A Musicians’ View on Cooperating with Composers: The influence of composers on the performance practice
(2014)
author(s): Martin van Hees
published in: KC Research Portal
Name: Martin van Hees
Main Subject: Guitar
Research Coach: Patrick van Deurzen
Title of Research: A Musicians’ view on cooperating with composers
Research Question: What is the influence of a composer on the performance practice of a performer when playing the composers’ composition?
Research Process:
An introduction and short analysis of five compositions will be presented in the research process. A meeting with the composer will take place and issues regarding musical ideas and technical difficulties will be discussed.
Before meeting the composer a thorough analysis regarding the way of performing the composition will be made. All the important decisions, musically and technically will be mentioned. A sound recording of the composition will be made in this stage.
During the meeting with the composer the composition will be played, recorded and reviewed. There will be an interview held with questions regarding the composition and with questions regarding the opinion of the composer concerning the performance practice. After meeting the composer, an analysis of the interview will be made. A reconsideration of the interpretation of the composition will be made. The composition will be recorded again. A comprehensive analysis of the cooperation will be made and a conclusion will be drawn.
Summary of Results: Throughout the research I discovered that it is helpful to play the composers composition in advance to them, before actually performing it. When a performer has sincere affection with a certain composition it is worth to share this affection with its creator. A performer has to be aware that a composition is a changeable piece of art, so a composer can always change the performer his opinion on the piece, even if the performer disagrees, both parties should come to a common solution.
As regarding the changes that are made before and after the meeting with the composer, they are audible on the sound recordings at https://soundcloud.com/martinvanhees
Diffracting the Copenhagen Interpretation - Toward Non-Local Collaborative Art Practices
(last edited: 2025)
author(s): Søren Kjærgaard, Amilcar Lucien Packer Yessouroun, Carla Zaccagnini
This exposition is in progress and its share status is: visible to all.
'Diffracting the Copenhagen Interpretation: Toward non-local collaborative art practices' investigates the resonances of concepts from quantum theory in the realm of transdisciplinary practice-based artistic research. Throughout a series of protocols using diffractive methodologies, we intend to translate and embody concepts such as spacetime, entanglement, non-locality, uncertainty, indeterminacy, and superpositionality, and embed them as tools for our artistic practices. These concepts were chosen for their singularity in physics, but also for the ways in which they confront ontoepistemic pillars of ‘Modernity’, such as sequentiality, determinacy and separability.
The research is carried out by a transdisciplinary non-local core ensemble formed by Søren Kjærgaard, Amilcar Packer, and Carla Zaccagnini. The cities we inhabit – Copenhagen, Sao Paulo and Malmö – have been our laboratories. Departing from tools and methods learned from each-other's disciplines, we have been creating scores that guide our simultaneous actions while walking on the street –interacting with public spaces and their characteristics– or while lying asleep –in the most private of spheres.
On the one hand, in a practice we call ‘non-local walking’, scores conduct our collective experiencing of our cities, involving a diffractive methodology of reading and listening, and the entangled collecting of objects, words and other affections found in the urban terrain. On the other hand, the ‘entangling dream practice’ experiment is an attempt without aiming at success of meeting each other in our dreams. Both investigations are conceived as boundary-crossing transdisciplinary methodologies through which we create a relational, critical consciousness and sensing that stimulates unexpected outcomes, embracing failure.
These scored performances have resulted in cartographies, drawings, moving sculptures, audio works and writings. Across these various materializations, unexpected connections, constellations, and coincidences e/merge, unveiling yet unheard polyphonies that give resonance to the urban and mental spaces, as potentized terrains awaiting (re)circuitry, and, as fields of forces that await to be (re)experienced.
Collaborative Music Creation
(last edited: 2025)
author(s): Karst de Jong
This exposition is in progress and its share status is: visible to all.
COLLABORATIVE MUSIC CREATION: leading conservatory students in musical creation processes
This research is about the development of active autonomous creativity among conservatory students in classical departments. In this exposition I will discuss the nature of collaborative creation processes, and critically investigate my own role as a coach and facilitator of these processes in order to better understand how ideas are being generated, developed and ultimately shaped into a performed piece. The investigation will be illustrated with a selected number of projects I have been involved in during the years 2017-2020.
Dorsal Practices: Vibrating with the Hum of the World
(last edited: 2025)
author(s): Emma Cocker
This exposition is in progress and its share status is: visible to all.
This exposition presents recordings of a live improvisatory performative reading practice activated as part of the artistic research project Dorsal Practices, a collaboration between choreographer Katrina Brown and writer-artist Emma Cocker. This performative reading practice was activated as a way of generating the textual component of a journal article by Brown and Cocker entitled 'Dorsal Practices — Vibrating with the Hum of the World', submitted to the Special Issue ‘On Scores’, Performance Research Journal. The article itself is comprised of textual fragments that have been distilled from the transcript of this reading practice.
Dorsal Practices
(last edited: 2025)
author(s): Emma Cocker, Katrina Brown
This exposition is in progress and its share status is: visible to all.
Initiated in 2020, Dorsal Practices is a collaboration between choreographer Katrina Brown and writer-artist Emma Cocker, for exploring the notion of dorsality in relation to how we as moving bodies orient to self, others, world. How does the cultivation of a back-oriented awareness and attitude shape and inform our experience of being-in-the-world? A dorsal orientation foregrounds an active letting go, releasing, even de-privileging, of predominant social habits of uprightness and frontality — the head-oriented, sight-oriented, forward-facing, future-leaning tendencies of a culture intent on grasping a sense of the world through naming and control. Rather than a mode of withdrawal, of turning one’s back, how might a back-leaning orientation support a more open and receptive ethics of relation? How are experiences of listening, voicing, thinking, shaped differently through this tilt of awareness and attention towards the back?
Happy Ending Story
(last edited: 2024)
author(s): Dominika Łabądź
This exposition is in progress and its share status is: visible to all.
The Happy Ending Story project as an artistic research is based on an artistic collaboration which results in a collective publication co-created by professional artists and non-artists alike. It combines the competences of many people from different fields. The form of the project is by definition open, without expert diagnoses and ambitions. It is not so much result-oriented as it is rather focused on deficiencies and creating space for independent thoughts and their circulation.
The "Happy ending story" project, referring to the issue of catastrophe and the end of times, has become an attempt to work through this loss, but also a reflection on the extent to which this loss has already taken place. It is something like mourning, but difficult to survive without the support of a community.
The publication is relational in nature and draws on the potential for interaction and participation of those who can influence the shape of the work. It thus excludes monological artistic practices that attribute creative agency mainly to one artist or artists.
The field of interest is the testing of narrative potentials, the deepening of optical awareness, conscious and empathetic perception and action in a world of global interdependence, politics of exclusion, and growing inequalities.
The strategy of democratization of knowledge, inclusiveness of art creation and networking of local creative habitats, collectives for building social awareness and community can be an effective form of resistance against neoliberal practices leading to commodification of knowledge and art.
ON BURNOUT: The Development of an Artistic Research Project
(last edited: 2024)
author(s): Jess Henderson
This exposition is in progress and its share status is: visible to all.
ON BURNOUT: The Development of an Artistic Research Project
A reflection on the ability of artistic research to resonate with an audience and connect with the contemporary conditions of life within the arts.
➢ Sharing the development and process of a multi-year long artistic research project on burnout.
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This exposition presents an artistic research project that took the very conditions of our own field of practice as its subject. Starting as an experimental research lab titled Band of Burnouts that took interest in states and stories of exhaustion within the arts and creative industries, the project continued to develop through a morphing succession of forms and outlets and remains active today.
Walking the viewer through this a broad range of experiments and collaborations, it now reflects upon the specific strategies that created an unexpected level of resonance, and highlights how an approach of recursivity enriches artistic research practices. Through its interventions, manifestations,and strategies, this artistic research endeavour grew a community and garnered an audience that continues to evolve almost four years later.
We discuss the techniques that opened up transformative spaces for sharing experiences and vulnerabilities, de-stigmatising mental health topics and challenges, (co)creating from embodied and tacit knowledge, and making encounters with the not-fun into a source of connection and counter-culture.
Scylla’s Opulent Noise Generator (S.O.N.G.)
(last edited: 2024)
author(s): Scylla’s Opulent Noise Generator (S.O.N.G.)
This exposition is in progress and its share status is: visible to all.
Scylla’s Opulent Noise Generator (S.O.N.G.) is a collective of multi-disciplinary artists living and working in different time zones. S.O.N.G. believes in collectivity to build worlds and imagine art for the future. SONG’s core members are Rut Karin Zettergren (FI), Choterina Freer (U.K.) and Anna Kinbom (SE).With three core members, they regularly expand the framework: inviting multiple artists into their polymorphic practice.
S.O.N.G.’s art practice takes many forms such as: collective drawing and writings; video installations; game creation; performances; seminars; and rituals. Past exhibitions and performances include BFI London Film Festival, Woven Places, AR-exhibition by Swedish Art Associations, Futureless Festival in Stockholm, Tallinn Feminist Forum, and Work Hard! Play Hard! Minsk. With 0s+1s Collective (2013-19) which focus was cyberfeminism they exhibited in Casa Victor Hugo, Cuba, Södertälje konsthall, Göteborgs konsthall and Gotlands Konstmuseum.
Dorsal Practices — Towards a Back-Oriented Being-in-the-World
(last edited: 2024)
author(s): Emma Cocker, Katrina Brown
This exposition is in progress and its share status is: visible to all.
This exposition forms part of a journal article, Katrina Brown and Emma Cocker, 'Dorsal Practices — Towards a Back-Oriented Being-in-the-World’, in Tara Page (ed.) With–In Bodies: Research Assemblages of the Sensory and the Embodied, Special Issue of Humanities 2024, 13, 63. https://doi.org/10.3390/h13020063
The article itself can be found here - https://www.mdpi.com/2076-0787/13/2/63
Muestra de obra tesis doctoral
(last edited: 2023)
author(s): Federico Eisner Sagüés
This exposition is in progress and its share status is: visible to all.
La muestra despliega los resultados de la colaboración sonora con los poetas sonoros Luis Bravo y Pía Sommer durante el transcurso de mi investigación doctoral.
La muestra se estructura según los modos de colaboración, y los audios y videos se consideran los registros de una constelación de colaboraciones en torno a la las prácticas vocales, que excede a nuestras agencias humanas, incorporando también la agencia material de la tecnología y de nuestros círculos artísticos. En las intervenciones electroacústicas se trabajó a distancia sobre poemas sonoros previamente fijados por los poetas. Para las colaboraciones performáticas se incorporó el uso de instrumentos y efectos en vivo, y el trabajo a dos voces. Se trató de dos encuentros con cada poeta entre diciembre de 2019 y agosto de 2021 en Chile, Uruguay y España. La muestra incluye también las entrevistas realizadas a ambos poetas y las bitácoras de trabajo durante los encuentros. Por último, también se incluye una sección de archivo de la circulación artística y académica que ha tenido este trabajo.
Mäanderungen
(last edited: 2023)
author(s): Hanns Holger Rutz, Nayari Castillo-Rutz, Miriam Raggam, Reni Hofmüller
This exposition is in progress and its share status is: visible to all.
Acoustical surveys of the city. An experimental radio piece.
The spatial design of a city seems to dictate who moves around in it and how. Mäanderungen (“meanderings”) is an acoustic suggestion for developing alternative forms—in real, physical space; in electronic, radiophonic space; and in the imagination. Meanders are created by friction, by the sensing of irregularities, between depth and surface, in motion. The exploratory process developed by the temporary production collective corresponds to a form of walking, being and moving in the city that arises in the here and now, free from purpose, and that is individual, subjective, and inquiring. Peculiar views of the urban space are made possible—unusual, temporary units of measurement introduced. Part of the material created is based upon an interpretation of different spatial realities such as facades or gaps. They are photographed, drawn, captured by sensors or pressure and combined with text fragments to create a composition that manifests both as a radio drama and in the form of a spatial installation. The translation process is driven mainly by an algorithmic generator that is constantly allowing new coincidences.
Mäanderungen was the winning project of the lime_lab 3 prize for experimental radio play. lime_lab is a cooperation of Akademie Graz, Forum Stadtpark, Literaturhaus Graz, ORF Steiermark, and steirischer herbst.
Passions of Utopia
(last edited: 2023)
author(s): Johannes Rydinger, Nicia Ivonne Fernandez Grijalva, Yasmin Henra van Dorp
This exposition is in progress and its share status is: visible to all.
The Passions of Utopia is a collaborative artistic research project exploring futuremaking and storytelling through the lens of a 360-camera and telenovela tropes.
By using the cynical, plastical and exaggerated form of the telenovela we are trying to explore themes such as future, desire and truth.
Part of the process led to a 20 minutes VR-experience where the audience can take part in a immersive telenovela. It was also showed at ETC Solpark as a part of the interdisciplinary exposition and publication Awesome Arrarat
Throguh a web of different methods, where classic film production work flows and 360-action camera filmmaking is weaved together with site specific installations, we also want to explore narratives that contribute to fiction storytelling through VR in a playful way
The team consists of Yasmin Van Dorp, Nicia Fernández and Johannes Rydinger, students at the masterprogram The Art of Impact at Stockholm University of the Arts
CAAJ
(last edited: 2022)
author(s): Andrea Keiz
This exposition is in progress and its share status is: visible to all.
Choreographic art as a journey
Worlds Connected (Bachelor's project)
(last edited: 2022)
author(s): Kärt Tambet
This exposition is in progress and its share status is: visible to all.
Worlds Connected is Kärt Tambet’s bachelor project and thesis that weaves together aspects of her own roots, experiences, and ideologies of life. The work is inspired by reflecting on the different ways of understanding and interpreting the world, and the ways in which our own world may connect with other surrounding worlds through music making and even in everyday life.
Hinterlands - Between Worlds exhibition
(last edited: 2021)
author(s): Jim Harold, Susan Brind
This exposition is in progress and its share status is: visible to all.
'Hinterlands' for the exhibition 'Between Worlds'
Renmin University of China, Beijing, 2015
The installation, ‘Hinterlands’, comprises two related elements: a wall painting with vinyl text; and four unframed photographic digital prints arranged on adjacent walls.
The wall texts are taken from a mixture of diary notes and descriptions of photographic images made by the artists, Brind & Harold, over a number of years whilst on research journeys. The texts are not chronologically ordered but, instead, are intended to be read as a series of text-images. Through typographic layout and proximity, the texts become interrelated whilst not being the direct traces of a linear journey or journeys. Rather, they tell of the small moments of travel and experience (un-photographable in some cases) that act as the truer registers of a journey; whether that journey is outwardly bound or inwardly focused. As a result the work seeks to allow these events and the phrases used to account for them to become liminal spaces - thresholds or hinterlands - through which the viewer's own imagination may engage with the artists’.
The photographs of desert space, details of the desert floor taken in the Egyptian a Desert, are similarly intended as the traces of real events and locations, while providing ambiguous spaces of reading and meaning.
Critique and the Cypriot Summer / Kral çıplak / Ήνταμπου κάμνουμεν δαμέ;
(last edited: 2017)
author(s): Chrystalleni Loizidou, Marinos Houtris
This exposition is in progress and its share status is: visible to all.
About this project
output from Critique and the Cypriot Summer,
an artist residency in the village of Lofou
4/7/2016 - 9/7/2016
with
Nurtane Karagil
Hayal Gezer
Marinos Houtris
Chrystalleni Loizidou
Invited by
Xarkis & Confrontation Through Art
with the support (in no special order) of
NIMAC
NeMe
ARTos
Re Aphrodite
Point Centre for Contemporary Art
Pater Theofanis
...
COLLABORATIVE MUSIC CREATION: leading conservatory students in musical creation processes This research is about the development of active autonomous creativity among conservatory students in classical departments. In this exposition I will discuss the nature of collaborative creation processes, and critically investigate my own role as a coach and facilitator of these processes in order to better understand how ideas are being generated, developed and ultimately shaped into a performed piece. The investigation will be illustrated with a selected number of projects I have been involved in during the years 2017-2020.open exposition comments (0)
Choreographic art as a journeyopen exposition comments (0)
About this project output from Critique and the Cypriot Summer, an artist residency in the village of Lofou 4/7/2016 - 9/7/2016 with Nurtane Karagil Hayal Gezer Marinos Houtris Chrystalleni Loizidou Invited by Xarkis & Confrontation Through Art with the support (in no special order) of NIMAC NeMe ARTos Re Aphrodite Point Centre for Contemporary Art Pater Theofanis ...open exposition comments (0)