THE ART OF THE WALK CYCLE
(2024)
author(s): Rania Ghazali
published in: Stockholm University of the Arts (SKH)
This exploration delves into the potential of emotional storytelling through walk cycles. Moving beyond traditional animation, it utilises the expressive power of modern tools to explore how line, shape, stroke weight, colour, texture, and sound can be manipulated to create abstract narratives that evoke deeper emotional experience for the viewer.
Drawing on a foundation of psychological principles, scientific research, and relevant articles, the walk cycles become abstract narratives, provoking introspection and emotional connection.
How art made me (in)sane
(2023)
author(s): Nabila Ayu Aviani
published in: Research Catalogue
From the moment I was born, my grandmother said the following words to my mother about me:
“Be careful with this one, this child will be tough as a rock.”
My grandmother was not wrong. I was a tough child – I am a tough child. It was not until later during my teenage years that I was diagnosed with the disorders that would completely shift my world. I spiralled down deeper into agony and self-destructive behaviours. My mental health consistently deteriorated, my disorders consuming every bit of me, and I felt insane.
In art, I found my escape. Through Edvard Munch, a mastermind who was able to decipher and express his troubles in art, I felt less alone. Unable to cope with my intense emotions, I have always been convinced that I am, in one way or another, insane.
And for the first time, through art, I felt somewhat sane.
NUMB - exploring emotionally charged interactions to motivate reflection on non-fiction topics
(2023)
author(s): Elin Festøy
published in: University of Inland Norway
This PhD project in artistic research by Elin Festøy, research fellow at The Norwegian Film School, Innlandet University College, is situated in the field of interactive experiences. Festøy explores how emotionally charged interactions can be used to build trust and communicate non-fiction topics in a way that is more likely to motivate empathy and change. The artistic exploration consists of a consecutive row of conceptual VR experiences. The reflections turn to the role of freedom and agency in interactive experiences and how these can help build a trusting relationship between creator and participant.
How art made me (in)sane
(2023)
author(s): Nabila Ayu Aviani
published in: Research Catalogue
From the moment I was born, my grandmother said the following words to my mother about me:
“Be careful with this one, this child will be tough as a rock.”
My grandmother was not wrong. I was a tough child – I am a tough child. It was not until later during my teenage years that I was diagnosed with the disorders that would completely shift my world. I spiralled down deeper into agony and self-destructive behaviours. My mental health consistently deteriorated, my disorders consuming every bit of me, and I felt insane.
In art, I found my escape. Through Edvard Munch, a mastermind who was able to decipher and express his troubles in art, I felt less alone. Unable to cope with my intense emotions, I have always been convinced that I am, in one way or another, insane.
And for the first time, through art, I felt somewhat sane.
Aimpathy
(2023)
author(s): Amit Yungman
published in: KC Research Portal
Much research has been done to better understand the emotional experience of music; from the philosophical, artistic, psychological, and statistical approaches. In this research we conduct a cross-domain experiment based on those four disciplines, to further understand the factors that influence the emotional perception of music; and in particular the difference between the artist’s emotional conception and the audience’s perception.
In the experiment we train a novel model of an Artificial Neural Network, to predict the perceived emotion from a short musical phrase. We then feed the machine curated input, which simulates artistic choices, to explore its most significant factors in determining the perceived emotions.
In the conclusion we describe the results, as well as the possible follow-ups to the experiment, such as an emotional expression training tool for musicians.
"An Actor Prepares": A musician's approach to a selection of techniques by Konstantin Stanislavski
(2022)
author(s): André Teixeira
published in: KC Research Portal
The belief that imagination’s engagement and emotional connection with what I play enhance my performance propelled me to do this research. However, these are not systematically integrated in instrumental practice. Thus, it seemed to me that the twentieth century theatre director Konstantin Stanislavski’s ‘system’ would be the perfect basis for such a quest.
The starting point were acting techniques from his first book "An Actor Prepares": the "given circumstances", imagination-related ("supposed circumstances", “inner visions”, "magic if”) – and emotion-related ("emotion memory", "sensation memory", "surroundings"). Partly supported by existing literature, these techniques were linked with the instrumentalists' work and tested out in a self-case study through three interventions.
The process consisted of making video recordings of the 'before' and the actual interventions, which were guided by the filling out of intervention forms designed by me. The techniques were applied on three distinct piano passages of Richard Strauss’ melodrama for narrator and piano "Enoch Arden". Furthermore, I did interventions’ reports to provide more palpable insights about the experience, namely the effects of each technique on the performer.
The outcome was evaluated through a questionnaire filled in by a group of listeners, comprising musicians and non-musicians, and by me.
The responses generally show that the techniques were effective. However, the recordings were perceived as very similar. Also, the listeners’ perception sometimes differed from mine.
Nevertheless, the reports allow us to conclude that these techniques might affect the performer’s focus, creativity, self-confidence, knowledge about the works and also self-knowledge.
In search of...
(last edited: 2024)
author(s): Ekaterina Butorina
This exposition is in progress and its share status is: visible to all.
A platform for speculation, mapping, and spatial thinking comprises ongoing research projects that concentrate on practices acknowledging the constant flux at the intersection of body, world, and technology. I experiment and explore how cartography and its connections influence the perception of space, encompassing its visual and sonic trails.
Den emotionellt hållbara filmprocessen
(last edited: 2023)
author(s): Emilie Löfgren
This exposition is in progress and its share status is: visible to all.
Hur skapar och utvecklar jag metoder för en filmprocess som värnar mitt eget och mina medarbetares mentala och känslomässiga välbefinnande när vi gör film om svåra frågor? Hur tar jag hand om mina medverkande? Hur ser min film ut som är sprungen ur en sådan arbetsprocess? Hur har arbetet med terapeuten Cilla Holm, tidigare filmproducent, bidragit till en hållbar filmprocess? Filmbranschen präglas av högt tempo och utmattningssyndrom är inte ovanligt. För fyra år sedan blev jag utmattad och efter att ha sörjt mitt gamla jag och min nya stresskänslighet kom jag fram till att jag inte tänker acceptera att jag inte ska kunna arbeta med det jag älskar, film och skrivande. Jag tänkte att det måste finnas andra sätt att arbeta med film och fortfarande få må bra.
En exposition om skapandet av min dokumentärfilm Om sorg (2022) och metoden som jag kallar för den emotionellt hållbara filmprocessen.
English abstract:
How do I create healthy working methods that benefit my own and my team members mental and emotional wellbeing while making film about difficult subjects? What does a documentary sprung out of these methods look like? How has the collaboration with Cilla Holm, film therapist and former film producer, contributed to make the process emotionally sustainable? The film industry is fast paced and burnout is not uncommon. Four years ago it happened to me and I had a total identity crisis. After grieving my old self, my ability to multi-task and my newfound stress intolerance, I came to the conclusion that I will not accept that I have to leave the film industry. I wanted to keep working, I just had to find another way to do it.
An exposition about the creation of my documentary About Grief (2022) and the method that I call The emotionally sustainable film process.
“Lasciatemi morire” o farò “La Finta Pazza”: Embodying Vocal Nothingness on Stage in Italian and French 17th century Operatic Laments and Mad Scenes.
(last edited: 2021)
author(s): Elisabeth Laasonen Belgrano
This exposition is in progress and its share status is: visible to all.
This music research drama thesis explores and presents a singer’s artistic research process from the first meeting with a musical score until the first steps of the performance on stage. The aim has been to define and formulate an understanding in sound as well as in words around the concept of pure voice in relation to the performance of 17th century vocal music from a 21st century singer’s practice-based perspective with reference to theories on nothingness, the role of the 17th century female singer, ornamentation (over-vocalization) and the singing of the nightingale. The music selected for this project is a series of lamentations and mad scenes from Italian and French 17th century music dramas and operas allowing for deeper investigation of differences and similarities in vocal expression between these two cultural styles.
The thesis is presented in three parts: a Libretto, a performance of the libretto (DVD) and a Cannocchiale (that is, a text following the contents of the Libretto). In the libretto the Singer’s immediate inner images, based on close reading of the musical score have been formulated and performed in words, but also recorded and documented in sound and visual format, as presented in the performance on the DVD. In the Cannocchiale, the inner images of the Singer’s encounter with the score have been observed, explored, questioned, highlighted and viewed in and from different perspectives.
The process of the Singer is embodied throughout the thesis by Mind, Voice and Body, merged in a dialogue with the Chorus of Other, a vast catalogue of practical and theoretical references including an imagined dialogue with two 17th century singers.
As a result of this study, textual reflections parallel to vocal experimentation have led to a deeper understanding of the importance of considering the concept of nothingness in relation to Italian 17th century vocal music practice, as suggested in musicology. The concept of je-ne-sais-quoi in relation to the interpretation of French 17th century vocal music, approached from the same performance methodology and perspective as has been done with the Italian vocal music, may provide a novel approach for exploring the complexity involved in the creative process of a performing artist.
Thesis for the degree of Doctor of Philosophy in Performance in Theatre and Music Drama
at the Academy of Music and Drama,
Faculty of Fine, Applied, and Performing Arts,
University of Gothenburg
ArtMonitor dissertation No 25
ArtMonitor is a publication series from
the Board for Artistic Research (NKU),
Faculty of Fine, Applied, and Performing Arts,
University of Gothenburg
A list of publications is added at the end of the book.
ArtMonitor
University of Gothenburg
Faculty Office of Fine, Applied, and Performing Arts
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PO Box 141
SE 405 30 Gothenburg
Sweden
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ISBN: 978-91-978477-4-2