Diary Notes of a Curator-in-Residence
(2024)
author(s): Rossana Mendes Fonseca
published in: Research Catalogue
Under the theme "Deviations", we will seek to create an exposition that narrates the immersive experience in Split's creative community and the curatorial process of a collective exhibition that integrates our artistic background from Porto with the talents of local Split artists. During the residency, we will seek to gather a group of artists willing to challenge their usual media, themes or approaches, contributing to a dynamic and thought-provoking collective.
A Garden of Sounds and Flavours: Establishing a synergistic relationship between music and food in live performance settings
(2024)
author(s): Eduardo Gaspar Polo Baader
published in: KC Research Portal
During the past decade, there has been a surge in the literature about crossmodal correspondences, consistent associations our minds establish between stimuli that are perceived through different senses. Correspondences between sound/music and flavour/taste have received particular scholarly attention, which has lead to a variety of practical applications in the form of food and music pairings, mostly examples of so-called ‘sonic seasoning’, a way to use sound to enhance or modify the tasting experience.
This thesis aims to explore the pairing of food and music from an artistic perspective. Its goal is to find tools that would allow to present both music and food as components of coherent live performances in which neither of them is a mere ‘seasoning’ to the other. Through the description and exploration of different ‘mediating elements’ between them (such as crossmodal correspondences, but also structure, ritual, narrative, and others), a wide range of possibilities is presented to whoever wants to match food and music in a truly synergistic manner.
Readers interested in multidisciplinary, interdisciplinary, or transdisciplinary artistic practices of any kind might find the outcomes of this research useful for their own work.
Interluding: Identifying practice methods for classical improvisation on the Violin
(2023)
author(s): Ruth Mareen
published in: KC Research Portal
How can a classical performing violinist develop a practice method which serves for expanding their active musical vocabulary and applying it in an improvised interlude during a concert?
The objective of this research is to explore practice methods which helps one create improvisations inserted in between composed pieces of a concert programme. The main goal is to create a common thread in a program with an otherwise varied repertoire. This research identifies and compares the practice methods that can be used to achieve this goal. The methodology is based on the study of academic and educational sources, autoethnography, experiments in the form of performances, a questionnaire for the audience, interviews with experts and recording of work in the practice room. The improvisation played in between two compositions is called an interlude and the act of playing such an improvisation, interluding. These interludes contain musical material of both the previous and the next piece, thus creating seamless transitions, a bridge between characters and/or a dialogue between the pieces.
First, the historical importance of preluding and interluding is discussed, followed by a collection of improvisation exercises based on an existing composition with audio examples. These exercises serve to expand an active musical vocabulary inspired by the chosen pieces. The interludes can be built using different structures with this newly acquired vocabulary. To present and discuss the results, recordings of performances are included. Finally the limits of this format of strictly recycling (thematic) material are discussed, bringing to the surface other ways to use the concept of interluding.
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.
Using wool’s agency to design and make felted artefacts
(2019)
author(s): Bilge Merve Aktaş
published in: RUUKKU - Studies in Artistic Research
This exposition presents an explorative project that examines employing material as a reference point for designing and making an artefact. The material’s effects on designing and making have been elaborated upon from many angles. This exposition also examines how material affects designing and making processes from the perspective of material agency. This study argues that by observing a material’s behaviour from the perspective of agency, one can genuinely understand what the material does, and accordingly can find ways to collaborate with it in the process of designing and making artefacts. The discussion is articulated through a designer’s project in felting by employing a practice-led research approach that examined the decision-making processes through written reflections and visual documentation. This examination suggests that by including material as a reference point, design and making can reflect the ecology of the material in a way that combines human power with the activeness of the material.
GEOART AS A NEW MATERIALIST PRACTICE. INTRA-ACTIVE BECOMINGS AND ARTISTIC (KNOWLEDGE) PRODUCTION.
(2018)
author(s): Dorota Golanska
published in: RUUKKU - Studies in Artistic Research
Situated within a new materialist philosophical framework and inspired by its posthumanistic, postdualistic, and affirmative orientation, this article looks at instances of geoart, understanding it in terms of intra-active knowledge production processes. I look specifically at the artistic projects by Jim Denevan and, by doing so, I intend to examine the concept of a non-academic artistic practice with an aim of exposing that a detailed inspection of the processes involved in the artistic production sheds an altogether different light on the nature of all research practices. As such, it lets us engage more thoroughly with the “how-question” of generating knowledge, highlighting its processual material-semiotic character. As instantiated in my case studies, an inquiry of different relationalities involved in the process of artistic (knowledge) production enables a study of how subject and object emerge as a result of “intra-activity” (Barad 2007).
Using his own body as both a tool and an active corporeal entity merging with the surrounding landscape, a geoartist Jim Denevan rhythmically and in a dance-like movement creates ephemeral gigantic drawings on sand, soil, or ice. They emerge out of a dynamic assemblage of the artist’s body (and his tools) and the local geophysical situation (with different sorts of matter or forces present there). The natural environment operates as an agent actively engaged in the whole process of artistic creation—of both making and unmaking of the drawings. When finished by Denevan, his works of art remain dynamic; they are being gradually modified and eventually erased by the undulating waves, tides, gusts of wind, the working of erosion and weathering, until they completely disappear. Focusing on the engagement of the artist with the environment and the random audiences present on site, I want to make clear that such eco-sensitive creation may serve as an illuminating example of what forms the entanglements of art and research could take and what material-semiotic effects such creative activities produce for all actors involved.
The slippery trail: The mollusc as a metaphor for creative practice
(2015)
author(s): Karen Savage
published in: Journal for Artistic Research
This exposition documents several years of process-driven practice-as-research. The work explores themes of womanhood, embodiment, and autobiography.
Throughout the exposition I argue that the embodiment of process is key to understanding practice-as-research. I propose that practice-as-research projects don't always begin with a ‘final output’ in mind. Instead, the practice of practice-as-research should be reconsidered throughout its development; it should use its potential for liminality. It is the demonstration of a ‘living process’ – living in process. However, what becomes key within the practice is a clear articulation of process, and how the research is recorded as part of that process. In this work, 'writing about practice' and performative practices are integrated, enabling a dialogue between various creative responses as well as offering access points to the research in a variety of forms.
This exposition explores ways in which we live in process through a presentation of text, visual essays, and short film and video pieces.
The work develops from creative artefacts and critical text into a piece of responsive writing, 'A Play of Characters'. This playtext reconsiders some of the influences in the work and explores the imagery of the whole project in a performative context.
The notion of embodiment and a 'living body of work' is developed further through the use of metaphor, in particular the metaphor of the mollusc. I use this to consider how practice evolves alongside process, 'housing' both the work and the process in both material form (the shell) and trace (the snail trail).
Different combinations of this work have been presented as performance installations, both at the University of Portsmouth, as part of my PhD examination in 2010, and at the University of Lincoln, as part of the Gnarlfest in 2014. However, by the very nature of 'living in process' this is a work that continues to evolve and 'live' in different forms. The purpose of this exposition is to explore the work in an accessible online form – one that offers alternative platforms and sequences, creating different possibilities and readings of the practice.
Practices for the future / an Artogrphic approach
(last edited: 2024)
author(s): Sebastian Ruiz Bartilson
This exposition is in progress and its share status is: visible to all.
Task submission for course Dokumentation, reflektion och kritisk granskning / Documentation, Reflection and Critical Review
Application of Artographic methods towards own and/ or others dance practice.
Project "Practices for the future"
Task submission for course Dokumentation, reflektion och kritisk granskning / Documentation, Reflection and Critical Review Application of Artographic methods towards own and/ or others dance practice. Project "Practices for the future"open exposition comments (0)