The Relevance of Point of Audition in Television Sound: Rethinking a Problematic Term
(2024)
author(s): Svein Høier
connected to: Norwegian University of Science and Technology
published in: Journal of Sonic Studies
There are good reasons to consider point of audition (POA) as a problematic term when writing about sound. This essay addresses the different challenges one meets when using the term and discusses different alternatives for future use of this terminology within the field of television sound. The motivation for rethinking the term is the analytical and descriptive problems raised when writing about recent trends in television sound in drama, sports, news, documentaries and other television genres. The argumentation refers to the flexible and creative uses of television sound today and discusses how various production examples can be better accounted for by refining the term point of audition. All in all, four categories of point of audition are suggested for analysis: observational, active, individual and personal POAs.
Cloak of Longing - Dr Mikey Georgeson
(2024)
author(s): Konfessor Kimey Peckpo
published in: Research Catalogue
The Cloak of Longing has been involved in conference keynote, public and university pastoral occasions. At the heart of my research practice is a desire to liberate capacities of expressivity via a processual use intuitive material vitality. This contingent radical empiricism regards the communication model's need for pre-given therefore-ness as potentially occluding of capacities to work with matter flow – a characteristic of a cosmos of nonhuman agency inside which a performative intra-relational understanding emerges.
Silenced Womb
(2024)
author(s): Petra Kroon
published in: Royal Academy of Art, The Hague
Thesis of the Royal Academy of Art, The Hague, 2022
Master Photography & Society
In Silenced Womb Petra Kroon ( @fotosvanpetrakroon) examines the age-old taboo on menopause. What does it mean to be systematically silenced for centuries? What effect does it have on how you are represented? How you are treated? And how do you behave? She explores these questions from three perspectives: the medical world, society and photography. She investigates what this in/visibility looks like and analyses what it does to her and to her allies. Since she wants to lift this taboo on menopause, she also makes some suggestions for a different representation.
Karhun katseella laulan
(2024)
author(s): Tuomas Rounakari
published in: University of the Arts Helsinki
In this artistic doctoral research I think of art as a language that both portrays a mythical worldview and participates in the activities it contains. Contemplating myths through the performing arts is one of the oldest functions of art. Myths have not only been presented, but a dialogical relationship has been sought with the mythical entities. Achieving this requires the ability to alter ones state of consciousness from the performer. The altered states can range in intensity from a mild mood change to a profound trance state in which the perception of self, time and place alters thoroughly.
Through the altered states of consciousness, the musician either allows or directly initiates a dialogue between the more-than-human. In the thesis, I call this as mythical dialogue. Mythical dialogue has a reciprocal effect on the interpretation, alteration and improvisation produced by the musician at the time of performance. The thesis is an autoetnographic treatment of mythical dialogue from a musician's perspective, and shares this perspective for a broader study of tradition.
My research included four field trips to Siberia, to the land of Khanty, Mansi and Forest-Nenets. The trips were mainly artistic collaborations in which I carried out data collection and did the thematic interview with Maria Kuzminitsna Voldina included in the thesis. My main fieldwork method was to first play Khanty folk songs on the violin for the Khanty themselves, after which I asked them to tell me more about the songs and to comment on the way I played my versions of them. Playing the songs to each other in turn created a genuinely interactive and egalitarian way of learning. The field trips were complemented by archival research of songs containing mythical dialogue, as well as performing these songs as a musician. The main archival materials were songs from the bear feast ceremonies of the Khanty, Mansi, Karelians and Finns.
My artistic doctorate degree consists of five unique performances and this written thesis with video recordings. The first doctoral concert Shamanviolin (2013) was based on songs recorded by Kai Donner on wax cylinders during his travels in Siberia between 1912 and 1914. The second doctoral concert Shamanviolin with Ailloš (2014) explored the possibility of playing in trance state with an ensemble. The third artistic component was the Bear Feast performance (2016) which combined ceremony, music, poetry, theatre, social games and dances, and dining. The fourth artistic component was the documentary theatre play Arctic Odyssey (2017) produced by the theatre group Ruska Ensemble in collaboration with the Finnish National Theatre and Nunatta Isiginnaartitsisarfia in Greenland. The fifth artistic component was my solo album Bear Awakener (2022) based on the phonograph collection of Artturi Kannisto.
The Bear Feast performance is treated as a case study in the thesis. The performance succeeded in creating meaningful experiences of mythical dialogue for both the performing ensemble and the audience. Working with mythical themes through art creates an opportunity to address the slowly changing mental patterns of our culture in a communal way. By engaging in mythical dialogue we can still create similar experiences to those our ancestors had in a very different society. Because myths represent a slowly changing collective tradition, they can strengthen the identity of individuals and communities with far-reaching effects on wellbeing.
Keywords: Mythical dialogue, altered states of consciousness, trance, transcendence, myth, more-than-human, animism, bear feast ceremony
Zoological Architectures and Empty Frames
(2024)
author(s): Katharina Swoboda
published in: Journal for Artistic Research
In general, zoo architecture directs the attention towards the animals. The buildings create ‘frames’ around the animals, as John Berger (1980) states in his 1977 essay ‘Why Look at Animals?’. Following this premise, my work explores visual and psychological aspects of framing, relating to animal housing. Judith Butler (2009) explains how (visual) framings always create meanings and evaluations of what is enclosed within them. Therefore, the representation of animals in human culture affects how we treat animals socio-politically. Zoos generate and communicate ongoing conceptions of zoo animals. Zoo architecture, although often in the background of one’s field of vision, forms an important factor in the construction of these ideas.
To be eaten: the constitution of the Transsexual Woman through patriarchal structures
(2024)
author(s): Síofra Augustein
published in: Royal Academy of Art, The Hague
[SCHOOL] Thesis of the Royal Academy of Art, The Hague 2023
[DEPARTMENT] BA Fine Arts
This paper delves into a deep exploration of the intersectionality of gender, sexuality, and identity of the transsexual woman, through a deeply personal narrative of self-reflection and critical inquiry. It confronts the societal constructs and power dynamics that shape the experiences of transgender women, particularly focusing on the themes of consumption, agency, and abjection within patriarchal structures. Drawing inspiration from the reflections of prominent transgender theorists and activists like Julia Serrano, Hunter Schafer and Susan Stryker, I navigate through the complexities of transitioning and self-discovery, weaving together philosophical insights with lived experiences. The paper investigates the constitutive nature of language and discourse in the formation of subjectivity, emphasizing the traumatic yet empowering effects of interpellation and performativity. Furthermore, it examines the abjectification of transgender bodies within societal norms and the dichotomy of desire and shame inherent in the construction of feminine identity. By engaging with concepts of transgression and phenomenology, the paper challenges traditional notions of gender and sexuality, offering a nuanced understanding of transgender embodiment as both a site of resistance and reclamation. Through intimate diary notes and theoretical discourse, I invite readers to confront the complexities of transgender existence and the transformative power of self-affirmation amidst societal erasure and increasing marginalization through out the western world. Ultimately, this paper seeks to foster dialogue and understanding surrounding transgender female experiences, advocating for a deeper understanding of the becoming and the constitution of becoming a woman, the sexual and social consequences and I hope the reader discovers parallels to their own existence and the sexualisation and constitution of it oneself.
