Research Catalogue

an international database for artistic research

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  The Musical Dyad - Crisis and Growth through Music (2019) author(s): Jessica Kaiser published in: Research Catalogue
  Music has the fundamental ability to open up spaces of intersubjectivity and social interaction. When two people engage in making music together, questions surrounding relationality arise: As a duo, the two individuals can musically act together in various ways. In fact, it is the wide range of relationality, from close attachment to the possibility of crisis, dissociation, or at least the struggle for togetherness, that unleashes the artistic potential. Confronting a piece of music, the question of relationship is prompted by music itself. To answer this question, the duo negotiates relational qualities through the process of interpretation. Together with the violinist Johanna Ruppert, I aim to explore how a developing interpersonal dynamic can be challenged and how it may respond to an audience that is made aware of the relational potential in the duo situation. In an open rehearsal format, we experiment with choreographic elements and (extra-musical) objects that can facilitate interaction. This performative approach allows to shift focus between different aspects of relation, such as connectivity, trust, resonance, fragility, embodiment or shared space. Drawing on the concept of musical empathy (Deniz Peters 2017) and joint feeling (Angelika Krebs 2015), this also entails questioning how empathetic processes, between co-performers as well as performers and listener, can be induced or intensified, without construing an artificial narrative. In a live research situation, the audience is called upon interfering and interacting with us as a duo. This may be by moving through the room, (re-)positioning us and/or themselves or intervening with vocal statements. Objects such as threads, ties, hoops or clothes can be used as additional provocative means. Venturing into a state of crisis, our relationship shall be put to the test, only to give rise to new possibilities of relation and eventually to come out of this crisis – strengthened in our togetherness.
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  Morten Qvenild – The HyPer(sonal) Piano Project (last edited: 2024) author(s): Morten Qvenild This exposition is in progress and its share status is: visible to all.
  Towards a (per)sonal topography of grand piano and electronics How can I develop a grand piano with live electronics through iterated development loops in the cognitive technological environment of instrument, music, performance and my poetics? The instrument I am developing, a grand piano with electronic augmentations, is adapted to cater my poetics. This adaptation of the instrument will change the way I compose. The change of composition will change the music. The change of music will change my performances. The change in performative needs will change the instrument, because it needs to do different things. This change in the instrument will show me other poetics and change my ideas. The change of ideas demands another music and another instrument, because the instrument should cater to my poetics. And so it goes… These are the development loops I am talking about. I have made an augmented grand piano using various music technologies. I call the instrument the HyPer(sonal) Piano, a name derived from the suspected interagency between the extended instrument (HyPer), the personal (my poetics) and the sonal result (music and sound). I use old analogue guitar pedals and my own computer programming side by side, processing the original piano sound. I also take out control signals from the piano keys to drive different sound processes. The sound output of the instrument is deciding colors, patterns and density on a 1x3 meter LED light carpet attached to the grand piano. I sing, yet the sound of my voice is heavily processed, a processing decided by what I am playing on the keys. All sound sources and control signal sources are interconnected, allowing for complex and sometimes incomprehensible situations in the instrument´s mechanisms. Credits: First supervisor: Henrik Hellstenius Second Supervisors: Øyvind Brandtsegg and Eivind Buene Cover photo by Jørn Stenersen, www.anamorphiclofi.com All other photo, audio and video recording/editing by Morten Qvenild, unless stated.
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  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.
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  Neem Plaats (last edited: 2023) author(s): Lucia Koevoets This exposition is in progress and its share status is: visible to all.
  Neem Plaats; een performatieve installatie door Lucia Koevoets
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• The Informed Performer (last edited: 2023) author(s): Joost Vanmaele connected to: Academy of Creative and Performing Arts This exposition is in progress and its share status is: visible to all.
  Playing a musical instrument is generally considered to be a complex human behaviour involving the integration and coordination of a broad range of human functions such as perception, imagination, memory, information processing, emotion, communication, and dexterity. From this perspective, it seems only reasonable to assume that, in an age of informational and communicational abundance, this intrinsic multifacetedness manifests itself in numerous informational contact-points between musical practice and a variety of academic and para-academic fields which zoom in on these specific elements of musical activity. Joost Vanmaele’s dissertation is directed at carefully and systematically evaluating the position of musicianship in an age of informative abundance and connectedness, to consider ways of re-balancing and broadening its epistemic grounds and attuning its information systems, with a view to artistic development, enrichment and/or liberation. By proposing a Bio-Culturally informed Performers’ Practice of Western Art Music [BCiPP], an information- and dialogue-friendly, transdisciplinary space is created where musical activities are not considered as phenomena sui generis but rather as informable cultural instances or personal particularisations of the human capacity to meaningfully generate and react to temporally patterned sounds. The potential impact of BCiPP is put to the test in two case-studies.
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• Choreographic Process as Interaction (last edited: 2022) author(s): Kirsi Törmi This exposition is in progress and its share status is: visible to all.
  My artistic doctoral research consists of two pre-examined artistic parts, three different experimental practical applications, and the written part at hand. The process descriptions and the findings of the pre-examined artistic parts AmazinGRace- (2010) and Kierto (2012) that had premiers in Kajaani are discussed in the chapters under these titles respectively. During the research project, I realised three experimental practical applications: the workshops Tunto (2012–2013) and Vertaislaboratorio- (2013) and Piileskelevä liike (2014). The title of my written part is Koreografinen prosessi vuorovaikutuksena [Choreographic Process as Interaction]. Participatory and process oriented practices of dance have taken an increasing role in dance during the last few years. In my research I try to understand the phenomenon and aim at forming new knowledge and new methods for this widening field in dance. The starting point in my research was the frustration and the dissatisfaction I felt at the time towards my choreographic practice. With my research I outline an interactive choreographic process that corresponds with my understanding of that which appears to me as meningful when I encounter people in artistic processes. Making room for feelings and sensations in a choreographic process is a central element in my research. The research has taken shape without a specific hypothesis. Instead of a hypothesis, the research has been driven by my critical and reflective agency, based on which I have developed visions and practices. Theory has not been leading action in this research process, whereas the applicable theoretical framework has adjusted itself to the existing artistic activity. The theoretical reference points in my research are found in the Pedagogy of the Oppressed and the Radical Upbringing, the Discipline of Authentic Movement, the Body Psychotherapeutic Approach and the thinking of neurologist Antonio Damasio.
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  EIRIN LOTHE ALBRIKTSEN - Hvordan berike ens eget og en plantes liv ved hjelp av teknologi (last edited: 2020) author(s): ELA This exposition is in progress and its share status is: visible to all.
  Dette er ett prosjekt i fysisk prototyping
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  Plant friend (last edited: 2020) author(s): Elisabeth Haaland Sund, Elen Haksø, Kari Bjerke Gjærde, Vivian Thonstad Moe This exposition is in progress and its share status is: visible to all.
  A plant pet, a plant friend. Ambient technology, present for company. The concept promotes interaction and physical activity through responsive expressions on the digital MicroBit display. Every plant have their own individual characteristics. Some of them are shy and some will be more expressive. Select your favourite type, with your preferred plant personality. You will have to give it a name and take care of it in your home, office space, in your living room or wherever it’s suitable. The plant is a “robot”, with a display screen. Here you can read the plant’s “feelings” with it’s expressive face. You will notice when it’s thirsty, needs nutrition or when it expresses its need for attention. In return you will have a good companion, always ready for interaction. This is an open source project encouraging people to make it themselves. A concept tailored for interaction between people in isolation or distance relationships.
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  The Meaning of the Instrument (last edited: 2019) author(s): Per Anders Nilsson, Palle Dahlstedt This exposition is in progress and its share status is: visible to all.
  In this paper we discuss the meaning of musical instruments, particularly an electronic instrument intended for ensemble improvisation that is called the exPressure Pad. A basic premise is that the actual instrument in play mediates and actualizes particular aesthetical ideas, comparable to a composition. In play a multitude of interactions and cross relations occur: between the players, between the instrument and the player, and between the player and the musical outcome. However, the inherent properties of the instrument delimit what we can, and cannot do, therefore, it is feasible to claim that the instrument directs and informs our playing as much as we are shaping the musical output.
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• Inter_agency (last edited: 2018) author(s): Gerhard Eckel, Artemi - Maria Gioti This exposition is in progress and its share status is: visible to all.
  The discourse on interaction in live electronic music is often vague and inaccurate. Interaction – often confused with reaction – means above all reciprocity. There can be no interaction unless all interacting parts within a system are able to perceive each other’s actions, and act both in response to them and according to their own agenda. In human-computer music systems this would mean that not only the performer, but also the computer should be able to “act” – not just re-act. This idealistic vision of sonic human-computer reciprocity lies in the focus of our project. By incorporating machine intelligence in compositions for acoustic instruments and electronics, we seek to establish a reciprocal interaction between the musician as a cognising subject, and the computer as a cognising object.
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