Att uttala det kroppsliga – på spaning att överbrygga skådespelarens arbete med kroppen som instrument, rörelsegestaltning och dramatisk text
(2024)
author(s): Olof Halldin, Aleksandra Czarnecki Plaude
published in: Stockholm University of the Arts (SKH)
Teater Västernorrlands Dödsdansen utgår från en ny bearbetning. I Aleksandra Czarnecki Plaudes regi är kroppen, rörelsen och musiken tre starka medspelare till August Strindbergs klassiska verk.
I rollerna ser vi Teater Västernorrlands skådespelare Gisela Nilsson, Åke Arvidsson och Kaj Ahlgren.
August Strindbergs klassiska verk från år 1900 utspelar sig i en tid av förberedelse inför en karantän. De äkta makarna artillerikaptenen Edgar och den före detta skådespelerskan Alice är isolerade på en skärgårdsö. Inför sin silverbröllopsdag får de ett oväntat besök av nära vännen Kurt och ett osande triangeldrama tar sin början.
Projektet avser dels fånga och kommunicera mina arbetsmetoder, dels generera ny kunskap i frågan om skådespelarens fördjupade gestaltningsarbete av dramatisk text med och via kroppen som instrument och rörelsegestaltning. Syftet är att genom praktiskt arbete och i samarbete med professionella skådespelare samla, artikulera och kommunicera det specifika i övergången mellan kropp- och textarbete, tvärs genom hela processen, det vill säga från förberedelsefas via repetition till publikmöte. Dödsdansen är resultatet av själva metoden?
Grenseland - i stemmen
(2024)
author(s): Berit Norbakken
published in: Norwegian Academy of Music
Dette prosjektet er en kunstnerisk utforsking av stemmens klanglige egenskaper, med utgangspunkt i en klassisk utøverpraksis, og av spenningsfeltet som oppstår mellom tradisjon, teknikk, stil og sjanger når disse konfronteres med hverandre og hybridiseres. Dynamikken mellom elementene som veves sammen, utforskes gjennom begreper og konsepter hentet fra Karen Barad: diffraksjon, intra-aksjon, agentisk kutt, re-turning og entanglement. Jeg lanserer begrepet diffraktiv refleksjon som metode for å anse materialer på nytt gjennom intra-aksjon og sammenvevinger av spacetimematter. Fortiden åpnes opp for å anses på nytt, når tid /rom blir rekonfigurert, kuttet sammen-med/fra, og vevet sammen i nye relasjoner gjennom diffraktiv refleksjon. Alle delene i prosjektet, aktivitet og eksposisjon, er forbundet – entangled. Området undersøkelsene foregår i, defineres som Grenseland. Arbeidet viser hvordan en kan åpne opp – og utfordre – en etablert praksis ved å ta i bruk nye og uvante grep fra andre praksiser.
How to Fail a Field Recording. An Ethnomusicologist’s Perspective
(2024)
author(s): Victor A. Stoichita
published in: Journal of Sonic Studies
This paper reflects on the relation between “field” and “recording” in listening to “field recordings.” It is rooted in the author’s experience as a student and, subsequently, a researcher in the anthropology of music. The paper strives to map the gap between academic and artistic conceptions of field recording by asking whether and how field recordings can be failed. The author’s own experience with the genre is indeed one of frequent disenchantment. The paper identifies different meanings of field, discusses how recordings are supposed to make those fields available to the listener, and asks whether in field recording “music” and “soundscapes” should be treated as different kinds of objects.
Introduction: Exploring the Phenomenon of Sonic Waste in Anthropology
(2024)
author(s): Heikki Wilenius, Jonathan LARCHER
published in: Journal of Sonic Studies
The introduction to this special issue of The Journal of Sonic Studies addresses the concept of sonic waste in anthropological research. Stemming from a laboratory session titled "Rubbish, Noise, Experimentations: New Afterlives of Field Recordings" at the 2020 European Association of Social Anthropologists conference, this collection reconsiders ethnographic recordings traditionally categorized as noise or errors. The text sets the stage for the ensuing contributions that critically engage with discarded audio materials, challenging the long-standing emphasis on clarity and precision in field recordings.
This introduction explores the notion of “ethnographic rubbish” – recordings that fall outside the ethnographer's initial analytical framework – and positions this rubbish as worthy of scholarly attention. It argues for the inclusion of these “noisy” artifacts in the broader ethnographic narrative, suggesting that they can offer unique insights into the affective and infrastructural aspects of the researched environments. By foregrounding the materiality of sound and advocating for a multimodal ethnographic approach, this introduction invites a reassessment of what constitutes valuable data.
MAGPICK
(2024)
author(s): Andrea Guidi
published in: Research Catalogue
Magpick is an augmented pick for electric guitar created by Fabio Morreale, Andrew McPherson and Andrea Guidi at the Augmented Instruments Lab, Queen Mary University of London. The pick allows nuanced control on the guitar sound as well as new performing techniques with a minimal latency.
Hamlet: between keywords and art
(2024)
author(s): Guglielmo Battistini
published in: Research Catalogue
This is a test for the Ai KOBI project at Academy of fine arts of Rome.
The exposition "Hamlet: between keywords and art" goes to analyze the differences between two AI, KOBI and Chatgpt.
Starting from excerpts from the scene 4 and 5 of Shakespere’s Hamlet, when Hamlet meets the ghost of his father, who asks him to avenge his death I identified parts of the text from which I then found keywords, chosen on the basis of the text and a brainstorming of ideas
Precisely through these keywords, many times similar to each other by meaning, I tried to explore the KOBI system and its responses diverging from those of Chatgpt.
On the left we found text and images that are proposed by KOBI after the insertion of the keywords, while on the right, the answers of Chatgpt.
The display is four pages plus introduction and conclusion.
