‘Crowism’
(2025)
author(s): DAPHNA REVES
published in: Research Catalogue
The concept of 'crowism' allows to adapt the qualities of the crow and project them onto humanity's relationship. Like having an observation on the relation between a stat and the people culture motivation.
The feature of the crow, takes no burden of humanity society which mean: does not agree taming, presents an individual self-thought, cannot be restrained by regime and cannot be adapted to the pattern of the Western society.
Lawn - universal human space beyond suburbia
(2024)
author(s): Jacob Neman
published in: Research Catalogue
Visual analysys of a lawn in a public and private space as a universally understood image of wealth , leisure , minimalist aesthetic
Gentle Friction - through temporary territories of culture
(2024)
author(s): Alicia Rottke Fitzpatrick
published in: Royal Academy of Art, The Hague
Friction between the other is not only inevitable but a necessary part of heterogeneous life. However, this friction can occur on a spectrum, from aggressive, violent manifestations to more gentle, subtle forms. This research explores the latter form of friction within the context of cultural events.
There is a growing rhetoric that cultural events are solely for elitist circles, and if this discourse continues to permeate society, the transformative power of these events will be in jeopardy.
To preserve and reinforce the transformative power of these spaces, this research asks: How do cultural events facilitate moments of gentle friction as a means to foster an understanding of 'the other'?
This research began as an introspective exploration into the author's practice. By unpacking the conditions of conviviality, autonomy, and temporality that ensure the friction remains gentle, the research explores how these conditions can be spatially translated to strengthen the experience in these spaces. Concluding with a set of design tools that can be used to ensure the vitality of cultural events, encouraging diverse participation as a means to protect this necessary form of friction between the other.
The Eco-Mesh Approach: A Sustainable Methodology for Socio-Culturally Interrogative Artistic Research
(2020)
author(s): Charulatha Mani
published in: RUUKKU - Studies in Artistic Research
One of the most striking features of Artistic Research is that apparently disjointed issues including pressing calls to action from social, ethical, political and cultural perspectives can organically unfold, evolve, and shape interdisciplinary academic discourses through the centralised lens of artmaking. It thereby creates a holistic picture of research in a manner that only an artist’s singular perspective can yield. A methodology approach that looks from the enmeshed and messy microcosms of ecologies at interplay to the broader macrocosms of the world, through the lenses of socio-cultural interrogation and ethical accountability, I argue, presents an sustainable model for a decolonised artistic research ethos to emerge. According in this publication, I offer "an ecomesh approach" to achieving a framework for "socio-culturally interrogative artistic research" with music and culture as my two key modes of inquiry. As a female native culture bearer of South Indian Classical music now also active within the sphere of Western academia, I feel that I have an ethical responsibility towards the ways in which culturally contingent aspects of my music and culture are represented in and communicated to the world (both in education and artmaking). I leverage my insider/outsider position to problematise aspects of power, belonging, and ownership in global ecologies of dissemination and reception of material and material labour.
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?
a new kind of vaziri
(last edited: 2024)
author(s): Puyain Sanati
This exposition is in revision and its share status is: visible to all.
In this exposition I’m showing you my journey for these past two years of investigating my artistic practice through the meeting of identity and aesthetics.
Due to my Iranian background, I have felt a need and curiosity to bring together my Iranian and European identities. This project is a dialogue between myself and music, encompassing sounds, arrangements, physical presence, materiality, technology, context, and politics.
By politics I mean; history, cultural appropriation, diversity, colonisation, beliefs, and the current needs of the western culture.
A project involving confrontations with habits, default parameters, and elements within digital audio workspaces, thereby incorporating scales.
Hearing a culture: integrating sound and environmental elements of Braga’s festivities into new compositions
(last edited: 2023)
author(s): Carlos Brito Dias
This exposition is in progress and its share status is: visible to all.
In my reflection on my personal, academic, and artistic path, I examine the impact of culture, tradition, and identity on my development as a composer. I explore this through both a broad lens and in the context of Portuguese national identity. My hometown traditions play a crucial role in my musical identity, serving as the roots from which I draw inspiration.
This research allowed me to delve deeper into my own identity as a composer, exploring the ways in which my roots inform the routes I have taken in my musical journey. Through this process, I have been able to redefine my own stylistic language, creating a unique voice that reflects my experiences and heritage.
The outcome of this project is a body of new musical compositions and reflections that enrich our understanding of this genre of practice and composition techniques. The artistic creations and insights gained through this process provide valuable contributions to the world of music and composition.
Reflex voice: a tool to enhance my vocal expression in singing through embodied emotion and automatic vocalisation
(last edited: 2023)
author(s): Irene Sorozábal Moreno
This exposition is in progress and its share status is: visible to all.
I am in the process of designing a tool I named “reflex voice”. It combines previous research on automatic, emotionally triggered vocalisation –see the notion of primal sound in the work of J. Chapman and O. Brown– with theatre techniques which predicate embodied emotion –see the Sanskrit performance treatise Natyasastra. The goal of reflex voice is to enhance my vocal expression in singing. During my artistic research as a master student in the Conservatorium van Amsterdam, I started developing the tool and applying it to my own practice as a singer. In this article, I discuss my first experiment concerning the application of reflex voice to a 17th century piece by Nicholas Lanier. I introduce briefly the central concepts concerning the new tool, I describe the experiment and provide a first analyses of how this tool influenced my performance.
marijn en renee lotus feet presentation
(last edited: 2022)
author(s): Marijn Brinksma
This exposition is in progress and its share status is: visible to all.
A presentation about lotus feet by marijn en renee.
Hinterlands - Between Worlds exhibition
(last edited: 2021)
author(s): Jim Harold, Susan Brind
This exposition is in progress and its share status is: visible to all.
'Hinterlands' for the exhibition 'Between Worlds'
Renmin University of China, Beijing, 2015
The installation, ‘Hinterlands’, comprises two related elements: a wall painting with vinyl text; and four unframed photographic digital prints arranged on adjacent walls.
The wall texts are taken from a mixture of diary notes and descriptions of photographic images made by the artists, Brind & Harold, over a number of years whilst on research journeys. The texts are not chronologically ordered but, instead, are intended to be read as a series of text-images. Through typographic layout and proximity, the texts become interrelated whilst not being the direct traces of a linear journey or journeys. Rather, they tell of the small moments of travel and experience (un-photographable in some cases) that act as the truer registers of a journey; whether that journey is outwardly bound or inwardly focused. As a result the work seeks to allow these events and the phrases used to account for them to become liminal spaces - thresholds or hinterlands - through which the viewer's own imagination may engage with the artists’.
The photographs of desert space, details of the desert floor taken in the Egyptian a Desert, are similarly intended as the traces of real events and locations, while providing ambiguous spaces of reading and meaning.
Gian Majidi Singing Journey
(last edited: 2021)
author(s): Gigi Gian
This exposition is in progress and its share status is: visible to all.
Who am I? Kuka minä olen? Do I have any answer for this? I do not know yet and maybe whole of this long trip will remain the same. Uncertainty will be the cause and the result.
Should I try to be someone else or something else? Can I do that? How? What's happened to me? Why I am here and now?
This is question which i am looking to give some answer. If I do not know who I am, how you want to know about me?
I give you some pictures and feelings to make you happy about me, to make you at ease about me. let's walk and recall some memories together.
I have been writing poems and novels, screenplays and theaters, I was writing about music and movies. I have been playing and acting. I have loved performances and always communicating with people.
Is Music Universal?
(last edited: 2016)
author(s): Ned McGowan
This exposition is in progress and its share status is: visible to all.
An oft-heard statement is that music is the one true universal language. While this may be a nice phrase to promote harmony between cultures, the question arises: is it actually true? Can the same piece of music communicate the same thing to people from different cultures?
The concept of 'crowism' allows to adapt the qualities of the crow and project them onto humanity's relationship. Like having an observation on the relation between a stat and the people culture motivation. The feature of the crow, takes no burden of humanity society which mean: does not agree taming, presents an individual self-thought, cannot be restrained by regime and cannot be adapted to the pattern of the Western society.open exposition comments (0)
Visual analysys of a lawn in a public and private space as a universally understood image of wealth , leisure , minimalist aestheticopen exposition comments (0)
In this exposition I’m showing you my journey for these past two years of investigating my artistic practice through the meeting of identity and aesthetics. Due to my Iranian background, I have felt a need and curiosity to bring together my Iranian and European identities. This project is a dialogue between myself and music, encompassing sounds, arrangements, physical presence, materiality, technology, context, and politics. By politics I mean; history, cultural appropriation, diversity, colonisation, beliefs, and the current needs of the western culture. A project involving confrontations with habits, default parameters, and elements within digital audio workspaces, thereby incorporating scales.open exposition comments (0)
Who am I? Kuka minä olen? Do I have any answer for this? I do not know yet and maybe whole of this long trip will remain the same. Uncertainty will be the cause and the result. Should I try to be someone else or something else? Can I do that? How? What's happened to me? Why I am here and now? This is question which i am looking to give some answer. If I do not know who I am, how you want to know about me? I give you some pictures and feelings to make you happy about me, to make you at ease about me. let's walk and recall some memories together. I have been writing poems and novels, screenplays and theaters, I was writing about music and movies. I have been playing and acting. I have loved performances and always communicating with people.open exposition comments (0)