Diagramming Perception
(2022)
author(s): Mike Croft
published in: i2ADS - Research Institute in Art, Design and Society
This artistic research is a contribution to a larger research project titled ‘The Observation of Perception, considered through drawing’, hosted by i2ADS. The research begins with the hypothesis that perception can be diagrammed, in this case through and as a form of drawing that indicates how perception is for this investigator conceived and works in action. One of the two visual motifs of the work is also a meta-motif, in that as an action-camera placed over the eyes, it is the means by which the investigator records himself at work on the second main motif, which is his image as viewed in a circular hand-held mirror. The investigator approaches the initiative as a question of diagramming the self-same initiative, accepting whatever are its developed implications as the aesthetic of the work. Peirce's division of the diagram into elements of firstness and secondness, with the elusive recognition of diagram as an abstract entity before any communicative purpose, keys into a working practice that in any case veers towards the diagrammatic. The investigator's tendency to audio-visually record his working process has led him to a position where the logistics of the purpose paradoxically reveal the subjectivity – if not absurdity – of the self-same process. In this case, little by little, a contingent factor of a wart takes centre-stage as blind spot; at-once a torn hole within the drawing's material surface, the action camera as an illusory obstruction, and a factor that oscillates with and as the circular self-portrait. The presentation takes the viewer/reader through the process, largely perceptual, that is diagrammed on and as the artifactual outcome, the drawing.
BRIEF HISTORY OF PERCEPTION
(2021)
author(s): Udo Maria Fon
published in: Research Catalogue
Even if this brief historical outline of perception is structured chronologically as far as possible, it is difficult to describe the variety of parallel events. This overview, therefore, makes no claim to completeness. It demonstrates that after the establishment of technical aids for the expansion of human perception, phases of an intensive exchange of information begin. This allows existing structures to be viewed and reflected on in a new way. But this does not mean the end of the world in any way. Only the end of an outdated worldview. And that means a new beginning.
The Mental Effect of the (Temporary) Tonic: a study of tones in jazz tunes through John Curwen's Tonic Sol-fa
(2017)
author(s): Patricia Wisse
published in: KC Research Portal
Name: Patricia Wisse
Main Subject: Music Education according to the Kodály Concept Research Supervisors: Suzanne Konings & Ab Schaap
Title of Research:
The Mental Effect of the (Temporary) Tonic: a study of tones in jazz tunes through John Curwen's Tonic Sol-fa
Research Supervisor: Suzanne Konings, Ab Schaap
Research Question:
How can Tonic Sol-fa be used in dealing with (temporary) tonics in short musical forms, such as the 32-bar jazz standard?
Summary of Results::
In general, the level of musicianship of (jazz) singers is considered to lag far behind that of their instrumentalist classmates. Are singers somehow not as musical? Or not as interested? Is something different in the approach? Or is the approach not different enough? Looking at what is really needed to be able to improvise in a jazz context, and approaching this through John Curwen¹s Tonic Sol-fa method, this research is an exploration of a vocal and mental alternative to the pianistic approach of vocal improvisation, that is true to our musical experience.
Biography:
Patricia Wisse studied Theology in Leiden, and then Jazz Voice at Codarts Rotterdam. In 2015 she started her studies at the Royal Conservatoire: Music Education according to the Kodály Concept.
Through studying the work of John Curwen, she has developed her own approach in studying and teaching jazz. She has also developed a new music learning tool, the Movable Do Disc, and is continuously developing ideas and methods around it.
Keinuva käynti ja muutoksen tila
(2015)
author(s): Marika Orenius
published in: RUUKKU - Studies in Artistic Research
In my text, I ponder a process of making and researching art. As in my doctoral thesis (Home base - bodily response and spatial experiences processed to works of art) I shall now go through the process as an opening to a multiple spatial and temporal thinking. In addition to some philosophical reflection, I approach the social and political meanings of space-time and corporeality. Of these subjects, I have filmed various spaces for my upcoming video installation. The working title of the process is Parousia. The video material shown in the exposition is the raw material of the work.
Focus (a document)
(last edited: 2017)
author(s): Gabriel Paiuk
This exposition is in progress and its share status is: visible to all.
Focus deals with the ways we engage with sound in an environment saturated by audio media technology. Taking the form of a sound installation, Focus invites the visitor to explore the exhibition space by moving throughout, standing or sitting. Through the superimposition of multiple loudspeaker constellations, Focus sets up sound as a sensitive fabric for the listener to traverse, each point prompting diverse modes in which the experience of the sonorous emerges: as a quasi-tactile phenomenon, as an impression of distance, as an activation of memories of lived or recorded spaces. In Focus, the technology of sound emission is not hidden but rather disclosed, enhancing the physical interaction of the listener with these devices, emphasizing how their material properties breed memories and conditions we utilize to make sense of sound around us.
Meta-Landscapes: Expressions of Temporal Consciousness, New Abstractions in Photography
(last edited: 2015)
author(s): Jason Engelund
This exposition is in progress and its share status is: visible to all.
Artist Jason Engelund approaches photography by addressing psychological frameworks of different world-time views, and shifts in perceptions of time during individual events. The notion of a “visual time signature” is proposed, a phrase to describe types of temporal consciousness, incorporating cultural and individual time perception as they relate to cognition, experience, and image. Expressions of the “meta-landscape” encompassing both the psychological landscape and actual landscape are pictured and discussed.
Even if this brief historical outline of perception is structured chronologically as far as possible, it is difficult to describe the variety of parallel events. This overview, therefore, makes no claim to completeness. It demonstrates that after the establishment of technical aids for the expansion of human perception, phases of an intensive exchange of information begin. This allows existing structures to be viewed and reflected on in a new way. But this does not mean the end of the world in any way. Only the end of an outdated worldview. And that means a new beginning.open exposition comments (1)
In my text, I ponder a process of making and researching art. As in my doctoral thesis (Home base - bodily response and spatial experiences processed to works of art) I shall now go through the process as an opening to a multiple spatial and temporal thinking. In addition to some philosophical reflection, I approach the social and political meanings of space-time and corporeality. Of these subjects, I have filmed various spaces for my upcoming video installation. The working title of the process is Parousia. The video material shown in the exposition is the raw material of the work.open exposition comments (0)
Focus deals with the ways we engage with sound in an environment saturated by audio media technology. Taking the form of a sound installation, Focus invites the visitor to explore the exhibition space by moving throughout, standing or sitting. Through the superimposition of multiple loudspeaker constellations, Focus sets up sound as a sensitive fabric for the listener to traverse, each point prompting diverse modes in which the experience of the sonorous emerges: as a quasi-tactile phenomenon, as an impression of distance, as an activation of memories of lived or recorded spaces. In Focus, the technology of sound emission is not hidden but rather disclosed, enhancing the physical interaction of the listener with these devices, emphasizing how their material properties breed memories and conditions we utilize to make sense of sound around us.open exposition comments (0)
Artist Jason Engelund approaches photography by addressing psychological frameworks of different world-time views, and shifts in perceptions of time during individual events. The notion of a “visual time signature” is proposed, a phrase to describe types of temporal consciousness, incorporating cultural and individual time perception as they relate to cognition, experience, and image. Expressions of the “meta-landscape” encompassing both the psychological landscape and actual landscape are pictured and discussed.open exposition comments (0)