Listening Into the Lattice
(2024)
author(s): Jorge Boehringer
published in: HUB - Journal of Research in Art, Design and Society
This exposition details the opening phase of new research between an experimental sound artist and an archaeologist, with a detailed examination of critical epistemological questions that have arisen from the beginning of this project. Both collaborating researchers are situated within hybrid specialisations. As the project unfolds, archaeo-chemical data is explored and animated through methods developed from intersections of data science and musical practice, resulting in performance and installation environments in which knowledge of material culture of the ancient past may be made present through listening. However, beyond a case study, this exposition points to how interdisciplinary artistic work produces results that have value outside of normative paradigms for any of the fields from which it is derived, while offering critical insight about those fields. This exposition is formed of these insights. Readers are introduced to the structure of the data, its relationship to the materiality of the artefacts described, the technological apparatus and compositional methodology through which the data is sonified, and the new materiality of the resulting artistic experiences.
Sonification exists at a nexus of sound production and listening, interwoven with information. Meaning and interpretations arise from artistic decisions concerning sound composition and the context for listening to take place. Meanwhile, listening teaches us about data and about the physical and cultural spaces into which we project it. In this way, sonification is always already interdisciplinary.
Experiments in Aural Attention: Listening Away & Lingering Longer
(2022)
author(s): Rebecca Collins
published in: Journal for Artistic Research
This exposition puts forward ‘lingering longer’ and ‘listening away’ as potential means to remain with non-semantic possibilities, resisting the tendency to know immediately or to classify — to get lost, albeit momentarily in a more messy moment of being. At stake in this investigation is the recognition that our experience of the world, characterized through a depth of engagement, is not limited to how relations operate on the surface. The direction or orientation of our attention, the intensity with which it is applied, and how it weighs on and shapes our experience implies choice and agency.
Experiment I: Aural + Orientation = Aurientation emulates the experience of a fictional gallery-goer who encounters the sound installation, This is for You (Don’t Treat it like a Telephone) (2012). This piece was developed at the advanced centre for performance and scenography studies (a.pass) in Brussels and aims to consider how sound and the voice shape our orientation, when mediated through objects. Experiment in Aural Attention II: Vibrant Practice details the process undergone for creating Listening to Water (2013), a site-specific investigation into ancient well sites located in Powys and Ceredigion, two counties in Mid West Wales. The work, made in collaboration with Jane Lloyd-Francis and Naomi Heath, considers how a turn towards site, via a process of tuning in to the Welsh landscape, can bring attention to overlooked aspects of our environment.
maskings
(2020)
author(s): Corey Mwamba
published in: Research Catalogue
"maskings" is an exposition distilled from a wider research project called "how the vibraphone can be a mouth". Using music, prose, and free verse, I seek to highlight the issues that project revealed within jazz and improvised music studies, and studies into vibraphone practice; briefly show the practical-philosophical roots of my methodology in the research; and present the practice-led roots of my current philosophy of the vibraphone.
Practicing art - as a habit? / Att utöva konst - som en vana?
(2017)
author(s): Annette Arlander
connected to: Stockholm University of the Arts (SKH)
published in: RUUKKU - Studies in Artistic Research
This bilingual exposition (English and Swedish) presents and problematizes the relationship between artistic practice and habit, describing two projects that deal with repetition and place. The projects 'Solsidan' and 'Summer at Söder' were undertaken during the years 2015-2016 in Stockholm. The idea of repetition and returning to the same site were crucial, as in much of my previous works. Unlike them, neither of these two projects involved performances for camera; in both the actual practice consisted of video recording the view. The shift in emphasis from an artistic practice aiming to produce an artwork, into an activity undertaken mainly as an exercise, an activity, could be seen as a strand in the general trend in contemporary art since the 1960s and accentuated in this century towards valuing the 'working' of art above the work of art as an object. This trend can also be related to research and linked to the preference for various terms like practice as research, performance as research, creative arts research or, indeed, artistic research. - This exposition combines a description of the actual practice, with an encounter with the material generated through that practice and proposes that these works can exemplify artistic research as a speculative practice.
NTNU Live studio
(last edited: 2024)
author(s): trygve ohren, Steffen Wellinger
This exposition is in progress and its share status is: visible to all.
NTNU has a long tradition of students undertaking Live Projects. Many schools of architecture do. What sets our projects apart is that a big number are initiated, organised and managed by the students themselves. These initiatives are made possible with support from the university, and a focus on live aspects through the education. Already the first semester, architecture students at NTNU have to design and built a 1:1 timber construction.
NTNU’s Live Projects have varied from small traditionally crafted Norwegian boathouses, to larger scale community development based projects in Latin America, Africa and Asia. Students employ a context-based design approach whereby they have to work closely with local municipalities, professionals, grassroots organisations and other stakeholders. It’s this collaborative focus that truly allows the projects to take flight.
In recent years, students have shown a soaring interest in Live Projects, be they independent, part of self-initiated curricular course or a curricular course that focuses on building. This confronts NTNU with the challenge of responding to their enthusiasm in a way that acknowledges their contribution, but also generates academic returns. The institution must be able to be responsible for the students’ learning, well-being and the quality of the projects, yet at the same time, give them independence and entrust them with full social and professional responsibility.
NTNU Live Studio is a platform from which students find support and encouragement for Live Projects, from which they discover or learn, on their own terms, what architecture is, or does, and what becoming an architect is about.
CCFT
(last edited: 2024)
author(s): Johan Sandborg, Duncan Higgins, Bente Irminger, Linda H. Lien, andy lock, Ana Souto Galvan, Susan Brind, Shauna McMullan, Yiorgos Hadjichristou, Jim Harold, DÁNIEL PÉTER BIRÓ
connected to: Faculty of Fine Art, Music and Design, University of Bergen
This exposition is in progress and its share status is: visible to all.
As we move towards the first quarter of the third millennium, the impermanent and shifting influence of globalisation, economic division, migratory encounters, social media, historic narrative and tourism is having a major impact in our understanding of the making, belonging and occupying of place. It is widely documented that these conditions are contributing to a growing sense of displacement and alienation in what constitutes as place making, occupying, and belonging.
CCFT is asking how interdisciplinary artistic research practices contribute and share new critical understandings to aid this evolving understanding of place making, belonging and occupying?
Practice-as-Research: Modal, Sensorial, and Image-Based Approaches to an Improvisational Practice
(last edited: 2023)
author(s): Rachel Repinz
This exposition is in progress and its share status is: visible to all.
Practice-as-Research: Modal, Sensorial, and Image-Based Approaches to an Improvisational Practice is a living document that chronicles my discovery, development, and reflection of practice-as-research toward a disability aesthetic. As a visually disabled dance(r)/researcher, I investigate improvisation as a methodology through a practice based in Merián Soto's Modal Practice, and image and sensorial-based research.
As you explore this exposition, I invite you to hover your mouse over images and videos for alternative text descriptions.
Las guerras púdicas
(last edited: 2022)
author(s): Lorena Croceri
This exposition is in progress and its share status is: visible to all.
In this exhibition I develop the concept of responsibility linked to performance art. Through the analysis of the performative installation Las guerras púdicas, I make an approach to the curated integration of fields: cultural practice of cooking, contemporary art, psychoanalysis, synoptic charts and language of war.
Between control and uncertainty
(last edited: 2020)
author(s): Marta Wörner Sarabia
This exposition is in progress and its share status is: visible to all.
"Between control and uncertainty" is a practice-led research that combines the kinetic study of the body as a structure and the implementation of media and expanded choreography tools to de-pattern the conventional relationship between body and space in performative environments.
Moreover, on a meta-level, the investigation reflects on the tension between control and uncertainty in the act of research itself.
With the firm belief that the body has inherent philosophical and epistemological knowledge which can be activated by experiencing and observing movement, I embraced the challenge to name and contextualize that knowledge.
This inquiry started from my fascination for the kinetics of the body and its ability to reorganize itself in comparison with other micro and macro structures that do not move that way, such a, for example, the microstructures of materials like metal, rocks or the macrostructures built by the geography of the city and the Port of Rotterdam.
The interdisciplinary research addresses the dichotomy structure-destructure and its application and affections to the body. In this sense, the research proposes a tool for de-patterning the habitual relationship between the body of the performer and the external space and offers to the audience a door for de-patterning their relationship with performative spaces.
The research has been framed under the inspirational umbrella of the idea of performing the Deleuzian concept of “becoming”, (deriving from the Latin verb “devenire” which means “coming down, falling in, arriving to”).
The physical inquiry is focused on the action of “falling in”, "devenire". The exploration led to an articulated and defined set of physical and interdisciplinary exercises that are the core of the dance practice ‘falling in’.
In concordance with the practice, the findings of this research can be seen as ways of controlling and ways of facilitating, allowing, provoking uncertainty within the choreographic practice-led research frame.
This research artistically materialized in the performance Falling in. Notes on body space and matter premiered in 2019.
Trennungssongs of Togetherness
(last edited: 2020)
author(s): Paul Norman
This exposition is in progress and its share status is: visible to all.
**WIP**
How do you make a piece about Europe without talking about Europe?
Separation: the action or state of moving or being moved apart.
Song: a set of words set to music or meant to be sung
Togetherness: the state of being close to another person or other people.
Paul Norman and Leander Ripchinsky, choose not to take separation, song or togetherness at face value, but through the act of game-playing gently coax something resembling meaning from its hiding place. As an audience we are asked to park our expectations, taking the chance to busy ourselves with rules and words and sounds and all kinds of decision-making.
How do you make a piece about Brexit without talking about Brexit?
"maskings" is an exposition distilled from a wider research project called "how the vibraphone can be a mouth". Using music, prose, and free verse, I seek to highlight the issues that project revealed within jazz and improvised music studies, and studies into vibraphone practice; briefly show the practical-philosophical roots of my methodology in the research; and present the practice-led roots of my current philosophy of the vibraphone.open exposition comments (0)
In this exhibition I develop the concept of responsibility linked to performance art. Through the analysis of the performative installation Las guerras púdicas, I make an approach to the curated integration of fields: cultural practice of cooking, contemporary art, psychoanalysis, synoptic charts and language of war.open exposition comments (0)
**WIP** How do you make a piece about Europe without talking about Europe? Separation: the action or state of moving or being moved apart. Song: a set of words set to music or meant to be sung Togetherness: the state of being close to another person or other people. Paul Norman and Leander Ripchinsky, choose not to take separation, song or togetherness at face value, but through the act of game-playing gently coax something resembling meaning from its hiding place. As an audience we are asked to park our expectations, taking the chance to busy ourselves with rules and words and sounds and all kinds of decision-making. How do you make a piece about Brexit without talking about Brexit?open exposition comments (0)