The Lost and Found project: Imagineering Fragmedialities
(2019)
author(s): Jenny Sunesson
published in: VIS - Nordic Journal for Artistic Research
The Lost and Found project began as an attempt to challenge my own sound making in opposition to a linear, capitalist, narrative tradition, dominated by visual culture.
I wanted to explore the possibilities of sound as a counterpart material risking our perception of what sound is and what it can do.
To reach beyond my own aesthetic and sociocultural baggage, I started to experiment with chance operated live performance as a method.
By multilayering uncategorised sound scraps the work emerged to “produce itself” and I began to catch glimpses of alternative sound worlds and sites.
I called the method fragmenturgy (fragmented dramaturgy) and the alternative realities that were created; fragmedialities (fragmented mediality, fragmented reality).
Walking As Practice WAP23
(last edited: 2024)
author(s): WAP
This exposition is in progress and its share status is: visible to all.
WALKING AS PRACTICE
WAP23 was a process-based residency during September-November 2023, where artists using walking as a method delved into each others’ knowledges and things they encountered together at BKN, the Northern Stockholm Archipelago in Sweden. Fieldworks, share sessions and seminars were created jointly to locate and entangle structures, narratives and themes for walking. The residency formed a transformative, dynamic space for art that engaged with life and nature towards critical and poetic explorations, influenced by the immediate surroundings: the forest, lakes, sea and people living in the rural area. Processing how walking is interlocked in our artistic practices, this exposition represents a gathering of texts, visuals and audio from the walking art residency.
The selected artists contributed with interdisciplinary practices, primarily drawing, photography, video, performance and dance. They worked both individually, in spontaneous constellations and in group sessions. The dissemination of the program took place in share sessions upon arrival of new artists - including dinners, open studios, walks, workshops etc. In addition, as the program unfolded, each artist developed their own exposition.
Deep Listening Today: Connecting with audiences through the music and teachings of Pauline Oliveros and others
(last edited: 2023)
author(s): Joseph Puglia
connected to: KC Research Portal
This exposition is in progress and its share status is: visible to all.
Work in progress...
This study explores a year's worth of research into how performers, composers and audiences can highlight different ways of listening in order to better communicate with one another. Inspired by the work of Pauline Oliveros, the study takes an in-depth look at Oliveros' Deep Listening practice, and how aspects of this practice and other works of Oliveros might be incorporated into traditional concert settings, with audience participation, to deepen connections between performers and audience members.
Further attention is given to works of James Tenney and Cornelius Cardew which highlight certain aspects of listening and music making, and which can be used to explore how we give meaning to sounds and symbols.
NOISE
(last edited: 2018)
author(s): ARNAU MILLÀ BENSENY
This exposition is in progress and its share status is: visible to all.
NOISE
A SONIC CHOREOGRAPHY WITH LIVE COMPOSING
Series of performance pieces. Each one is the result of a site-specific creation and research laboratory. The creation laboratories are focused on a specific city or location and on its inhabitants.
The first version of NOISE was created and executed in the city of Kitakyushu, Fukuoka prefecture, Japan.
VOL.1 NOISE - KITAKYUSHU
NOISE is an approach and a perception of a city, neighbourhood, town or area through the sounds that the space itself and its inhabitants generate.
From this sound material, movement and body perceptions are generated. They will later be developed to create the choreographic piece.
The composition in real time is organised through the language of Soundpainting. The entire soundpainting encoding is used to extract, analyse, dissect and sort all the sound and visual material that can be found in the apparent chaos of metropolitan and natural spaces.
The Lost and Found project began as an attempt to challenge my own sound making in opposition to a linear, capitalist, narrative tradition, dominated by visual culture. I wanted to explore the possibilities of sound as a counterpart material risking our perception of what sound is and what it can do. To reach beyond my own aesthetic and sociocultural baggage, I started to experiment with chance operated live performance as a method. By multilayering uncategorised sound scraps the work emerged to “produce itself” and I began to catch glimpses of alternative sound worlds and sites. I called the method fragmenturgy (fragmented dramaturgy) and the alternative realities that were created; fragmedialities (fragmented mediality, fragmented reality).open exposition comments (0)