HACKING SOUND SENSORIALITY
(2025)
author(s): Marie Rose Sarri
published in: ArteActa – Journal for Performing Arts and Artistic Research
HACKING SOUND SENSORIALITY_how to build embodied sound objects for electroacoustic music with lofi techniques
Disembodiment is not new and does not only exist because of the current technological reality. It is an experience that various practitioners, in the field of music, experience constantly. The composer/producer/musician/sound designer moves the material. The listener only perceives its virtual representation. How to bridge the gap between the bodily experience of sound creation and its fruition and further (re)creation in the virtual world? By using synesthesia in the creation of an object-based sound method and vocabulary with the use of lofi techniques. A synesthesia of sensory roots to place the body-cosmos at the centre of sound, to make this simulacrum of identity a bridge between the articulate and the inarticulate, between the real and the virtual. Lofi thought, with its techniques for creating and modifying sound, has a new vision of technology, linked to knowledge and memories of the body.
The aim is to design a new vocabulary of tools and methods for the creation of sound objects with different degrees of embodiment. These sound objects will be designed to live in two worlds: in the disembodied world of the virtual and in the material world of corporeal sonority.
The article explores the use of a practical and philosophical hacking that does not colonise the new virtual sound territories, emptying them of resources and meanings, but amplifies them through the semiotics of the ancient territories of the body, in order to make them habitable and fertile.
Ruce v digitálním obraze: materialita tapisérií v autorském dokumentárním filmu
(2025)
author(s): Petr Vasku
connected to: Janáček Academy of Performing Arts (JAMU)
published in: ArteActa – Journal for Performing Arts and Artistic Research
In this exposition, I invite you to the process of research carried out in the tapestry manufactory in Valašské Meziříčí. It aims to find out how to convey tapestries' craftsmanship, mediality and materiality through filming and post-production. The theme of transformation is essential: the transformation of the tapestry into a film image, but also the transformation of painting or graphics, which were the precursors of the tapestries woven in the manufactory. I am also looking for ways to use a primarily representational medium to achieve an effect of presence through materiality and corporeality. In my research, I interlace observational passages with stylized ones that emerge from a creative dialogue between the materiality of different media, artistic techniques, or post-production interventions. These methods can deepen not only the viewer's experience but also the documentary testimony and convey an almost tactile encounter with the filmed reality. Finally, based on practical experience, I distinguish working with materiality in film into three analytical cuts.
V této expozici zvu do procesu výzkumu, jak skrze natáčení a postprodukci filmu o gobelínové manufaktuře ve Valašském Meziříčí zprostředkovat řemeslnost, medialitu a materialitu tapisérií a recipročně i filmové technologie. Podstatným je tedy téma proměny. Proměny tapisérie ve filmový obraz, ale i proměny malby či grafiky, které byly předobrazem v manufaktuře utkaných tapisérií. Paralelně hledám možnosti, jak pomocí média, které je primárně reprezentativní, docílit skrz materialitu a tělesnost účinku prezence. Ve výzkumu střídám observační pasáže se stylizovanými, které vzešly z tvůrčího dialogu materialit odlišných médií, výtvarných technik či postprodukčních zásahů. Tyto metody mohou prohloubit nejen divácký prožitek, ale i dokumentární výpověď a zprostředkovat až taktilní setkání s natáčenou skutečností. Nakonec na základě praktické zkušenosti rozlišuji práci s materialitou ve filmu do tří analytických řezů.
A Terceira Mão/ The Third Hand
(2025)
author(s): Carolina Albuquerque
published in: Research Catalogue
Este ensaio tem como objetivo apresentar uma reflexão, em forma de registro de memórias sobre as experiências relacionadas à obra "Terceira Mão", tanto em seu aspecto simbólico quanto em sua materialidade. Esta investigação artística insere-se no contexto do doutoramento em Artes Plásticas na Universidade do Porto.
A primeira mão segura a matéria, o tocável
A segunda mão segura o espírito, o sensível
A terceira mão segura a todos nós, é o que todos temos em comum.
Segura eu, você e o outro, em uma rede de tafetá, ligados à terceira mão e a todos.
Os olhos ligam a percepção do material com o sensível espiritual.
Percepção simbólica visual.
Olhar para o interior.
Ver além do visível.
Toque etéreo.
Gesto de benção.
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This essay aims to reflect, in the form of a memoir, on the experiences related to the work Third Hand, both in its symbolic aspect and materiality. This artistic research is part of the context of my doctorate in Plastic Arts at the University of Porto.
The first hand holds matter, the tangible
The second hand holds the spirit, the sensitive
The third hand holds us all, it's what we have in common.
It holds me, you, and the other in a taffeta net, connected to the third hand and everyone.
The eyes connect the perception of the material with the sensitive spiritual.
Visual symbolic perception.
Looking inwards.
Seeing beyond the visible.
Ethereal touch.
A gesture of blessing.
Warbound: Collective Audio Streaming from Ukraine
(2025)
author(s): Olya Zikrata
published in: Journal of Sonic Studies
Russia’s war of aggression is a multidimensional process of conquest that expands its time and space through sound. As Russian forces continue their advance into Ukraine, seizing Ukrainian territories both “horizontally” and “vertically,” as warfare scholar Svitlana Matviyenko (2024) has argued, Ukrainians across the country find themselves living in the sonic expanse of Russian assault. This research paper refers to this experience as one of warbound, of a (sonically) lived relation to war. To explore this relation and situated relationality it may entail, I turn to the work of Ukrainian sound artists and practitioners who participated in collective audio streaming, seeking to recast the Ukrainian testimony of the Russian invasion as a contingent truth claim. The paper examines the 2022 iteration of the audio stream project Listen Live, constitutive to the Land To Return, Land To Care research-creation laboratory. The project is studied in the scope of its testimonial reach and activist pursuit, as well as its humanist and posthumanist performativity.
Craftmanship - blog
(2025)
author(s): Kjell Tore Innervik
published in: Norwegian Academy of Music
Blog presenting news and updates from the project 'Craftmanship', by Kjell Tore Innervik and Håkon Høgemo
The Chanting Flute: Uncovering Russian Orthodox and Shamanic Sounds in Sofia Gubaidulina's ...The Deceitful Face of Hope and of Despair (2005)
(2025)
author(s): Phoebe Grace Robertson
published in: Journal of Sonic Studies
In the early years of the Soviet era, the music of two Russian faith traditions was forced into the shadows. Siberian shamans preserved chants and folk knowledge despite intense persecution, and Russian Orthodox monks preserved early forms of plainchant in remote monasteries away from the watchful eye of the government. Sofia Gubaidulina (b. 1931), herself a member of the richly-historied and often-marginalized Tatar people, became a practicing Russian Orthodox Christian in the 1960s. During the 1970s, she began performing improvisations with her ensemble Astraea, familiarizing herself with many instruments used by Siberian shamans. Her references to shamanism continued to increase among her concert-hall compositions over the following decades.
As a new generation began to embrace the freedom to part from state-sponsored atheism during the 1990s and 2000s, shamanic chanting and Russian Orthodox Znamenny chant experienced a renaissance of practice and scholarly interest. Gubaidulina responded with her music: in her 2005 flute concerto …The Deceitful Face of Hope and of Despair, Gubaidulina’s flute soloist takes on the role of chanter. Drawing on Tia DeNora’s research in the sociology of concerto forms, Kofi Agawu’s framework of musical “topics,” and the composer’s own reflections on the concerto metaphor, this article analyzes how Gubaidulina frames the solo flutist as Siberian shaman and Russian Orthodox cantor within subsequent episodes of this concerto. In this way, the soloist “speaks” through the music of these faith traditions that remained underground for much of Gubaidulina’s adult life.
…The Deceitful Face of Hope and of Despair is a flute concerto deserving of its title, demonstrating the dynamic potential of works by post-Soviet composers to contend with the sociological tensions that affect any individual whose cultural, ethnic, or spiritual identity has been the target of discriminatory policies.
