Performing Precarity
(2024)
author(s): Laurence Crane, Anders Førisdal, LEA Ye Gyoung, Io A. Sivertsen, Lisa Streich, Jennifer Torrence and Ellen Ugelvik
published in: Norwegian Academy of Music
To be a contemporary music performer today is to have a deeply fragmented practice. The performer’s role is no longer simply a matter of mastering her instrument and executing a score. Music practices are increasingly incorporating new instruments and technologies, methods of creating works, audience interaction and situations of interdependence between performer subjects. The performer finds herself unable to keep a sense of mastery over the performance. In other words, performing is increasingly precarious.
The Ecology of Artistic Research
(2023)
author(s): Elizabeth Torres
published in: Research Catalogue
In the past decade, artistic research has emerged as a prominent means of generating new knowledge while addressing pressing issues such as sustainability and environmental concerns. However, due to its relative newness, the field lacks a clear mainstream understanding regarding its potential, meaning, structures, and limitations. The Ecology of Artistic Research is an interdisciplinary investigation that aims to explore the multifaceted dimensions of the field, with a particular focus on the significance of artistic research to researchers and practitioners themselves, and how they perceive, process, and embody knowledge through their practice. This project seeks to identify sustainable approaches to artistic research, demystify and clarify the language of artistic research for lay audiences, visualize the mechanisms of the field, and visibilize structures and networks that pay closer attention to the narratives of our world in transformation.
The investigation is conducted through a cycle of conversations and artistic responses, with a particular focus on the Nordic countries of Finland, Sweden, Norway, and Denmark. Through engaging contemporary artistic practitioners, academic institutions and researchers in conversations, the project seeks to gain insight into their work, concerns, and personal experiences. The output of this research takes various interdisciplinary forms, including audiovisual interviews, articles, and a multimedia exposition.
ELISABETH LAASONEN BELGRANO - PORTFOLIO
(last edited: 2024)
author(s): Elisabeth Laasonen Belgrano
This exposition is in progress and its share status is: visible to all.
An overview of Elisabeth Belgrano's artistic / performance / research and teaching in higher arts education 2004-ongoing
Musical Transformations
(last edited: 2024)
author(s): Stefan Östersjö; Nguyễn Thanh Thủy; Henrik Frisk; David Hebert
This exposition is in progress and its share status is: visible to all.
Musical Transformations brings researchers in ethnomusicology and artistic research in music together in order to develop new knowledge and deepened understanding of processes of renewal of musical practices in intercultural and transnational contexts. The artistic research and ethnological fieldwork take shape in two sub-projects in Sweden and Vietnam: First, Vọng Cổ, exploring past and present transformation of music in the south of Vietnam from the Mekong Delta to the theatre stage in Saigon. Second, a pilot study in Sweden for The Ear of Migration, which lays the ground for an extensive piece of research on musical change in contemporary globalized society.
‘Ūd Taqsīm as a Model of Pre-Composition
(last edited: 2023)
author(s): Nizar Rohana
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
In this research project, Nizar Rohana analyzes and reflects on taqsīm recordings by two leading figures of ‘ūd playing who were pillars of modern Arabic music, namely the Egyptians Muḥammad al-Qaṣabjī (1898-1964) and Riyāḍ al-Sunbāṭī (1906-1981). Rohana encodes and underlines their most significant traits in order to:1) enrich and develop my melodic-rhythmic vocabulary;2) deepen my understanding of the structural, melodic and rhythmic processes underlying the genre; 3) design a structural framework or a model for pre-composing taqsīm-like pieces of music.
To put it another way, the dissertation discusses the creation of pre-composed taqāsīm. The pieces follow a specific model of pre-composition that was designed while taking al-Qaṣabjī and al-Sunbāṭī’s taqsīm practice as a reference and a source of inspiration. This model contributes to both artistic research and practical knowledge, and provides new insights into structural, melodic and rhythmical processes of the genre. The artistic outcome of this project includes five new works for solo ‘ūd.
Taking Place: Parrhesiastic Theater as a model for artistic practice
(last edited: 2023)
author(s): Eleni Kamma
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
This research project of Eleni Kamma adresses the question how local and traditional European forms of parrhesiastic theater—by which I mean events, actions, and performances staged by characters who courageously speak their minds through scenes of excess and laughter, that take place in public view and incite the spectator’s agency to speak their own minds—possibly relate to and/or provide new insights into critical artistic practices today. In this context, the project also examines the place and role of caricature today.I approach the issue as an artist-researcher concerned with socially engaged artistic practices. The experience of the playful, humorous, and sharply critical attitude of Gezi Park protesters speaking their minds in Istanbul in 2013 led me to critically reconsider my own courage in positioning myself within contemporary artistic production. Throughout the dissertation I work along a Moebius strip schema, which continually shifts from me as individual artist to dialogic collaborations to writing about the process. The research subject is investigated through a circulation process within which concepts such as communication, dialogue, and listening are continuously performed and put to the test. The dissertation aspires to provide new insights into how tensions between the roles of individual and group, “I” and “we,” may open up a parrhesiastic space for critical artistic practices.
Typeface design for visually impaired children
(last edited: 2023)
author(s): Ann Bessemans
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
Due to the low quality level of visual input they receive in the form of printed text, beginning visually impaired readers are at a disadvantage in comparison to their peers. In the past, typography has often been looked upon as a useful instrument to improve the legibility of the printed reading material that is being offered to children with low vision. However, the legiblity research efforts that were at the base of this conception were not always of good quality. In cognitive science for example, many efforts were made that were methodologically correct, yet the test material (the used typefaces) had little to do with reality. Many typefaces that were supposed to improve legibility were also suggested by typographers themselves, but the reasoning behind them was hardly ever sufficiently methodologically supported. Moreover, most legibility research focused on people with low vision in general, ignoring the fac t that visually impaired children constitute a very particular group with specific issues. This doctoral research project by in design, by Ann Bessemans, seeks to shed a light on legibility in the context of visually impaired beginning readers. Starting from these findings and from a legibility research a first step is given to design a typeface that will be able to provide support for the target group of visually impaired children in the first stages of the reading process.
A Practical Example of Practical knowledge - an approach in artistic research
(last edited: 2021)
author(s): Olof Halldin
This exposition is in progress and its share status is: visible to all.
Practical knowledge - an approach in artistic research, an example shown through drawing.
To be a contemporary music performer today is to have a deeply fragmented practice. The performer’s role is no longer simply a matter of mastering her instrument and executing a score. Music practices are increasingly incorporating new instruments and technologies, methods of creating works, audience interaction and situations of interdependence between performer subjects. The performer finds herself unable to keep a sense of mastery over the performance. In other words, performing is increasingly precarious.open exposition comments (0)
An overview of Elisabeth Belgrano's artistic / performance / research and teaching in higher arts education 2004-ongoingopen exposition comments (0)