Think-Tank 0.0
(2023)
author(s): Yamil Hasbun Chavarría, Pamela Jiménez Jiménez
published in: Research Catalogue
Systematiation of the experiences lived in a space of reflection and dialog among teachers, researchers and students from various artistic and design fields. This particular activity, coined ‘think-tank 0.0’ is the culmination of three similar experiences in which the Nodos team explored how the concept of ‘Artistic Research’ takes shape in practice and as a complex system of intertwined concepts. Hence, the ‘think-tank’ experience initiates with a ‘hands on’ exercise in which participants construct a personal interpretation of a certain ‘phenomenon’ (i.e. Body, light, space and movement) by means of ordering images, drawings, objects, sounds, materials and bodies as symbolic representations of meaningful concepts. Followed these hands-on experiments, participants reflect on the methodological processes followed to construct their interpretations while exposing what sort of learnings, limitations and opportunities where identified. Finally, the various participants engage in a dialogue about their common findings, interests, and sensibilities, allowing them to identify potential theoretical, methodological, epistemological, and empathic partnerships for the future. At the same time, this space for interaction allowed participants to further experience the heterogeneity and similarity of CIDEA’s artistic research constellation and identity.
Implementing Modern Production Techniques in a Live Music Context
(2023)
author(s): Cristian-Stefan Prajescu
published in: Codarts
My motivation to start this research began with the following question I’ve asked myself: “When producing and performing my own music, will applying modern production techniques consciously influence my production skills and help me at the same time in a live performance situation?”
Given the advance of modern music production technology, the modern music producer can now use virtual instruments and automate audio effects such as delay or reverb to affect a sound at different stages throughout the arrangement, in order to achieve the desired musical expression. When we look at a live performance, we see one or more musicians playing and manipulating the sounds in real time, in order to deliver an inspiring and entertaining act.
Another question I’ve asked myself: “Is it possible to apply automation in a live context to enhance my performance and manipulate sounds heavily with audio effects in the arranging phase in order to create interesting sonic textures, from which the track and my live performance would become more entertaining?” At the beginning of my master studies my performances were flat and not entertaining, as they were featuring me as a performer struggling to switch between instruments during the performance. Throughout this research I have analysed in depth both conventional and non-conventional uses of these techniques, how other artists are implementing them into their music and live performances, and experimented with them in my own music, by using appropriate research strategies such as literature desk research, case studies and self critical practice. This methodology led me to find creative ways to enhance my production skills and make my performances more engaging and entertaining, and can also serve as inspiration for music producers and artists that would like to implement these modern production techniques into their own workflow and take advantage of them in their live performances.
Using the block editor for making programs
(2023)
author(s): Percas Skipper
published in: SAR Demonstration Portal
Using the block editor for making programs.
Institutional Research Policies
(2023)
author(s): Percas Skipper
published in: SAR Demonstration Portal
SAR Position Papers on Artistic Research.
Here we present two documents where SAR express our view on artistic research and our concern on the still missing recognition of the knowledge domain of the arts as well as a similar need for recognition and funding for artistic research.
Migration and Listening: Political Life in Motion
(2023)
author(s): Ximena Alarcón and Ed McKeon
published in: Journal of Sonic Studies
Boundaries, thresholds, and limits characterise both political geography and the politics of voice and listening. The effect of hearing yourself speak, as Derrida noted, is foundational for sovereignty, self-identity, and relations to others. In this conversation, we explore experiences of border crossings and passing across limits through migration and movement alongside corresponding encounters with Deep Listening. Alarcón reflects on her experience of migration from Colombia to the UK and how this also involves ‘speaking and travelling in-between different languages’. McKeon draws on experience of ‘losing’ his accent, the voice’s marker of political identity. For both of us, Deep Listening has become an essential resource to forgo the desires of returning ‘home’ or arrival with their visa privileges and passports of legitimised status. Migration and movement are instead embraced for their potential to constitute another practice of centring and of balance without fixed and immovable boundaries. We aim to articulate this politics of listening and voice not through conventions of debate and polemics, defending ideological territories, but through exchange in dialogue, in what passes in the movement between us.
Test exposition to publish in test and connect to sar
(2023)
author(s): Test Author 3
published in: Test Portal
Test exposition to publish in test and connect to sar
