A Certain Kind of Freedom
(2024)
author(s): Marinos Koutsomichalis
published in: VIS - Nordic Journal for Artistic Research
Άφρικα: A Certain Kind of Freedom is pivoting on artistic exploration and re-interpretation of a 'difficult' recent past. In part soundwalk, in part performance art, in part punk archaeology, in part getting lost in the dark; the work is a nocturnal rumination bringing together historical bewilderedness with first-person embodied experience of a place. The artist leads a night walk towards and inwards Agios Achillios island in Small Prespa Lake in Greece – near the borders of Albania, and North Macedonia – and back. En route, the walking audience is exposed to wildlife sounds and animal vocalisations, to orchestrated drama, and to historical records directly or indirectly concerning the broader geographical area and its significance during the Greek civil war.
PROVENIR DEL PORVENIR
(2024)
author(s): Paula Urbano
published in: VIS - Nordic Journal for Artistic Research
In Provenir del porvenir Urbano hovers through the fields of sociology, archaeology and philosophy while reflecting on the different mediations of the work: the guided tour, the performance lecture and the video essay. The exposition is based on a speculative artistic-historiographic project where the artist, in the context and aesthetics of the Museum of History, connects her own genealogy with the North. The investigation is a response to recurrent question to people of color living in Scandinavia: “Where do you come from?” This question leads to an epistemological enquire, discussing the limits of knowledge production on a scientific basis versus knowledge production on an artistic basis.
Etableringen av en norsk klavertradisjon: Interpretative trekk ved Edvard Griegs Ballade op. 24, Geirr Tveitts Sonate nr. 29 op. 129 og Fartein Valens Sonate nr. 2 op. 38.
(2024)
author(s): Einar Røttingen
published in: Research Catalogue
The theme of this dissertation is three important Norwegian piano works. The dissertation includes a main text, a recording and a critical/practical edition of Valen’s Sonata no.2 op.38. By using a musicological/analytical and artistic approach, this dissertation aims to create a greater understanding for these three works as a part of a Norwegian and continental European piano tradition. The main text investigates the contents of the music and how the works are built. It looks at the performance indications in the score and performance practice traditions (historical recordings). References and allusions to other works in the same genres and to similar piano styles are discussed. By looking at possible autobiographical and metaphorical allusions, the dissertation aims at finding an understanding for the works’ origin and meaning. The critical and practical edition contributes for the first time to correct errors and unclear readings of the existing edition and presents a possible realization of Valen’s incomplete score. The main text also includes general criteria for the interpretative choices on the CD. (Norwegian version only, some parts are translated to English as articles)
TO THE ONE I MISS
(2024)
author(s): Min Ji Cha
published in: Royal Academy of Art, The Hague
[SCHOOL] Thesis / Research Document of the Royal Academy of Art, The Hague, 2024.
[DEPARTMENT ] BA Interactive Media Design
[SUMMERY]
How can one unravel their relationship with a void through exploring their personal experience and knowledge of emptiness?
Starting from the long lost frustration and unfulfillment for the inner void that I entail and wanting to define and understand what this void is and gain safety and peace in mind with it. By unraveling the complicated knot of the relationship between human and inner void, looking into different experiences of “missing” in my personal life and knowledge of emptiness, such as Korean cultural background, Language gap in translation,
Definition of “Home”, Ambivalence in emotion, Moon jar, Clay and The connection in everything.
Morten Qvenild – The HyPer(sonal) Piano Project
(2024)
author(s): Morten Qvenild
published in: Norwegian Academy of Music
Towards a (per)sonal topography of
grand piano and electronics
How can I develop a grand piano with live electronics through iterated development loops in the cognitive technological environment of instrument, music, performance and my poetics?
The instrument I am developing, a grand piano with electronic augmentations, is adapted to cater my poetics. This adaptation of the instrument will change the way I compose. The change of composition will change the music. The change of music will change my performances. The change in performative needs will change the instrument, because it needs to do different things. This change in the instrument will show me other poetics and change my ideas. The change of ideas demands another music and another instrument, because the instrument should cater to my poetics. And so it goes… These are the development loops I am talking about.
I have made an augmented grand piano using various music technologies. I call the instrument the HyPer(sonal) Piano, a name derived from the suspected interagency between the extended instrument (HyPer), the personal (my poetics) and the sonal result (music and sound). I use old analogue guitar pedals and my own computer programming side by side, processing the original piano sound. I also take out control signals from the piano keys to drive different sound processes. The sound output of the instrument is deciding colors, patterns and density on a 1x3 meter LED light carpet attached to the grand piano. I sing, yet the sound of my voice is heavily processed, a processing decided by what I am playing on the keys. All sound sources and control signal sources are interconnected, allowing for complex and sometimes incomprehensible situations in the instrument´s mechanisms.
Credits:
First supervisor: Henrik Hellstenius
Second Supervisors: Øyvind Brandtsegg and Eivind Buene
Cover photo by Jørn Stenersen, www.anamorphiclofi.com
All other photo, audio and video recording/editing by Morten Qvenild, unless stated.
Living in and through our bodies: somatic principles that support the experience of pain and discomfort
(2024)
author(s): Maisie James
published in: Birmingham City University
This thesis is an autoethnographic, practice research investigation, offering further knowledge to the field of somatic practice, pain, and discomfort. As this thesis is a practice research inquiry, I offer practice to the field that is further supported by my autoethnographic positions. Embodied research and the lived experience are therefore central, exploring how somatic practice can support the sensations of pain and discomfort. Whilst practice is at the forefront of this investigation, theoretical frameworks from the somatic field, practical offerings from other practitioners, therapists, and researchers, and already established somatic ideologies have informed the research process and have offered an integrated approach to supporting the understanding of how practice can support pain and discomfort. Both the practical and theoretical elements of this research emphasise the importance of improvisatory movement and relationships with the self to engage with a sense of freedom and self-expression. By adopting different somatic principles within practice, together with a theoretical understanding of the applications of somatic practice to the body, this research explores movement and wellbeing from a practical perspective, whilst drawing upon key ideas from the somatic field of research. The refined set of principles that this thesis contributes to the field are: The Breath, Movement Economy, The Skeleton, Rotation and Flow, Embodied Rhythm, Stretch, Extension and Elongation, Dynamic and Light Self-touch, Noticing and Addressing Habits, and Rest and Active Stillness. Each somatic principle was explored practically throughout this investigation, resulting in an in depth, subjective approach to analysing data through the lived experience and the narratives of others involved in the research process.
A thesis submitted in partial fulfilment of the requirements of Birmingham City University for the degree of Doctor of Philosophy.
Supervisors: Dr Polly Hudson, Dr Carrie Churnside
