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TRAVERSING SONIC TERRITORIES (TST)
(2023)
author(s): Søren Kjærgaard, Torben Snekkestad
published in: VIS - Nordic Journal for Artistic Research, Rhythmic Music Conservatory, Copenhagen
What happens when musicians improvising on acoustic instruments sample and exchange their sound libraries? How can such a transgression of sonic territories contribute to an expanded understanding of one’s own sonic identity? And could this b/lending of identities point to a more ambiguous yet vibrant field of intra-play? Departing from these questions, this project intends to challenge our idea of sonic identity as a personal subject-oriented entity, and consequently investigate how a collaborative sharing of sampled sounds, can contribute to an expanded understanding of the sounds we play and are played by. Individual idiomatic approaches to one’s own instrument are thus interfered as we transgress habitual boundaries for action possibilities and musical imagination. The practice circulates from the duo of Torben Snekkestad and Søren Kjærgaard toward external collaborators, where the sharing process involves different approaches to audio sampling and mapping, embedding and embodying, listening and playing with each other’s sonic material to a point where authorship, origin, instrument and sonic identity is diffracted.
Queers, Crips, and Mermaids: Disruptive Bodies as Performative Objects
(2021)
author(s): Kamran Behrouz
published in: Research Catalogue
This chapter attempts to analyze and unfold interlinked layers of a research-performance, in two interconnected site-specific Acts. First Act (Collision) happened in St. Moritz 2020 and the second Act was performed a year later in Bern 2021 . By adopting the notion of “cosmopolitics” as a method, this Performance attempts to speculate inter-relativity of human and non-human bodies within the capitalist matrix of species hierarchy. Through comparative analysis of different psycho-cultural/political narratives, this text attempts to map out interconnected traumas of transspecies; wounds and scars that are older than our bodies, older than ourselves. This text uses diffractive reading of these two Acts through the histories of the figure of the mermaid and the witch, In order to queer the hegemonic interpretations of both figures.
Diffracting the Copenhagen Interpretation
(last edited: 2024)
author(s): Søren Kjærgaard, Amilcar Lucien Packer Yessouroun, Carla Zaccagnini
This exposition is in progress and its share status is: visible to all.
This KUV project intends to investigate, through theory and practical experiments, the possible implications that concepts such as spacetime, entanglement, uncertainty, non-locality, and diffraction, proposed by quantum physics, have on artistic practice and narratives.
As a collaboration among artists from different fields and different Educational Institutions, the research will nourish from this encounter as well as from the interaction with students and the contributions of specialists.
Diffracting the Copenhagen Interpretation (DCI)
(last edited: 2024)
author(s): Søren Kjærgaard
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 to guide our relationship to these urban spaces. The scores conduct our collective experiencing of our cities through a practice we call ‘non-local walking’, involving a diffractive methodology of reading and listening, and the entangled collecting of objects, words and other affections found in the urban terrain. These experiments are conceived as a boundary-crossing transdisciplinary methodology through which we seek to engage with a non-local city, creating a relational, critical consciousness and sensing that stimulates unexpected outcomes.
These scored performances have resulted on cartographies, drawings, moving sculptures, audio works and writings. Across these various materializations of the non-local walks, unexpected connections, constellations, and coincidents e/merge, unveiling yet unheard polyphonies that give resonance to these urban spaces, as potentized terrains awaiting (re)circuitry, and, as fields of forces that await to be (re)experienced.
Diffracting the Copenhagen Interpretation - Toward Non-Local Collaborative Art Practices
(last edited: 2024)
author(s): Søren Kjærgaard, Carla Zaccagnini
This exposition is in review 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.
LESSONS in the SHADOWS of DEATH
(last edited: 2024)
author(s): Laasonen Belgrano, Price, Hjälm, Carlsson Redell, Ideström
This exposition is in progress and its share status is: visible to all.
The research project 'Lessons in the Shadows of Death' explores and exposes an almost lost tradition of public mourning - the Art of Lamentation. The project follows the structure of the 17th century musical genre 'Leçons de Ténèbres' – traditionally composed as vocal ‘lessons’ performed during Easter week contemplating the fall of Jerusalem in 586 BC and based on the Biblical Lamentations.
The overall purpose is to create and promote an intra-active 'grief-entangled' music practice in relation to public mourning and wounds of loss. Previous artistic research on vocal mad scenes, lamentations and Nothingness (Laasonen Belgrano 2011) and performance philosophical explorations of apophenia and autopoesis (Price 2017) has since 2019 merged and developed into a growing archive investigating ‘ornamentation-as methodology’.
The primary aim of this project is to transform the ornamented music and words of Michel Lambert’s nine Leçons de Tenebres from 1661 into nine video-essays. Together with an international network of artists and scholars we will bring the 17th century musical mourning to a contemporary Jerusalem – a city which lives as a symbol of any falling, wounded and embodied space-time. The project reconfigures the Art of Lamentation as a living practice for a wounded world in need of re-learning how to attend to existential consciousness and communal grief.The research project 'Lessons in the Shadows of Death' explores and exposes an almost lost tradition of public mourning - the Art of Lamentation. The project follows the structure of the 17th century musical genre 'Leçons de Ténèbres' – traditionally composed as vocal ‘lessons’ performed during Easter week contemplating the fall of Jerusalem in 586 BC and based on the Biblical Lamentations.
The overall purpose is to create and promote an intra-active 'grief-entangled' music practice in relation to public mourning and wounds of loss. Previous artistic research on vocal mad scenes, lamentations and Nothingness (Laasonen Belgrano 2011) and performance philosophical explorations of apophenia and autopoesis (Price 2017) has since 2019 merged and developed into a growing archive investigating ‘ornamentation-as methodology’.
The primary aim of this project is to transform the ornamented music and words of Michel Lambert’s nine Leçons de Tenebres from 1661 into nine video-essays. Together with an international network of artists and scholars we will bring the 17th century musical mourning to a contemporary Jerusalem – a city which lives as a symbol of any falling, wounded and embodied space-time.
The project reconfigures the Art of Lamentation as a living practice for a wounded world in need of re-learning how to attend to existential consciousness and communal grief.
Leçons de Ténèbres
(last edited: 2023)
author(s): Elisabeth Laasonen Belgrano
This exposition is in progress and its share status is: visible to all.
The aim of this project is to investigate vocal ornamentations in French baroque composer Michel Lambert's (1610-1696)'Leçons de Ténèbres. It is an artistic research project where vocal performance practice is diffracted through Karen Barad's theory on agential realism and Japanese philosopher Kitarō Nishida's concepts of Action-Intuition and Basho.
VOICE: An Imaginary Ir/Rational Figure of Any Thing
(last edited: 2022)
author(s): Elisabeth Laasonen Belgrano
This exposition is in progress and its share status is: visible to all.
The voice presented in this NO PAPER PRESENTATION cannot be imagined as separated from any bodily act or matter. It intoxicates all along without an end. This voice emerges out of No Thing (Calcagno 2003). It would not claim to be in a specific relation to gender, class, ethnicity or other classification, yet this voice can be identified as "an imaginary figure of any thing"; a paradoxical voice performed and presented out of unexpected encounters with whatever meaning there might be. This voice can be traced to 17th century Venetian music drama stages - considered to be a symbol for Nothingness as specifically performed in operatic mad scenes. This NO PAPER presents a development of an artistic doctoral project on 'how to perform vocal nothingness' (Belgrano 2011). In the current study a Baradian (feminist) diffractive methodology is applied (Barad 2007, 2012), allowing vocal practice to intra-act continuously with any matter or meaning encountered along the road, by "re-diffracting, diffracting anew, in the making of new temporalities (spacetimematterings)" (Barad 2014). Through this performative approach VOICE argues that vocal identity can be viewed as an entangled dance - where sound, thoughts, judgements, senses, madness, matter, chaos, vibrations and so on cannot be separated from one another - "endlessly opening itself up to a variety of possible and impossible reconfigurings" (Hinton 2013). The result that emerges from this trans-spatiotemporal study is a sensuous queering of operatic vocality that allows individuals to experience a monstrous voice as Any Thing or No Thing, following a discourse on Nothingness that had a fundamental impact on 17th century operatic vocality and on the birth of music drama.
ORNAMENTING-as-a-METHOD: exploring a poetical onto-ethico-epistemology
(last edited: 2020)
author(s): Elisabeth Laasonen Belgrano
This exposition is in progress and its share status is: visible to all.
The aim of this presentation is to perform an insight into the process of developing a research method, based on a practice-led/diffractive/artistic research methodology. The result includes a true story about a woman’s vocal awakening through the concept of NOTHINGNESS; about seventeenth century voices and musical manuscripts; about voicing experiences in Venice, Kyoto, & Jerusalem; about a collection of poems dedicated to one of the first opera singers – Anna Renz romana - who became NOTHINGNESS on stage; touching on Italian Nothingness and French Je-ne-sais-qua. What will become - as for the end of this story – is an attempt to articulate a process of ornamenting-as-a-method allowing for the emergence of a poetic-onto-ethico-epistemology.
The City of Fire and the Assembly of Death: Two Encounters
(last edited: 2017)
author(s): Elisabeth Laasonen Belgrano
This exposition is in progress and its share status is: visible to all.
This exposition is a tale of (at least) two encounters performed as a Lesson in the Shadows of Death. In these shadows we find sounding voices, moving bodies and relations between what might be described as extreme opposites. What can be found in place nick named the City of Fire, or the Assembly of Death? Perhaps an opening to this question can be found in this exposition.
This chapter attempts to analyze and unfold interlinked layers of a research-performance, in two interconnected site-specific Acts. First Act (Collision) happened in St. Moritz 2020 and the second Act was performed a year later in Bern 2021 . By adopting the notion of “cosmopolitics” as a method, this Performance attempts to speculate inter-relativity of human and non-human bodies within the capitalist matrix of species hierarchy. Through comparative analysis of different psycho-cultural/political narratives, this text attempts to map out interconnected traumas of transspecies; wounds and scars that are older than our bodies, older than ourselves. This text uses diffractive reading of these two Acts through the histories of the figure of the mermaid and the witch, In order to queer the hegemonic interpretations of both figures.open exposition comments (0)
The aim of this project is to investigate vocal ornamentations in French baroque composer Michel Lambert's (1610-1696)'Leçons de Ténèbres. It is an artistic research project where vocal performance practice is diffracted through Karen Barad's theory on agential realism and Japanese philosopher Kitarō Nishida's concepts of Action-Intuition and Basho.open exposition comments (0)
The aim of this presentation is to perform an insight into the process of developing a research method, based on a practice-led/diffractive/artistic research methodology. The result includes a true story about a woman’s vocal awakening through the concept of NOTHINGNESS; about seventeenth century voices and musical manuscripts; about voicing experiences in Venice, Kyoto, & Jerusalem; about a collection of poems dedicated to one of the first opera singers – Anna Renz romana - who became NOTHINGNESS on stage; touching on Italian Nothingness and French Je-ne-sais-qua. What will become - as for the end of this story – is an attempt to articulate a process of ornamenting-as-a-method allowing for the emergence of a poetic-onto-ethico-epistemology.open exposition comments (0)
This exposition is a tale of (at least) two encounters performed as a Lesson in the Shadows of Death. In these shadows we find sounding voices, moving bodies and relations between what might be described as extreme opposites. What can be found in place nick named the City of Fire, or the Assembly of Death? Perhaps an opening to this question can be found in this exposition.open exposition comments (0)