Site Awareness in Music – recontextualizing a sensation of another place
(2020)
author(s): Knut Olaf Sunde
published in: Norwegian Academy of Music
The project argues that a sensation of another place is vital to the recognition of unfamiliar perspectives.
Space and sound are inextricably connected. The surroundings and context are central to how we perceive external stimuli, such as images, events, history, ideas or music. The brain interprets and make choices by association, based on what the body perceives and based on previous knowledge and experience. How humans listen, hear, see, perceive, interpret and react to our surroundings are based on our cognitive structures.
An unformatting of society is needed.
A risk makes the body and brain aware and alert. Adrenalin is released to the blood, enabling the organism to sudden and severe effort. Risk implies something unestablished, uncertain, a danger, something unknown. Risk implies the possibility of failure and ultimately death. Risk increase anxiety and excitement, enabling the alertness needed to maneuver away from or solve problems. When something is at stake, interest is set into play. The unknown is by its very nature beyond the body’s experience.
The project is about increasing the awareness of the situational and contextual implications of music. This is enquired through three works. For each site or situation I work with, I analyze its characteristics, such as acoustical conditions, the relations of the place to its surroundings, the shape of the landscape and historical or political context.
I try to create immersive, audiovisual projects that are connected to a certain place.
I aim to involve qualities and characteristics from the place, shaping a conversation, putting something at stake.
I conceive a music activating the place, making created situations.
I do this because there is a close link between memory, comprehension and place.
The sense of place and ability to navigate is essential to our memory and bodily existence in the world.
Main supervisor: Ole Lützow-Holm
Second supervisor: Marianne Heier
Kin Tsugi Gestures
(2019)
author(s): Christina Stadlbauer
published in: Research Catalogue
This durational performance is part of Narratives of Imperfection and was taking place at the exhibition space SOLU, in Helsinki in November 2019.
TWO BODIES IN SPACE | DURATIONAL PERFORMANCE: The Quest for Authenticity in the VestAndPage Experience
(2015)
author(s): Andrea Pagnes
published in: Research Catalogue
Andrea Pagnes, from the performance art duo VestAndPage, presents a reflective piece that will become essential reading for anyone interested in durational and related performance practice. The particular focus on research concentrates the importance of the insights in this piece. Pagnes demonstrates the use of performance as a form of personal expression that leads to a greater capacity for sensitive interpretation and understanding.
—Ross Woodrow, Executive Editor Studio Research Journal
Rediscovering the Interpersonal: Models of Networked Communication in New Media Performance
(last edited: 2024)
author(s): Alicia Champlin
This exposition is in progress and its share status is: visible to all.
This paper examines the themes of human perception and participation within the contemporary paradigm and relates the hallmarks of the major paradigm shift which occurred in the mid-20th century from a structural view of the world to a systems view. In this context, the author’s creative practice is described, outlining a methodology for working with the communication networks and interpersonal feedback loops that help to define our relationships to each other and to media since that paradigm shift. This research is framed within a larger field of inquiry into the impact of contemporary New Media Art as we experience it.
This thesis proposes generative/cybernetic/systems art as the most appropriate media to model the processes of cultural identity production and networked communication. It reviews brief definitions of the systems paradigm and some key principles of cybernetic theory, with emphasis on generative, indeterminate processes. These definitions provide context for a brief review of precedents for the use of these models in the arts, (especially in process art, experimental video, interactive art, algorithmic composition, and sound art) since the mid-20th century, in direct correlation to the paradigm shift into systems thinking.
Research outcomes reported here describe a recent body of generative art performances that have evolved from this intermedial, research-based creative practice, and discuss its use of algorithms, electronic media, and performance to provide audiences with access to an intuitive model of the interpersonal in a networked world.
This durational performance is part of Narratives of Imperfection and was taking place at the exhibition space SOLU, in Helsinki in November 2019.open exposition comments (0)
Andrea Pagnes, from the performance art duo VestAndPage, presents a reflective piece that will become essential reading for anyone interested in durational and related performance practice. The particular focus on research concentrates the importance of the insights in this piece. Pagnes demonstrates the use of performance as a form of personal expression that leads to a greater capacity for sensitive interpretation and understanding. —Ross Woodrow, Executive Editor Studio Research Journalopen exposition comments (0)