Multilayeredness in Solo Performance
(2021)
author(s): Søren Kjærgaard
published in: Rhythmic Music Conservatory, Copenhagen
This project investigates the multilayered potentials of solo performance with the intention of opening up the single player limitations often experienced during the creative process of play and practice.
In performance contexts ranging from acoustic solo piano to a digital code-based video keyboard, concepts of multilayeredness are explored through compositional and improvisational strategies, that include instrument topography, extended piano techniques, audio-visual sampling and digital keyboard mapping.
The purpose is also to create results that will contribute to how solo artists across formats can express themselves more dynamically and with greater flexibility in the interaction between their various materials and artistic ideas. A contribution also in terms of expanding methodological approaches to how solo performers and research practitioners can work iteratively and interactively in their reflective processes, inviting both a more verbalised and dialogic form, and to explore ways of documenting and communicating these processes in hybrids between text, sound and image.
Coded Perception: 'Out of the Corner of One's Eye'
(2021)
author(s): Mike Croft
published in: i2ADS - Research Institute in Art, Design and Society
The exposition concerns how aspects of perception, mainly visual but not excluding other senses, are encoded within the artist’s drawing-based practice. Such coding is increased due to the artist's use of speech and its recording to eventually produce textual transcripts, and video evidence of the process of drawing while drawing. More inclusively stated, the artist’s practice oscillates between visual and linguistic means, and analogue and digital methods. As research, the exposition questions where and how coding is implicit in the artist’s perception during his approach to his work. Such questioning is enabled by a split between the artist in his reflexive involvement presented as speech transcripts and supporting screenshots from the video recording, and his reflective observation on the content of the transcript as if made by another-person interlocutor. The exposition is presented as a textual introduction and conclusion, between which is access to the full audio-visual recording of the drawing process and a flip-book presentation of the transcript and interlocutor interventions. The exposition's main image is the artist's finished drawing.
THIS IS IT
(last edited: 2023)
author(s): Federico Federici
This exposition is in progress and its share status is: visible to all.
“Objects under investigation” is a collection of separately conceived works that address the problem of textual-related medium and, in a sense, mediality in art from an experimental perspective. The word object[s] is meant as a neuter reference to both the text as a phenomenon and the text as a product in itself. It suggests the idea of something to be physically handled, while not necessarily a physical object.
And hand, and index, and manual: ongoing explorations of my online choreographies in conjunction with my evolving research.
(last edited: 2018)
author(s): Renee Carmichael
This exposition is in progress and its share status is: visible to all.
I have been wanting to start this project for awhile, but I didn’t know where to start. I didn’t have the right connection. But then I started reading “Fenomenología del Fin: Sensibilidad y mutación conectiva” by Franco “Bifo” Berardi—(My first experience reading a theoretical book completely in Spanish, a point that is not to be put aside as something decoded—ah ha!—but to be anded into the conversation, the experience and the process. For me it is already a liminal starting point of not only a new life in Buenos Aires after arriving around 6 weeks ago, but also a new type of conjunción in my research)—and I realised that I did not need a connection. And what now?
The idea here will be to explore my own movements surrounding my research as I read it and process it and note it and write it and digitise it. This very current month, whatever month you find yourself reading this text, I am starting a PhD in Teoría Comparada de las Artes at Universidad Nacional de Tres Febrero in Buenos Aires, Argentina. My topic is around dance and code. I won’t go into details, and anyway, they will probably change depending on what month you are in. Instead I will say that I want to get to the body. To the dance AND to the code there is always a body to be explored.
I am not exactly sure what shape this will take. What I can say now is that I plan to record my movements while thinking through them with the very theories that I am reading. Every once and awhile I might make a connection, a code that can be used for you readers, to also understand, or better yet—use. But the point is more in the exploration, in the conjunctions.
From what I incorporated, conjuncted, from the Spanish and the introduction of Berardi’s book, with the digital, we are moving away from a liminal world of conjunctions, empathic understanding, and instead find ourselves in connections, or clear codes of communication in structures of syntax. This changes the way we perceive the world, which includes our aesthetic sensibility and our emotional sensitivity. Have we lost our ability to experience that which cannot be said, that which is liminal, that which cannot be understood, that which cannot be codified, that which has no syntax, that which can only be felt? And in a very general sense, my research is asking a similar question. It is bringing back the idea of the body as a way of resisting flows of technological power through the conjunction of dance and code. And so why now?
I have often said, in understandable syntax to describe ideas that perhaps only make sense to me, that I often interalise a theory. I make it experience and then I use it to write. I also say I am interested in exploring the liminal. But I always go back to codifying it, to describing it, to writing it. I will of course have to do that to complete the PhD. There is a system in place after all and this system requires a specific syntax. However, here is my chance to remain in the liminal and in the conjunction and in the body as much as possible in order to process the things I am reading, writing and researching in new ways, with my aesthetic sensibility AND my emotional sensitivity.
And let’s see where it goes.
“Objects under investigation” is a collection of separately conceived works that address the problem of textual-related medium and, in a sense, mediality in art from an experimental perspective. The word object[s] is meant as a neuter reference to both the text as a phenomenon and the text as a product in itself. It suggests the idea of something to be physically handled, while not necessarily a physical object.open exposition comments (0)