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 Only the end of an outdated worldview.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.
On Klänge - Space, Time and Body
(last edited: 2024)
author(s): Erika Matsunami
This exposition is in progress and its share status is: visible to all.
ON KLÄNGE - SPACE, TIME AND BODY
This artistic research project entitled "Variations'' by Erika Matsunami was started to explore a multi-layered open score, "Corona" (1962) for pianist(s) by Toru Takemitsu in 2020, which became a starting point of Takemitsu oeuvres. Thereby, I developed the different ideas of three variations from the aspect of the 21st century. The research question is: "Is music rather phenomenal than to express?"
The starting point of this artistic research is a new interpretation "Corona-STEMS-GALAXYOMEGA" (May 2020) by Lukas Huisman who is a pianist and holds a PhD in the performing arts/piano in classic-modern music. (It is the same as the artistic master in the classical sense for teaching. He is not a performer, he can practically study the piano (artistic material) techniques at the academic level, and he can teach his techniques as his original in Toru Takemitsu. He is the PhD master of classic modern in piano for education.) He started to embody "Corona" (1962) by Takemitsu together with the composer and sound artist Patrick Housen. Huisman and Housen are called Graphology duo. (Graphology duo is a musical performative duo formed by Patrick Housen with live electronics and Lukas Huisman on piano.)
With "Variations", I attempt to address the question of immateriality in the arts and the academic meaning (Sinne) on immateriality in artistic research. I question the context from the critical aspect of neuroscience, and ask whether "immateriality" – the aesthetic value in the arts – is or is not in today’s technology? How can "immateriality" in the arts be judged today with the technology in aesthetics? (The approach of Kant in today's aesthetics as well as philosophy, without the study of neuroscience, this subject could not be researched.)
Takemitsu's aim of the study in his multi-layered open score "Corona" (1962) is not only for the general piano piece, it was also started in his musical composition study under Cage.
In "Variations", I have been working and researching the origin of Toru Takemitsu's ideas.
I collaborate(d) with Housen as a visual artist for a sound installation in this artistic project. This resulted in the artistic research project "Variation I", which relates to this artistic research on "Klänge - Space, Time and Body". I, as a visual artist, have been exploring the subject of time and space in "Corona" (1962) for pianist(s) by Toru Takemitsu for the exploration of a new interpretation; it was the starting point of "Variations" which consists of three parts of artistic research.
My practical contribution is a performance in the site-specific installation for "Variation I" - ("Corona without Pianist for 4-ch discrete sound installation - an invisible sense ‘who is left to drift in the loneliness of the remaining scent’" in 2020. Thus, the theoretical exploration is in terms of ongoing artistic research in the philosophy of sound. The aim of this artistic research "On Klänge - Space, Time and Body" is toward the new multi-layered open score "Variation I, II and III". In 2020, it was simultaneously the subject of "Corona-STEMS-GALAXYOMEGA" by the Patrick Housen and Lukas Huisman duo, and "Corona without Pianist for 4-ch discrete sound installation - an invisible sense ‘who is left to drift in the loneliness of the remaining scent’" by Erika Matsunami.
Variation II consists of a collaboration with the composer Valerio Sannicandro (PhD in Musicology) and deals with the subject of the spontaneous within the topic of DNA from the biological aspect. Therefore, joint artistic research will explore the philosophy of sound from the aspect of musicology and aesthetics in 2021.
(In the works)
From threefoldness to multi-foldness
(last edited: 2024)
author(s): Erika Matsunami
This exposition is in progress and its share status is: visible to all.
From threefoldness to multi-foldness: On Personal AI in visual arts and its perception in an artwork – What is artistic authenticity with AI in arts? In this project, I explore practically and theoretically, in particular rethinking philosophical reflection on “A thousand plateaus” (originally published as Mille Plateaux, volume 2 of Capitalisme et Schizophrenic © 1980 by Les Editions de Minuit, Paris) by Gilles Deleuze and Félix Guattari. I've been dealing with this book in my project since 2000. Therefore, I agree with the approach "Kunst kommt aus dem Schnabel, wie er gewachsen ist" (the title of an art catalog with 11 disabled artists) by Mosaik e.V. in Berlin, 2011. This artistic research addresses the issue of technology and humanities in arts. (Theorie und Praxis im künstlerischen Schaffensprozess)
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)
From threefoldness to multi-foldness: On Personal AI in visual arts and its perception in an artwork – What is artistic authenticity with AI in arts? In this project, I explore practically and theoretically, in particular rethinking philosophical reflection on “A thousand plateaus” (originally published as Mille Plateaux, volume 2 of Capitalisme et Schizophrenic © 1980 by Les Editions de Minuit, Paris) by Gilles Deleuze and Félix Guattari. I've been dealing with this book in my project since 2000. Therefore, I agree with the approach "Kunst kommt aus dem Schnabel, wie er gewachsen ist" (the title of an art catalog with 11 disabled artists) by Mosaik e.V. in Berlin, 2011. This artistic research addresses the issue of technology and humanities in arts. (Theorie und Praxis im künstlerischen Schaffensprozess)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)