kingdom (residence)

Nathan Riki Thomson

Cordula Daus